A Comprehensive Guide to the History of Persian Carpets | Part Eight
Persian carpets are renowned for their diverse designs, patterns, and symbols, each carrying unique meanings. Some of the most popular motifs in Persian carpets include:
Herati (Fish) Design
The Fish design, also known as Herati, is one of Iran’s most famous and widespread carpet patterns. Its intricate and repetitive motifs reflect the precision and elegance of Persian artistry. This design comes in two variations: the first, more common in western Iran, features a distinct diamond shape, while the second, prevalent in Khorasan, lacks this characteristic. The Herati pattern is woven across Iran and even appears in nomadic carpets.
Boteh (Pine Pattern)
The iconic Persian design called Boteh (leaf), also known as the Pine or Cypress design originates from depicting entwined leaves. Persian weavers, with their artistic ingenuity, have created various interpretations of this motif. The Boteh Mir (small cypress) is the most prevalent form and has been replicated worldwide. Although it may seem simple, weaving it correctly requires great precision.
Medallion and Corner (Lachak Toranj) Pattern
The Lachak Toranj (Medallion and Corner) design is one of the most authentic and ancient motifs in Persian carpets. Its origins date back to the 15th century initially used to decorate the covers of luxurious leather-bound books. The elegance of this design caught the attention of carpet designers, and from the 16th century onward, it became a staple of Persian carpet patterns.
The Medallion and Corner design showcases an unparalleled variety, and exquisite carpets with this pattern have been woven in various regions of Iran. While the creativity and sophistication of Persian designers in crafting diverse medallion and corner patterns are unparalleled, skilled carpet weavers breathe life into these motifs with exceptional craftsmanship, enhancing their delicacy and beauty.
This pattern is especially prevalent in the fine carpets of Tabriz, Kashan, and Heris, symbolizing the authenticity and heritage of Persian carpets.
Beyond its beauty and authenticity, the Medallion and Corner design holds symbolic meanings. Some interpret the medallion as a representation of the sun and the corners as symbols of the four seasons. Others view the medallion as a metaphor for paradise and the corners as paths leading to it.
Although opinions vary regarding its symbolic meaning, the unparalleled beauty and sophistication of this design cannot be overlooked. The Lachak Toranj design is a radiant jewel in the treasure trove of Persian art and culture, showcasing the refined taste and creativity of the Iranian people.
Mina Khani Pattern
The Mina Khani pattern, attributed to a Tabriz weaver named Mina Khan, has deeper historical roots. While evidence suggests its popularity in late 19th-century Tabriz, its origins likely date back much further, possibly as a Kurdish design.
The prominent presence of this pattern in the antique carpets of Saveh and Bijar supports this claim. Its simplicity and ease of weaving, coupled with its delicate and repetitive beauty, have contributed to its widespread use across Iran.
Today, the Mina Khani design is one of the common motifs in Mashkabad carpets of Arak. Master carpet weavers in Tabriz also occasionally incorporate this pattern, which can be traced in carpets from regions such as Heris, Hamadan, and Chaharmahal.
Despite its apparent simplicity, the Mina Khani design boasts an enduring authenticity and antiquity, maintaining its place among the cherished patterns of Persian carpets through the ages.
