It is difficult to be precise as to when or where the art of carpet weaving originated due to the lack of historical records. There are, however, various schools of thought suggesting Central Asia, Egypt, and even China as the birthplace of the artform.
The Pazyryk rug, discovered by Russian archeologists in the Altai Mountain valley of Pazyryk, in the late 1940's, is said to be the oldest rug in possession today. Measuring six feet seven inches by six feet, it is said to be 2500 years old. A carpet of rare beauty, it has a woolen pile and is fastened by 270 Turkish knots per square inch. The centrefield consists of twenty-four squares and an insignia and the inner and outer borders are decorated with elks and horsemen.
Its sophisticated design is an indication of the high standards achieved in design during that period.
The nomadic tribes that roamed the plains and valleys of Central Asia are thought to be the earliest weavers. They lived in very harsh conditions and spent much of their prime time trying to out a living through pastoral and agricultural endeavors. Carpet making which is a long and tedious process lasting months, years or more, must therefore have been a popular part-time pre-occupation in which they engaged in to create items of necessity, such as floor mats wall coverings, tent covers and saddle bags. While these were mainly for their own utility they were later used as mediums of exchange in the barter trade.
The earliest weaves were possibly kelims or simple flat weaves without design, using wool which was easily available. Over succeeding generations, after they discovered colours through the dyeing process, they began to display a great capacity for creativity. They were enchanted by their natural surroundings and designs took form of stars, moon, sun, clouds, flora and fauna. They were also inspired by tradition, folklore and religion.
The nomads who were very mobile moved freely across what are now modern frontiers, and are believed to be responsible for spreading the artform into villages, towns, and cities across Central Asia, though invasions and commerce played a significant role later. The introduction of the Muslim Empire in the 7th century played an influential role of fostering better designs and introduced oriental rugs to the European market. Persia
Traditionally, Persia is regarded as the cradle of carpet weaving. It is here where carpet development was undertaken on a great scale. It was well organized, supported and patronized by the various ruling dynasties. The result was a creation of a wide pool of masterweavers and craftsmen who produced carpets of exceptional quality and design than anywhere else. This explains why the Moghul rulers of India imported Persian weavers to establish carpet workshops there.
Carpet weaving in Persia existed during the time of the Sasanid dynasty (AD 224 - 641) and followed through during the rule of the Arab caliphs. This is evident in documents, text and art of that period.
The Turkish Seljuks who rule Persia from 1037 to 1194 left a lasting impression of their contribution to the carpet industry. Skillful carpet makers who immortalized the Turkish knot, they produced carpets of high artistic value and this is evident in carpets which come from the Provinces of Hamadan and Azerbaijan.
The decline of the Seljuk rule however, was a setback to the industry for the Mongol rulers who succeeded them were devoid of artistic expression. Though there is evidence of Mongol rulers like Ghazan Khan and Shah Rokh having decorated their palace or even having encouraged carpet making, it is likely that industries stagnated altogether or functioned only in a small way. There are many such downturns in the history of carpet weaving in Persia, though most of this interruptions can be attributed to wars. The accession to power by the Safavid dynasty in the 15th century is of great importance, as it herald the "golden age" of carpet weaving especially the Persian carpets.
Shah Ismail I liberated all of Persia from foreign invaders and for the first time Persia was ruled by a national dynasty. Imbued with national pride the country embarked on a period of renaissance. Craft centers were set up and craftsmen started to produce carpets that bore the hallmark of Persian excellence that we know today.
Shah Ismail was succeeded by his son Shah Tahmasp. Also a great patron of the arts and he gave official recognition to the artform. This in turn gave added momentum to the carpet industry and some of the best Persian rugs were produced in Kashan, Hamadan and Kasvin during the Tahmasp reign, one of which is today preserved in a museum in Milan.
Once again there followed a period of turmoil at the end of Tahmasp's reign. After a decade when calm returned once more, the carpet industry was set to achieve its highest order, Shah Abbas the Great who seized power set up court workshops for carpets where skilled designers and craftsmen began to create sophisticated rugs. When he moved his capital to Isfahan, Shah Abbas created a workshop which concentrated on creating the best pieces ever produced. He also established trade links to Europe and for the first time Persian carpets made their way to the European states.
After the death of Shah Abbas in 1629, Persia found itself on the brink of war. Shah Safi who succeeded Shah Abbas, and his successors Shah Abbas II, Shah Suleiman and Sultan Hussien were embroiled in various wars till the Afghans invaded and conquered Persia ending the Safavid rule.
The Afghan occupation lasted a decade after which rose a native son from the province of Khorassan who succeeded in driving out the foreign forces which occupied Persia. However the peace he gained lasted only up to the end of his lifetime.
Later, when peace was restored, this time by a prince from the Luri tribesmen called Kherim Shah Zend, he transferred his capital to Shiraz. Kherim Shah Zend's rule ended when the Qajars came to power. Agha Mohammad who began the dynasty 1786 was later succeeded by Fath Ali Shah and Nasreddin Shah. Operating for their capital at Teheran, they ruled until 1925, during which trade and art reflourished through dealers from Turkey and Tabriz, the later which was an important trade center for carpets rather than a site where carpets were manufactured.
The Qajar dynasty gave way to the Pahlevi dynasty, and Shah Reza who founded the dynasty encouraged carpet weaving by forming Imperial workshops and later formed the Iranian National Carpet Company. During his reign, master weavers like Emogli and Saber excelled and produced some of the finest carpets, which even today rank among the great pieces ever produced. Shah Mohammad Reza who succeeded his father, was himself a great patron of fine carpets, and further expanded the industry, and also set up a carpet museum in Teheran. The fall of the Shah and the rise of the Khomeni revolution in Iran once again wrought turbulence in the industry.
It is interesting to note that though carpet making declined during wars and at the hands of uncultured rulers, it always bounced back to form when calm returned.
The Persian monarchs also had a propensity for uprooting people in masses for political and military reasons. Therefore you will find different groups of the same tribe in far flung areas of Persia and neighboring countries. The migrations of such nature brought in new ideas to the existing techniques and design. Inter-marriages and changes of allegiances between tribes further contributed to the diffusion. Migration, forced or otherwise, helped spread carpet weaving in the region and beyond.
Carpet weaving in the sub-continent was mainly confined to India, Pakistan and China. Carpet weaving in India began in the 15th century and reached its zenith in the 16th and 17th century during the reign of the great Moghal emperors, Akbar, Janghir, and Shah Jahan. Their passion for music and fine arts was a boost for the industry. From the time Humayun, they imported fine rugs from Persia and Turkistan, most of which graced the walls of their palace. It was the time of Akbar the Great that handknotted rugs were introduced. He established workshops especially in Lahore and Fathpur and commissioned them to produce carpets for his palace. He further imported experienced Persian weavers to help establish the carpet industry. This explains the influence of Persian designs in Indian carpets. Known for his creative talents, Akbar is said to have produced floral carpets of the finest silk and wool for his palace. His son Janghir, who succeeded him in 1605 further propelled the growth of the industry by investing large amounts of money and interest. It was during his reign that trade links developed with Europe and elsewhere, which eventually led to the interest and demand for Indian carpets in the new trading areas.
Carpet weaving continued to prosper under the rule of Shah Jahan, who succeeded Janghir in 1627. Shah Jahan was loved by his people and his creative and luxurious appetite is immortalized in the Taj Mahal, one of the seven wonders of the world, which he built at Agra. But his fall in 1658 led to the deterioration and abandonment of the carpet industry and it lasted until the 19th century when it was revived. Strangely, the revival is attributed to an exhibition of Indian carpets in London, which won admiration and awards from carpet dealers.
Today, highly qualified weavers trained through government programs sustain the growth of the industry and it produces a wide range of carpets using quality materials, with a high degree of perfection.
The major carpet weaving centers are Srinagar, Amritsar, Agra, Jaipur and Kashmir.
Tough the birthplace of carpets remains unknown the oldest existence of carpets have been established in the Indus Valley civilization and from wall carvings found in the excavations of Moenjodaro. Pakistan, therefore has a carpet history older than any other country. Though carpet weaving had existed before 1947, it was only after the break up from India did Pakistan achieve its own success in trade. And it was not a difficult task, as the separation from India resulted in the exodus of weavers, most of whom were Muslims, to Pakistan.
The long, rich and varied heritage and the arts inspired the weavers, though Persian influence in design was also part of the heritage. Pakistan carpets are very fine, densely knotted and of extremely high quality.
Today, it has established itself as a premier carpet producing country. Carpet manufacturing, which is extensively supported by the government, is found in Lahore, Karachi, Multan, Lalllpur, Bahawaipur and Hyderabad. Though the introduction of the Muslim empire helped introduce rugs to the European market, it was only in the 14th century that carpets came to Europe in a big way during the Ottoman rule.
The completely handwoven rugs of Central Asia, still command respect and admiration, not only for its sophistication; its exotic oriental creativity of folklore and heritage; but because they adhere to traditional methods as each piece is still handknotted by weavers with perfected skills.
Essentially two types of knots are employed.
Ghiordes - Turkish knot (symmetrical). Here the tufts or yarn appear in pairs between two warp threads as shown in figure 1.
Sennah - Persian knot (asymmetrical). Here each tuft end appears singly between a pair of warp threads as shown in figure 2
Wool - Principally sheep's wool and lambs wool - Finest wool known as Kurk wool comes from fleece combed in winter or shorn in spring. - Enormous variations in quality but still an excellent material for rug making.
Cotton - Grown and handspun in Persia and India. - Known for its use on foundation and weft threads.
Silk - Ostentatious. Used for weaving some of the finest and lightest of carpets. - Comes from the cocoon of the silk worms which need Mulberry tree to feed on. - Silk from Persia and China is used.
All Oriental rugs, with the exceptions of Kelims and Sumacs, which are weft faced, have a handknotted pile, consisting of :
I ] Warp - Running vertically (natural or dyed)
II] Weft - Running horizontally (natural or dyed)
III] Pile - Material on the surface.
Natural/vegetable - Derived from roots, plants and insects.
Some common colours used :
Red - From the root of the Madder plant. (Happiness) Dark red - Almost a brown dye from the Henna Plant. (Happiness) Yellow - Obtained from saffron. (Colour of Royalty) Green - Made from berries and plants. (Holiness) Brown - Made from walnut husks. (Neutrality)
(Stability and brilliance depending on the skill of the Master.
Chemical/chrome dyes - First introduced by western influence, was offered in Iran to maintain complete stability in dye. Wide range of colours and were shades offered.
Horizontal - Nomad loom and is of the simplest possible construction. Narrow and is relatively easy to transport, hence it is used by nomads.
Vertical - Used in small village workshops and in larger town/city factories. Permanent type looms enabling the weaver to almost any standard size carpet.
Prayer Rug - Symbolizing holiness in the family.
Tree of Life - Longevity
Hunting scene - Depicting bravery
Compartmental - Peace and harmony
Floral Medallion - Tranquillity
Pictorial - Scenery
Geometric - From nature
- Wool and dyes are available in abundance.
- To maintain uniformity in colours and design it is
important for the weaver to first plan the rug.
- Design construction is drawn on graph paper known as
Talam.
- Colours, density and proportion are planned to detail.
- Motifs and colours are translated into codes for the
weaver to interpret.
- Vertical loom is employed to maintain the regularity
of the shape.
- Also enables the weaver to weave larger carpets.