A Comprehensive Guide to the History of Persian Carpets | Part Nine
Shah Abbasi Pattern
The term Shah Abbasi refers to a type of comprehensive design that consists of classical motifs from the Safavid era. The foundation of all Shah Abbasi designs is based on the use of the famous Shah Abbasi flower in these patterns. These flowers, along with Khataei motifs and sometimes a fusion with Islimi (arabesque) designs, create various carpet patterns. Some examples include Shah Abbasi medallion and corner (Lechak Toranj), Shah Abbasi Afshan, Shah Abbasi Tree, Shah Abbasi Sheikh Safi, Shah Abbasi Animal, Shah Abbasi Seven Colors, and more.
Shah Abbasi patterns are woven throughout Iran. Designers in cities like Kerman, Kashan, Tabriz, Isfahan, and Mashhad are passionate about creating its intricate and diverse beauty. Additionally, many rural weavers incorporate this design into their works.
Weeping Willow Pattern
The Weeping Willow pattern is one of the most famous and beautiful designs in ancient Iranian carpets. It combines elements of weeping willows, cypress trees, poplars, and fruit trees. Its origins remain uncertain, but it is likely Kurdish. This pattern was created by nomadic or rural weavers and was common in northwestern Iran in the past, though it is rarely seen today.
Crab Pattern
The Crab Pattern, named after its main motif—the crab—is one of the common designs in Iranian carpets. This design, characterized by its straight and angular lines, has a simple appearance and is easy to weave while maintaining a unique elegance.
The exact origins of the Crab Pattern are unclear, but evidence suggests it has roots in Turkish art. It is prevalent in carpets from regions like Karabakh in Azerbaijan and Shirvan in the southern Caucasus. Additionally, traces of this design can be found in some Turkish villages in areas like Heris and Hamadan.
The resemblance between the large oval motifs of this pattern and some palm leaves from the Safavid period raises the possibility that the Crab Pattern was inspired by a design created by one of the great Safavid artists.
Like the Weeping Willow pattern, the Crab Pattern is a simple, balanced, and geometric design that is easy to weave yet retains a unique authenticity and elegance. These characteristics have made it highly popular among Iranian carpet weavers, especially in Turkish-speaking regions, and it has been woven in various forms and colors throughout history.
Gol-e Hanna Pattern
Interpreters often say that this small, repetitive motif, named after the henna plant (Gol-e Hanna), does not closely resemble it. The term Gol-e Hanna is also used to refer to the hibiscus flower, whose shape it more closely evokes.
Although this pattern is known in Iran, it is not widely popular. It seems to have originated in Arak and remains one of the most common patterns used by weavers in Meshkabad. In the West, this design is often referred to as the Chestnut Blossom pattern due to its resemblance to chestnut flowers.
Joshaghan Pattern
The Joshaghan Pattern has been woven with its original motifs and borders unchanged for over two centuries in a village called Joshaghan. This design is woven in Tabriz, Hamadan, and occasionally in the Heris region, but it is almost unknown in Khorasan, Kerman, and Fars.