What are the characteristics of Persian carpets?

The Persian carpet is considered one of the most complex and aesthetically rich expressions in textile history. These works, the product of centuries of accumulation, geographical diversity, and profound symbolism, are not only floor coverings but also sociological documents, economic investment instruments, and artistic manifestos.

Historical data dates the roots of carpet weaving back to the 5th century BC, with the Pazyryk Carpet, the oldest known knotted carpet, found in kurgans in Siberia. This archaeological find demonstrates how advanced knotting techniques and pattern repertoire were even thousands of years ago. From the Achaemenid Empire to the Safavid Dynasty (1501–1736), the Persian carpet transformed from a rural craft into a palace art, achieving technical perfection thanks to the "Court Workshops" established in cities such as Isfahan, Kashan, Tabriz, and Kerman. The modern interpretations in today's Art Doku Carpet collections are a reflection of this deep-rooted heritage blended with today's aesthetics.

Structural Anatomy and Weaving Engineering of the Persian Carpet

Understanding a Persian rug requires first understanding the engineering that creates its framework. A rug is the art of constructing a three-dimensional structure on a two-dimensional plane. The strength, flexibility, and aesthetic appeal of this structure are directly related to the quality of the materials used and the mechanics of the knotting techniques employed.

The Loom and Its Basic Components: Warp, Weft, and Pile

Every hand-woven carpet is built on a balance of vertical and horizontal forces. This balance is achieved on the loom. Two main types of looms are prominent in Iran: Horizontal Looms, used by nomads and portable, and fixed Vertical Looms, used in urban workshops.

• Warp (Tari): The backbone of a rug is formed by the threads stretched vertically across the loom. The fringes seen at the ends of the rug are actually extensions of these warp threads. The warp material is the most critical factor determining a rug's knot density. Nomadic rugs (e.g., Qashqai and Baluch) generally use wool warps; due to wool's elasticity, it's difficult to compress knots tightly, resulting in a looser and softer rug. In contrast, cotton or silk warps are preferred for urban rugs like Isfahan, Qom, and Nain. The resistance to tension and fineness of cotton and silk allow millions of knots to be tied per square meter.

• Weft (Weft - Poud): These are threads that are interlaced horizontally between the rows of knots, locking them in place. The "Double Weft" technique is common in the Persian carpet weaving tradition. After each row of knots, two wefts are interlaced, one taut and one loose. The taut weft separates the warp into two distinct planes, creating a "depressed" structure. This structure makes the back of the rug stiffer and the front more upright and durable. In some regions, such as Hamadan, a "Single Weft" is used, allowing each knot to be clearly visible on the back of the rug.

• Pile: It's the part of the carpet that forms the surface and reveals the pattern. It's created by cutting the ends of the knots. The pile height varies depending on the carpet's intended use; in nomadic carpets, it's kept long for thermal insulation, while in detailed urban carpets, it's cut short for pattern clarity.

Knot Mechanics: Symmetric and Asymmetric Ties

The most fundamental technical parameter used in classifying Persian carpets is the knot type. These two main knots, known in the literature as "Ghiordes" and "Senneh," determine the carpet's texture and patterning capacity.

Node Type	Other Names	Technical Description	Characteristic Features	Regions of Use
Asymmetrical Knot	Fars (Persian), Senneh	The yarn is wrapped completely around one warp wire and just behind the other. The ends emerge from between the two warp wires.	It allows for finer, more fluid, and more detailed (curvilinear) patterns to be woven. It makes it easier to achieve high knot density.	Isfahan, Kashan, Qom, Nain, Kerman, Fars Region.
Symmetrical Knot	Turk, Ghiordes	The yarn is wrapped around two warp wires standing side by side and the ends are brought out between these two wires (in the middle).	It creates a stronger and thicker structure. It is ideal for geometric and rectilinear patterns.	Tabriz, Heriz, Türkiye, Caucasus, Kurdish Tribes.
Jufti Knot	Fake Knot	The knot is tied on four warp wires instead of two.	It speeds up the weaving process, but halves the carpet's density and durability. It's an indicator of poor quality.	It is seen in the Khorasan region and some commercial productions.

Analysis: The asymmetrical knot structure, operating on an "open, closed" principle, allows for smoother drawing of pictorial and curvilinear lines (especially flower branches and human figures). The symmetrical knot, on the other hand, creates a more "square" pixel structure, which is the primary reason for the characteristically strong geometric forms found in Heriz and Caucasian carpets. This is the structural reality underlying the geometrically patterned Uşak and Heriz-style carpets in the Art Doku Carpet collection.

Materials Science: The Role of Wool, Silk, and Cotton

The lifespan and aesthetic value of a carpet begins with the quality of the fiber used. What makes Persian carpets special is the diversity of raw materials offered by their geography.

• Kork Wool (Kork Wool): This term, meaning "feather" in Persian, refers to the finest wool, sheared in the spring from the neck and shoulder area of ​​sheep. Kork wool, with its high oil (lanolin) content, is incredibly soft and absorbs dyes very well. The finest carpets from Kashan and Tabriz are woven from this wool.

• Manchester Wool: It was a very fine merino wool imported from England, used particularly in the Kashan and Arak regions in the late 19th and early 20th centuries. Antique carpets woven from this wool are highly prized by collectors today.

• Silk: Natural silk, produced in the regions along the Caspian Sea, is the pinnacle of carpet art. Because silk is much finer than wool, it allows for densities of up to 1 million knots per square meter (e.g., Hereke and Kum). Furthermore, its prismatic structure refracts and reflects light, giving the carpet a color-changing effect depending on its orientation.

• Mercerized Cotton and Viscose (Artificial Silk): Used to imitate silk in modern production and machine-made carpets. A burn test is used to distinguish it from natural silk; while natural silk smells like burnt hair and turns to ash, viscose burns like paper, and synthetics melt like plastic.

Regional Weaving Centers and Stylistic Identities

Iran's landscape is divided into distinct regions, each speaking its own unique "carpet language." These regions are generally categorized into three main categories: City, Village, and Tribal/Nomadic. This classification is decisive not only in terms of geography but also production methodology and design philosophy.

City Carpets: The Architecture of Design

Carpets produced in city workshops are woven using color-coded paper templates (cartoons) called "Talim" drawn by professional designers. This method allows for the production of perfectly symmetrical and highly intricate patterns that leave no room for error.

Tabriz (Tabriz): The Unit of Measurement of Mastery "Raj"

Tabriz, the capital of East Azerbaijan Province in northwestern Iran, has been a center of trade and art for centuries. Tabriz carpets are renowned for their technical diversity and quality. The quality of Tabriz carpets is measured using a system called "raj," which expresses the number of knots per 7 cm (about the size of a cigarette).

• 40 Raj: Approximately 300,000 - 400,000 knots per square metre. Commercial quality, wool pile, cotton warp.

• 50 Raj: Approximately 500,000-600,000 knots per square meter. High quality, usually with silk contours (wool patterns surrounded by silk). This is a standard found in Art Doku Carpet's higher-end collections.

• 60 Raj and Above: 750,000 - 1,000,000 knots per square metre. Museum quality, usually pure silk or very fine Kork wool.

• Style: Tabriz carpets are very durable because they use symmetrical (Turkish) knots. The range of patterns is extensive, ranging from classical medallions to "Four Seasons" themed rugs.

Isfahan (Isfahan): Safavid Heritage

The saying "Isfahan nesf-e cihan" (Isfahan is half the world) summarizes the city's artistic richness. The palace workshops established during the reign of Shah Abbas (16th century) brought carpet art to its peak. Isfahan carpets are generally woven with very fine wool on silk warps. Characteristic features include the "Shah Abbasi" (lotus palmette) motif, sinuous "Eslimi" (arabesque) branches, and impeccable color balance. With knot densities of 600 KPSI and above, Isfahan carpets are among the most detailed wool carpets in the world.

Kashan and Nain: Classic and Cold

• Kashan: It is the archetype of the classic Persian rug. It typically features a dark blue medallion and corner pieces on a red background. The old "Mohtasham" Kashans are legendary for their purple and ruby ​​red hues.

• Nain: This city, close to Isfahan, is known for its distinctive cool color palette (cream, beige, light blue). Nain carpets are also graded according to the "La" (Layer) system. They are divided into 9La (standard), 6La (fine), and 4La (very fine, collectible). The "La" number indicates the number of layers of warp thread; the lower the number, the finer the thread and the tighter the knot.

Kum (Qum): Capital of Silk

Qom, a relatively new center (early 20th century), produces some of the world's finest pure silk carpets today. These small-sized works, also used as tapestries, depict hunting scenes, historical events, and extremely detailed flower gardens. Qom silk carpets are among the most valuable modern productions.

Village Carpets: The Mystery of Heriz and Serapi

Village rugs bridge the gap between the sophistication of city rugs and the naturalness of nomadic rugs. They are typically woven with wool on a cotton warp. The most famous of this category is undoubtedly the Heriz region.

• Heriz vs. Serapi: These two names are often confused. "Heriz" refers to the durable, thick carpets with large geometric medallions woven in and around the town of Heris in northwestern Iran. "Serapi" is a trade name given to antique carpets woven in the same region in the 19th century, but with a finer weave, softer (pastel/earthy) colors, and a more "open" (airy) pattern layout. Serapi carpets have become symbols of prestige in American interior design, particularly in official residences like the White House.

• Technical Difference: While Heriz carpets have a low knot density of 30-80 kPa, Serapi carpets have a higher density due to their finer yarns. Heriz is known as the "Iron Carpet" because its coarse knots and thick wool have withstood generations of traffic.

Tribal Rugs: The Touch of Free Spirits

The style seen in Art Doku Halı's "Afghan" and "Turkmen" collections is an extension of nomadic traditions. These rugs are produced using the "Baft-e-Zehni" technique, or weaving from memory. Because no template is used, the patterns feature subtle asymmetries, improvised figures, and elements that reflect the weaver's current emotional state.

• Gabbeh: Gabbeh, meaning "raw, natural" in Persian, are long-pile, minimalist rugs woven by the Qashqai nomads. They typically feature simple animal or tree figures scattered across large, monochromatic areas. They perfectly fit the "less is more" philosophy of modern decorating.

• Baluch: Woven along the Iran-Afghan border, these carpets are known for their dark color palette (burgundy, navy blue, black) and prayer mat (prayer mat) patterns. They are also known as "spirit carpets."

Chemistry of Colors and the Art of Natural Dyeing

Colors breathe life into the Persian rug. The process that began with the introduction of synthetic dyes (aniline dyes) at the end of the 19th century has been offset by a return to natural dyes (Natural Dye Revival) today.

Natural Dye Sources and Process

Natural dyeing is a complex chemical process that uses plants, roots, insects, and minerals. Mordants (like alum and iron or copper salts) are used to help the dye adhere to the yarn.

• Red (Madder - Rubia Tinctorum): Obtained from the roots of the madder plant, it offers a wide range of colors, from brick red to purplish burgundy, depending on the temperature of the water, the type of mordant, and the age of the root.

• Blue (Indigo - Indigofera Tinctoria): It's derived from the indigo plant. Indigo is insoluble in water; therefore, it's made soluble (reduced) through fermentation. When the yarn leaves the dye vat, it's yellow-green, but when it comes into contact with oxygen in the air, it oxidizes and turns blue. This "magical" process has given dyers a special place in society.

• Yellow (Weld, Pomegranate, Larkspur): Weld, pomegranate peel, saffron (rare because it is very expensive) and Larkspur are used.

• Green: Plants that yield green dyes are very rare in nature. Therefore, the yarn is first dyed blue (indigo) and then yellow (weld) to achieve green (double dyeing). Because of this arduous process, green is considered sacred in old carpets and is generally used only in areas symbolizing the lineage of the Prophet (Sayyid).

Abrash: The Aesthetics of Imperfection

The tonal fluctuations seen in hand-woven rugs, especially in large areas of solid color, are called "abrash." This occurs because the yarns are dyed in different dye lots at different times. Natural dyes do not yield the same tone in each vat. While the colors in machine-made rugs are uniform and "dead," abrash adds depth, vibrancy, and a "lived-in" feel to the rug. This effect is particularly sought after in modern interior design because it adds an organic texture to a space. Art Doku Halı's "Köm Dye" collections offer the purest examples of these natural color transitions.

Modern Decoration and Sustainability: Patchwork and Vintage Trends

Traditional carpet weaving has taken on new forms, merging with 21st-century trends in sustainability and recycling. Art Doku Halı, a pioneer in this evolution, brings the past into the future with its "Patchwork" and "Vintage" collections.

Patchwork Rugs: The Upcycling Philosophy

Patchwork rugs are created by salvaging intact parts of antique and semi-antique rugs that have become damaged, worn, or compromised. This is an act of "upcycling," saving history from being thrown away.

Production Process:

1. Vote: Old carpets collected from Anatolia, Iran and Afghanistan are cleaned and shaved.

2. Cut: Solid pieces are cut into geometric shapes.

3. Design: Pieces are assembled according to a specific color palette (e.g. Turquoise, Red, Multi) or pattern theme.

4. Planting and Support: The pieces are joined by hand stitching and a durable fabric (lining) is sewn on the back to extend the life of the carpet.

These carpets integrate with the floor as a mosaic of different periods and cultures in eclectic and modern spaces.

Vintage and Overdyed Rugs

Vintage or "Overdyed" rugs are created by decolorizing old hand-woven rugs that have faded or become out of fashion with special chemical treatments and then re-dying them in modern, vibrant colors (grey, purple, turquoise, mustard). This process leaves the rug's original pattern visible as a "ghost" underneath, while the rug takes on a completely contemporary color identity. This is a powerful way to combine classic patterns with modern minimalism.

Authentication, Identification and Valuation

There are countless machine-made replicas on the market sold under the label "Persian Carpet." Identifying a genuine hand-woven masterpiece requires a certain level of technical expertise. At Art Doku Halı, we recommend the following basic analysis methods to raise awareness among our customers:

Node and Backend Analysis

The identity of the carpet is hidden on its back.

• Machine-made Carpet: The back surface is flawless. The knots are arranged in a perfectly regular pattern. There is often a latex coating or backing mesh that mimics the pattern. White grid lines are visible on the knots.

• Handwoven : The back surface mirrors the front surface. Individual knots can be counted, but there are slight irregularities and differences in size. The pattern is worked pixel by pixel. "White Weft" lines can be seen at irregular intervals, especially on the backs of nomadic carpets.

Fringe Structure

• Machine-made Carpet: The fringes are sewn or glued to the end of the carpet as a separate strip after it has been woven. When you look at the bottom of the fringe, you can see the stitching marks.

• Handwoven: Fringes are natural extensions of the warp threads that form the carpet's framework. They emerge from within the carpet and are not added later.

Material Testing: Combustion and Chemical Analysis

The biggest risk when buying a silk rug is being fooled by viscose (rayon) or mercerized cotton.

• Burn Test: A microscopic fiber taken from the carpet is burned.

  • Real Silk/Wool: It smells like burnt hair/feathers. It goes out when the flame is removed. Its ash is a black, brittle powder that can be crushed with the fingers.

  • Viscose/Cotton: It smells like burnt paper. Its ash is gray and light.

  • Synthetic (Acrylic/Polyester): When burning, it smells of chemicals/plastic and produces black smoke. It melts to form a hard, non-crushing plastic bead.

• Chemical Test: Copper sulfate (CuSO4) solution dissolves natural silk but not cotton and viscose. However, this test requires a professional laboratory environment.

Selvedge

The long edges of Persian rugs are overcast by hand during weaving. This overcasting is integral to the rug's structure. In machine-made rugs, this edge is usually overcast very tightly and neatly with an industrial overlock machine.

Symbolism and Iconography: Hidden Messages in the Carpet

More than a visual feast, the Persian rug is a symbolic text for those who can read. The motifs reflect the weaver's beliefs, fears, and wishes.

Motif	Persian Name	Meaning and Symbolism
Boteh	Boteh Jegheh	Known in the West as "Paisley," it is interpreted as a cypress tree, a flame, an almond, or a fetus in the womb. It is thought to derive from the Zoroastrian fire and symbolizes life, eternity, and rebirth. It is the basis of Art Doku Halı's "Paisley" collection.
Herati	Mahi (Fish)	A figure of four leaves or fish orbiting a rosette. Originating in Mithraism, it represents water, fertility, and good fortune. It is very common in Tabriz carpets.
Tree of life	Derakht-e-Zendegi	A legendary tree with roots underground and branches in heaven. Symbolizing the connection between heaven and earth and immortality. Often used in prayer rugs.
Rose (Goal)	Goal	Octagonal medallions ("Elephant's Foot") seen on Turkmen and Afghan rugs. Each tribe (Teke, Yomut, Ersari) has its own unique rose pattern, a kind of tribal coat of arms.
Locket	Toranj	The large motif at the center of the carpet. It typically represents a mosque dome or the all-seeing eye of God (Nazar). The surrounding patterns symbolize the order of the universe.

Protection, Care and Conservation Standards

A hand-woven carpet can last for centuries when properly cared for. Using museum standards as a reference will extend the life of your home collection.

Environmental Conditions to Museum Standards (V&A Guidelines)

The conservation standards set by the Victoria & Albert Museum (London) and the Textile Museum (Washington DC) are as follows:

• Light: Light is the biggest enemy of textiles (photodegradation). Direct sunlight and UV radiation fade dyes and weaken fibers. Ideal illumination is between 50 lux (for delicate items) and 200 lux. UV-filtered glass should be used.

• Humidity and Temperature: The ideal relative humidity (RH) is between 45-55% and the temperature is between 18-21°C. Humidity above 65% causes mildew formation, and humidity below 40% causes the fibers to dry out and break.

• Air Quality: Gases such as sulfur dioxide and ozone damage paints. Air purifiers with activated carbon filters are recommended.

Home Care and Cleaning

• Vacuuming: Regular vacuuming prevents dust and sand from settling at the bottom of the carpet. Sand acts as an abrasive at the base of the fibers, cutting the carpet. However, brush attachments should never touch the fringes.

• Rotation: The carpet should be rotated 180 degrees every 6 months. This ensures a balanced distribution of both sun fading and traffic wear.

• Professional Washing: Carpets should be professionally washed every 3-5 years. Cleaning them with shampoo at home leaves soap behind, causing them to become dirty faster (residue attraction).

Investing in the Future with Art Doku Carpet

The Persian carpet, standing at the intersection of history, science, and art, is one of the most concrete examples of human heritage. This journey, from the Pazyryk kurgans to today's modern attics, epitomizes humanity's pursuit of beauty.

As Art Doku Halı , our mission is to bring this deep culture to modern living spaces. Our collections offer Tabriz, Afghan , Patchwork, Vintage and Modern Bamboo Carpets are not just decorative objects; they are also investment tools and storytellers. Owning a Persian carpet means being a guardian of a tradition that spans thousands of years.