Search Results for “carpets”

• CARPETS

  Multiple Authors

  (qālī; Ar. and Pers. farš), heavy textiles used as coverings for floors, walls, and other large surfaces, as well as for various kinds of furnishing.

• CARPETS viii. The Il-khanid and Timurid Periods

  Eleanor Sims

  Carpet production in Persia in the 14th-15th centuries has  been inferred from written sources. Carpets and weavings from contemporary Anatolia and the Turkman tribal confederations, and possibly also from Egypt and even Spain, also permits the inference.

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• CARPETS xiii. Post-Pahlavi Period

  P. R. Ford

  In the period immediately following the shah’s flight from the country in 1358 Š./1979 the prices for Persian carpets reached record highs on Western markets.

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• CARPETS x. Afsharid and Zand Periods

  Layla S. Diba

  Although it is probable that magnificent silk-and-brocade rugs in the style of the Safavid court manufactories were no longer produced in significant quantities, it seems reasonable to assume that production of less luxurious wool rugs continued in many traditional centers, even though on a smaller scale and mainly for domestic consumption.

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• CARPETS xvi. Central Asian Carpets

  Walter Denny

  These include those woven in the former Turkmen, Uzbek, Tajik, Karakalpak Autonomous, Kirgiz, and Kazakh Soviet Socialist Republics; extreme northern and northeastern Persia; Afghanistan; and the Turkic (Uighur) areas of Sinkiang (Xinjiang) in western China.

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• CARPETS iii. Knotted-pile carpets: Techniques and structures

  Annette Ittig

  The techniques of carpet making are the processes of weaving, knotting, and finishing; structure is the complex of interrelations among the elements of the finished carpet. 

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• CARPETS xv. Caucasian Carpets

  Richard E. Wright

  The oldest surviving rugs produced in the Caucasus may be a group with representations of dragons and phoenixes in combat. There is, however, no evidence to permit attribution to the Caucasus. 

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• CARPETS v. Flat-woven carpets: Techniques and structures

  Sarah B. Sherrill

  Most of the structures in Persian flat-woven carpets belong to the category called “interlacing” by textile specialists; the term designates the most straightforward way in which each thread of a fabric passes under or over threads that cross its path.

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• CARPETS vi. Pre-Islamic Carpets

  Karen S. Rubinson

  Evidence for textiles of all kinds in pre-Islamic Iran is very sparse. It is necessary to supplement the few remains of actual textiles with examination of representations in art and other kinds of indirect evidence of production, for example preserved impressions and pseudomorphs from excavations.

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• CARPETS iv. Knotted-pile carpets: Designs, motifs, and patterns

  Annette Ittig

  In this discussion “design” refers to the overall composition of decorative elements on a carpet; the simplest elements in designs are single motifs, which are most frequently combined in more complex units; these units in turn may be arranged in various combinations and sequences to form patterns.

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• CARPETS vii. Islamic Persia to the Mongols

  Barbara Schimtz

  Because of the scarcity of surviving materials it is difficult to separate the history of carpet making in Iran from that of the rest of the Islamic world before the Mongol invasion (656/1258). Furthermore, the kind of rigid distinction between carpet and other textile designs that characterizes later production probably did not exist in the early Islamic period.

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• CARPETS xiv. Tribal Carpets

  Siawosch Azadi

  In Persia rural carpets have been made in nearly every possible technical variation and for a wide range of uses. Yet there are many nomadic groups whose works are absolutely unknown, and the weavings of other groups have been only very imperfectly studied and described.

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• CARPETS i. Introductory survey

  Roger Savory

  the history of Persian carpet manufacture.

• CARPETS ix. Safavid Period

  Daniel Walker

  The high point in Persian carpet design and manufacture was attained under the Safavid dynasty (1501-1739). It was the result of a unique conjunction of historical factors, such as royal patronage and influence of court designers at all levels of artistic production.

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• CARPETS ii. Raw materials and dyes

  Jasleen Dhamija

  for centuries Persian carpet weaving has depended primarily on local materials processed by traditional traditional techniques. Such materials include sheep wool, camel hair, goat hair, and natural dyes. This article discusses use and preparation of dyes and materials used to make carpets.

• CARPETS xi. Qajar Period

  Annette Ittig

  There were dramatic alterations in the traditional organization and orientation of the Persian carpet industry and, consequently, in the carpets themselves. Particularly significant was the increase in the number of looms and volume of carpet exports from the 1870s to World War I.

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• CARPETS xii. Pahlavi Period

  Willem Floor

  Throughout the 14th/20th century carpet manufacturing has been, from the point of view of both employment and domestic and foreign market demand, by far the most important Persian industry after oil refining.

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• GELĪM

  Cross-Reference

  See KELIM; see also CARPETS v. Flat-woven carpets: Techniques and structures; and  vii. Islamic Persia to the Mongols.

• BESĀṬ

  Cross-Reference

  See CARPETS.

• DYES

  Cross-Reference

  See CARPETS ii.

• JOWŠAQĀN

  Habib Borjian

  district in Isfahan Province in central Persia, best known for its carpets and for its dialect.

• IL-KHANIDS

  Multiple Authors

  the Mongol dynasty in Persia and the surrounding countries, from about 1260 until about 1335. The dynasty was founded by Holāgu/Hülegü Khan, the grandson of Čengiz Khan.

• BALUCHISTAN v. Baluch Carpets

  S. Azadi

  a distinct group of carpets, woven by Baluch tribes in the northeastern Iranian province of Khorasan and the Sīstān area. These were not made in Makrān, where the main body of the Baluch tribes live.

• INDIGO

  Carol Bier

  (Pers. nil), the common name of a broad genus, Indigofera, with numerous species. Many tribal groups in Persia have relied on the use of indigo to achieve a stable blue color for the wool of carpets and kilims.

• ERDMANN, KURT

  Jens Kr

  (b. Hamburg, 9 September 1901; d. Berlin, 30 September 1964), leading historian of Sasanian and Islamic art.

• Song of carpet-weaving

  music sample

• BALUCHISTAN

  Multiple Authors

  generally understood by the Baluch and their neighbors to comprise an area of over half a million square kilometers in the southeastern part of the Iranian plateau, south of the central deserts and the Helmand river, and in the arid coastal lowlands between the Iranian plateau and the Gulf of Oman.

• ANHALT CARPET

  M. H. Beattie

  The overall composition, the central medallion, and the cloud bands are characteristic of Tabrīz, which was a major artistic center under the Safavids. The carpet’s almost perfect state of preservation, which at one time cast doubt on its being from the 16th century, has been attributed to its remaining in its original Turkish packing.

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• ARDABĪL CARPET

  M. Beattie

  a name applied chiefly to a Persian carpet acquired by the Victoria and Albert Museum in 1893, which is significant for its outstanding quality of design and weaving and for the precise date it carries. A second, almost identical carpet is less well known; it was presented by the late J. Paul Getty to the Los Angeles County Museum of Art in 1953.

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• ESMĀʿĪL, b. Yasār NESĀʾĪ

  Kevin Lacey

  an eighth century poet of Persian origin from Medina.

• COTTON i. Introduction

  Eckart Ehlers and Ahmad Parsa

  Cotton (panba < Mid. Pers. pambag; katān; in Isfa­han kolūza; genusGossypium), particularly the short-staple species Gossypium herbaceum, is cultivated in almost all parts of Persia, and is of great economic importance both for home consumption and for export.

• FORGERIES iii. OF ISLAMIC ART

  Sheila S. Blair

  Medieval Arabic and Persian literature contain numerous anecdotes about the forging of manuscripts, but it was only in the late 19th century that forging Persian works of Islamic art became a widespread phenomenon.

• JAPAN xi. COLLECTIONS OF PERSIAN ART IN JAPAN

  Toh Sugimura

  Persian works of art in Japanese collections may be classified into (1) artifacts brought through China and Korea up to early modern times, (2) purchases in art markets since the 19th century.

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• HERACLEIDES OF CYME

  J. Wiesehöfer

  (fl. ca. 350 BCE), Greek author of a “Persian History” (Persika) in five books, which survives only in a few fragments.

• JONAYD-E NAQQĀŠ

  Barbara Brend

  a painter of the 14th century, known from one reference and one picture.

• KOROSH i. The Korosh people

  Maryam Nourzaei, Erik Anonby, and Carina Jahani

  Korosh communities are found in villages near large towns and cities, and in the suburbs of these cities, across southwestern Iran. Their traditional livelihood is based on camel and goat husbandry.

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• ANDARUN

  M. A. Djamalzadeh

  or ANDARŪNĪ (inside), the private quarters of well-to-do houses in contrast to bīrūnī. the public rooms usually reserved for men.

• KERMAN xv. CARPET INDUSTRY

  James M. Gustafson

  Since the late 19th century, Kerman’s hand-woven, knotted pile carpets are widely regarded as among the finest in the world by art historians and collectors for the quality of their materials and workmanship. 

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• JOWŠAQĀN i. The District

  Habib Borjian

  Jowšaqān is located at 65 miles northwest of Isfahan, where the western foothills of the Karkas Mountain range break down into plain.

• KELIM (GELIM)

  Sumru Belger Krody

  a kind of flat-woven carpet employed by settled and nomadic families for a host of uses, primarily but not exclusively for covering household items and furnishing the interior of dwellings.

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• GULBENKIAN, CALOUSTE

  Jennifer Manoukian

  (1869-1955), Armenian oil financier, art collector, and philanthropist born in Lisbon.

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• C~ CAPTIONS OF ILLUSTRATIONS

  Cross-Reference

  list of all the figure and plate images in the letter C entries

• FENDERESK

  Mīnū Yūsofnežād

  a rural district (dehestān) of the county (šahrestān) of Gonbad-e Qābūs and situated north of the Alborz range in the eastern part of Māzandarān.

• TABRIZ v. The city in the 19th century

  James D. Clark

  Tabriz surpassed Isfahan in population early in the nineteenth century to become the most populous city in Iran. The city was centrally situated relative to the three neighboring regions with which most of its trade was conducted and to which people from the province traveled: the Caucasus, eastern Anatolia, and central Iran. 

• GERMANY vi. Collections and Study of Persian Art in Germany

  Jens Kröger

  From the 19th century on, Persian works of art were collected systematically to acquire knowledge of the world and to educate and inspire artists and craftsmen. Collecting, exhibiting, and studying Persian art reached an unprecedented scale in the 20th century.

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• ART IN IRAN viii. ISLAMIC CENTRAL ASIA

  G. A. Pugachenkova

  Under Islam the sculpture and mural painting previously displayed in Central Asia almost completely disappeared, and ornament took pride of place.

• DEHBĪD

  Sayyed ʿAlī Āl-e Dāwūd

  town in the šahrestān of Ābāda, Fārs (30° 37’ N, 53° 12’ E), situated on the Shiraz-Isfahan road in a plain 191 km northeast of Shiraz.

• GAZ (2)

  Minu Yusofnezhad

  or Jaz; a town in the province of Isfahan, of the šahrestān of Barḵᵛār and Mayma, situated 18 km north of the city of Isfahan at an altitude of 1,578 m above sea level.

• CINTĀMAṆI

  Priscilla Soucek

  the “wish-fulfilling jewel,” a motif consisting of either a single globe with a pointed extension at the apex or three such globes; either version could be surrounded by a flaming halo.

• Italy ix. PERSIAN ART COLLECTIONS

  M. V. Fontana

  ix. PERSIAN ART COLLECTIONS Since the Middle Ages, Italians have been some of the greatest collectors of Islamic art in Europe. The Islamic market that Italy drew on was very large, and some of the most opulent works were imported from Persia.

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