Isfahan carpets in the Safavid era
While architecture and painting were the main artistic vehicles of the Safavids, the making of textiles and carpets were also of great importance.
In the 16th century, hitherto primarily nomadic crafts were transformed into royal industries by the creation of court workshops. The best known carpets of this period, dated 1539 CE, come from the Mausoleum of Sheikh Safi al-Din in Ardebil and, in the opinion of many experts, represent the summit of achievement in carpet design, vipemo.com wrote.
The larger of the two is now kept in London’s Victoria and Albert Museum, while the other can be seen at the Los Angeles County Museum.
Shah Tahmasb admired carpets so much that he learned weaving techniques and designed several very refined models himself.
Under Shah Abbas, artists developed the use of gold and silver threads in carpets, culminating in the great coronation carpet now held in the Rosenberg Castle in Copenhagen. As one would expect, the carpets made for Abbas the Great were large in scale and grandiose in design.
The “vase” pattern, also called Shah Abbasi, contains great palmettes, huge leaves, flower-strewn meadows, and sometimes animals. The so-called “Polonaise” carpets, most of which have found their way to Europe, are enriched with threads of silk, gold covered silver, and silver.
The predominantly geometric themes of earlier Iranian carpets were not abandoned entirely, but tended to be replaced by the plant, animal, and occasional human themes; medallions and Shah Abbasi flowers are the most usual motifs.
The Safavid carpets are also characterized by arabesque tendrils, and margins in colors which contrast with those of the center. Modern Isfahan carpets are characterized by a pale beige or light blue palette.
However, sometimes as many as fifteen colors are used for contrast and outlines, including several different shades of red. Both warp and weft are made of wool and cotton, though silk wefts are also found. Sometimes gold or silver threads are used for small highlights, recalling the early “Polonaise” rugs. Carpets vary in size, though large carpets are quite rare. Modern Isfahan carpets bear mostly the Shah Abbasi designs; patterns are very intricately drawn and precisely executed.
Among other carpets woven in Isfahan are Armani Bafs made by Christian Armenians with the Turkish knot, and Isfahan Mirs, nomads’ carpets from the vicinity of Isfahan, also finely woven with the Turkish knot.