Persian and universal designs

(Posted on 14/03/14)

It is open to debate whether or not the designs traditionally ascribed to Persia are in fact Persian in origin, and there is some evidence to suggest that a number may have had earlier link with Anatolia, India or Central Asia.  What is not disputed, however, is that their current degree of refinement and decorative panache is primarily the result of the skill and artistry of the 16th and 17th-century Persian weavers and designers, who took a number of hitherto rather simple motifs and compositions and turned them into some of he most beautiful, elaborate and awe-inspiring examples of textile art the world has ever known.Floral  The image of a lush and fecund garden is one that is deeply rooted in both the religious and cultural heritage of the Persian people.  Not only has the arid nature of the land inspired successive rulers to create the most exquisite and luxuriant ornamental gardens in their palaces and towns; it has also spurred generations of textile artists to compensate for harshness of their environment by weaving emblems of foliate abundance into their rugs.  The weavers were no doubt further inspired by their belief in the Islamic after life, which promises that the faithful will dwell in Paradise (also the Persian word for garden). It is therefore not surprising that floral and garden designs feature prominently in Persian rugs.Allover floral  Designs which feature floral forms without the addition of a medallion, vase or other primary motif.  They were popular with some older Caucasian groups, and may still be encountered on a number of village and workshop items.  Perhaps the most popular and satisfying allover floral scheme is the Lilihan design, which forms a substantial part of the repertoire of the sarouk weavers of west central Persia.Garden  Design usually based on the formal gardens of ancient Persia, with their abundance of flora separated by pathways and ornamental ponds.  They sometimes take the form of a palace garden from above; but more often a garden is simply implied by juxtaposition of vegetal and foliate forms.  Garden designs are most closely associated with Kerman weavers of southern Persia, but may be found in items from a number of workshop groups.Shah Abbas  These designs derive their name from Shah Abbas, who was instrumental in stimulating the renaissance of Persian textile art in the 16th and 17th centuries.  They consist of a series of slightly different palmettes and floral forms, and are found either in allover format or in conjunction with a central medallion.  They are closely associated with the major workshop groups of central Persia, particularly Isfahan, Kashan, and Nain, but also feature strongly in items from those countries which specialize in copying Persian designs. 

                                                                                 (Shah Abbas palmettes)