Wind Towers in IRAN

In this program Iran Press TV talks about Wind Towers or Wind Catchers in Yazd, Iran. They show different types of them and different places they have been used at. They talk to experts about the importance of this most probably Iranian innovation which was built by the people in desert areas who used their creativity and natural energies like wind to overcome the harsh environment and extreme temperatures in the arid and hot areas they chose to live.

To learn more about the history, design and functionality of these fascinating towers, watch the video from Iran Press TV posted below!

#WindTowers #WindCatchers #Iran #Architecture #BabaksOrientalCarpets #VictoriaBC #YYJ

Welcoming Spring in Iran

Since the Persian New Year begins on the very first day of spring, our traditions for welcoming the new year are very spring-like. The rebirth of nature inspires us to renew and cleanse our surroundings. We scrupulously clean our homes, offices, and streets, we shop for new clothes, new household appliances if necessary, and spring flowers and plants are not to be left out. Bottom line, everything has to be as fresh and new as spring. In fact, we call our Persian New Year, Norooz which means a new day.

Watch the video posted below by Iran Press Tv to learn more about welcoming spring and the Persian New Year in Iran!

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AFSHAR

Afshars are handknotted Persian carpets made by the nomadic tribes of Afshar on ground looms utilizing wool or cotton warps and wool wefts with a single thread between the rows of knots.  The piles are made of wool and there are between 40 to 105 Turkish knots per square inch.  Afshars that are knotted in villages are created on vertical looms where both the warp and weft are in cotton, the knot is Persian, and the density is between 40 and 100 knots per square inch.  In common with most other nomadic groups, the Afshar make very few large items, and the most frequently encountered items are of dozar and zaromin size (8’ x 5’/6’ and 6’ x 4’).

The Afshar tribe originated in Azerbaijan, a region to the north of Iran inhabited by Turks.  During the reign of Shah Tahmasp (1524-1587) the Afshar tribe was driven south into the zone it now occupies in an attempt to diffuse their warlike tendencies, and a distinct Azerbaijan and Caucasian influence is still discernible in their design.  As centuries passed, the Afshar rugs also came under the influence of designs used by the craftsmen of Kerman and by the neighbouring Fars tribe, and for this reason the decoration of Afshars are varied.  The most common types of Afshar rugs are:

AFSHAR DEHAJ – The decoration of these carpets consists of large geometric boteh motifs.  These boteh cover the whole field of the rug.

AFSHAR MORGI – Morgi in Persian means chicken.  These Afshars are decorated by a repeating geometric motif resembling a chicken which covers the whole field of the carpet.  This is far and away the most original and interesting Afshar decoration.

DIAMOND AFSHAR – These Afshars are decorated with motifs taken from those used for Shirazs and Ghachgais.  Usually there are two diamonds, or, more rarely, one or three.  The whole field is tightly packed with small designs which often reveal the floral influence of nearby Kerman.

FLORAL AFSHAR – These specimens are woven in villages near Kerman and the designs are inspired by the carpets from that town.  The decoration is therefore floral, almost always in repeating motifs, rarely with a central medallion.

The most commonly found ground colours in Afshar carpets are ivory and bright red.  These two colours also occur in the designs along with light and dark blue, and yellow.  As is often the case in Persian carpets, the borders are limited in proportion to the whole carpet.  They are classic borders with a central band and two flanking guards.  The serrated-leaf border is quite common in Afshar Dehajs.  This demonstrates once again the northerly origin of the Afshar tribe.  The other motifs often include a decoration formed by a succession of diamond shapes in different sizes.

The price range of Afshar carpets are: LOW/MEDIUM

Afshars are generally considered among the finest examples of nomadic weaving emanating from the south-east region of Persia.  The diversity and inventiveness of their designs is legendary, and the finest Afshars possess an unparelleled primitive majesty.  Afshars are exceptionally good buys, and the better, more finely knotted examples can almost be guaranteed to become collectables in the future.  As with all oriental rugs, this is less true of poorer quality items, but nevertheless, all Afshars can be considered reasonably good investments.

AFSHAR

Afshars are handknotted Persian carpets made by the nomadic tribes of Afshar on ground looms utilizing wool or cotton warps and wool wefts with a single thread between the rows of knots.  The piles are made of wool and there are between 40 to 105 Turkish knots per square inch.  Afshars that are knotted in villages are created on vertical looms where both the warp and weft are in cotton, the knot is Persian, and the density is between 40 and 100 knots per square inch.  In common with most other nomadic groups, the Afshar make very few large items, and the most frequently encountered items are of dozar and zaromin size (8’ x 5’/6’ and 6’ x 4’).

The Afshar tribe originated in Azerbaijan, a region to the north of Iran inhabited by Turks.  During the reign of Shah Tahmasp (1524-1587) the Afshar tribe was driven south into the zone it now occupies in an attempt to diffuse their warlike tendencies, and a distinct Azerbaijan and Caucasian influence is still discernible in their design.  As centuries passed, the Afshar rugs also came under the influence of designs used by the craftsmen of Kerman and by the neighbouring Fars tribe, and for this reason the decoration of Afshars are varied.  The most common types of Afshar rugs are:

AFSHAR DEHAJ – The decoration of these carpets consists of large geometric boteh motifs.  These boteh cover the whole field of the rug.

AFSHAR MORGI – Morgi in Persian means chicken.  These Afshars are decorated by a repeating geometric motif resembling a chicken which covers the whole field of the carpet.  This is far and away the most original and interesting Afshar decoration.

DIAMOND AFSHAR – These Afshars are decorated with motifs taken from those used for Shirazs and Ghachgais.  Usually there are two diamonds, or, more rarely, one or three.  The whole field is tightly packed with small designs which often reveal the floral influence of nearby Kerman.

FLORAL AFSHAR – These specimens are woven in villages near Kerman and the designs are inspired by the carpets from that town.  The decoration is therefore floral, almost always in repeating motifs, rarely with a central medallion.

The most commonly found ground colours in Afshar carpets are ivory and bright red.  These two colours also occur in the designs along with light and dark blue, and yellow.  As is often the case in Persian carpets, the borders are limited in proportion to the whole carpet.  They are classic borders with a central band and two flanking guards.  The serrated-leaf border is quite common in Afshar Dehajs.  This demonstrates once again the northerly origin of the Afshar tribe.  The other motifs often include a decoration formed by a succession of diamond shapes in different sizes.

The price range of Afshar carpets are: LOW/MEDIUM

Afshars are generally considered among the finest examples of nomadic weaving emanating from the south-east region of Persia.  The diversity and inventiveness of their designs is legendary, and the finest Afshars possess an unparelleled primitive majesty.  Afshars are exceptionally good buys, and the better, more finely knotted examples can almost be guaranteed to become collectables in the future.  As with all oriental rugs, this is less true of poorer quality items, but nevertheless, all Afshars can be considered reasonably good investments.

AGRA

Agra, India has been a large center of carpet making since the period of Mughal art in the sixteenth and seventeenth centuries. The carpet industry was revived in Agra while under British rule during the nineteenth century. The Mughal tradition was reestablished, along with an interest in newly derived designs in current Persian rug production during the same period. Because of this, nineteenth and early twentieth century Agra carpets enjoyed a diverse and varied background that drew on all the great traditions of Oriental carpet making. Agra rugs are often beautiful all-over patterns, but also incorporate medallion or centralized patterns. The colors used in Agra rugs are often that of classical Indian and Persian carpets, sometimes getting into earthier tones.

 

Since the end of the nineteenth century carpets in India have often been primarily woven to order, due to this they are constructed to the highest quality. Although later rugs do derive patterns from traditional designs, modern Agra carpets have evolved to incorporate newer, more modern designs. Production all but disappeared after the 1920s but has made resurgence again in more recent times. Today, Agra carpets are considered to be some of the most decorative pieces internationally.

Agra rugs are not easy to classify as there is large variations in sizes, designs, and construction. Designs are often open fields with smaller center medallions and borders. They are also at times woven with all-over patterns. Colours used are often greens, blues, and beiges, but can also be reds and varying other colours. The piles are usually wool, with cotton making up the warp and weft. Over time the pile thickness of Agra carpets has gotten deeper, older Agras will have a thinner pile.

 

The price range and value of Agra carpets range from: Medium – Medium / High.

Image result for agra carpets

Image result for agra carpets

AGRA

Agra, India has been a large center of carpet making since the period of Mughal art in the sixteenth and seventeenth centuries. The carpet industry was revived in Agra while under British rule during the nineteenth century. The Mughal tradition was reestablished, along with an interest in newly derived designs in current Persian rug production during the same period. Because of this, nineteenth and early twentieth century Agra carpets enjoyed a diverse and varied background that drew on all the great traditions of Oriental carpet making. Agra rugs are often beautiful all-over patterns, but also incorporate medallion or centralized patterns. The colors used in Agra rugs are often that of classical Indian and Persian carpets, sometimes getting into earthier tones.

 

Since the end of the nineteenth century carpets in India have often been primarily woven to order, due to this they are constructed to the highest quality. Although later rugs do derive patterns from traditional designs, modern Agra carpets have evolved to incorporate newer, more modern designs. Production all but disappeared after the 1920s but has made resurgence again in more recent times. Today, Agra carpets are considered to be some of the most decorative pieces internationally.

Agra rugs are not easy to classify as there is large variations in sizes, designs, and construction. Designs are often open fields with smaller center medallions and borders. They are also at times woven with all-over patterns. Colours used are often greens, blues, and beiges, but can also be reds and varying other colours. The piles are usually wool, with cotton making up the warp and weft. Over time the pile thickness of Agra carpets has gotten deeper, older Agras will have a thinner pile.

 

The price range and value of Agra carpets range from: Medium – Medium / High.

Image result for agra carpets

Image result for agra carpets

Azeri

Azerbaijan has for centuries been known as a center for a large variety of crafts.  Archeological artifacts discovered in the territory of Azerbaijan shows a well developed agriculture, stock raising, metal working, and ceramics histories. One of the oldest traditions of the area is carpet-weaving dating as far back as to the 2nd millennium BC.

Carpet making began in rural huts and over time became among the most essential arts. The carpets knotted became highly valued by influential figures. The talented weavers were immortalized by poets and documenters of history.

Carpet weaving has always been closely connected with daily life in the area. Its role reflected in the meaning of the designs and their applications. Right down to, people seated on carpets in order to tell fortunes as well as used while singing the traditional songs of Novruz, which are the regional New Year’s celebrations. The carpet is widely used in the home for decoration. Special carpets are woven for medical treatments, as well as wedding ceremonies, birthing rituals, mourning loved ones and of course prayer.

The Azerbaijani carpet is traditionally  handmade of various sizes. Typically they have a dense pile, but sometimes are pile-less. The patterns are very characteristic of Azerbaijan’s carpet-making. Carpet weaving is a family tradition very often transferred through stories and shown by example. Sheep are sheared in Spring and Autumn, while the collected wool is dyed in Spring, Summer and Fall. Construction of carpets is done during the winter months by the female family members, younger girls learning from their mothers and grandmothers. Carpets are constructed on either horizontal or vertical looms. Wools of many colors are incorporated, as well as cotton and/or silk colored with natural dyes. Using unique techniques to create pile carpets, weavers knot the pile yarn around the threads of the warp and weft. While pile-less carpets are variously made by weaving around the structural warps and wefts. When a carpet is finished  it’s cutting off the loom is usually a solemn celebration.

The price range and value of Azeri carpets are: Medium to Medium High. Fine examples or Antiquities are always considered a sound investment.

Image result for azeri carpets

Bakhtiar

Bakhtiaris are usually hand knotted on a vertical loom, however, in the most isolated villages the nomad-type ground loom is still used.  Warp and weft are usually in cotton but sometime in wool.  The weft is composed of two threads and the knot is nearly always Turkish, but the Persian knot is used for carpets made in the village of Shahr Kord.  Each individual village or nomadic tribe has its own variation on the traditional schemes, and the quality of the wool, the type of knot used and the fineness of the knotting vary from village to village.  However, all the carpets are reasonably sturdy and the wool pile is generally of medium depth and the density is from 80 to 200 knots per square inch.   Normally, all carpets are marked as Bakhtiaris, but sometimes they may be named after the specific village – Feridan, Farah Dumbah, Boldaji, Saman, Bain, etc. – and occasionally the more finely knotted items are referred to as Bibibaffs, which literally means ‘woman’s knot’.

Bakhtiaris are easily identifiable because of their special designs.  The field on the carpet is almost always divided into squares or diamonds made to stand out by a plain outline.  These geometric figures are decorated either with animal or plant motifs, particularly cypresses and flowering shrubs.  Each carpet may contain more than ten different designs.  Another fairly common decoration is a formal repeated design of flowers and shrubs, which covers the whole field.  Often these specimens contain a ‘tree of life’ in the central part of the field.

Some Bakhtiaris are made by craftsmen in the village of Shahr Kord.  These Bakhtiari tribesmen have given up their nomadic life and therefore their carpets reveal the influence of nearby Isfahan in the techniques employed, the use of the Persian knot and the floral design with a central medallion.  The execution of this design is, however, more formal and betrays the nomadic origin of the craftsmen.

The border is typical of many Persian carpets from different regions: two narrow guards and a wide central band.  The decorative motifs are very varied.  The herati border motif is usually used for carpets woven in Shahr Kord.  In the nomadic carpets, particularly the older and antique ones, the border is often decorated with a serrated-leaf pattern.  Another fairly common border is one where the decoration is a succession of cartouches in which the principal motifs of the ground decoration appear on a white background.  All Bakhtiaris are in dark colours, deep red, yellow ochre, bottle green, dark brown and bright blue.

The price range of Bakhtiar carpets are from: MEDIUM TO MEDIUM/HIGH

Bakhtiaris can be exceptionally attractive, and are amongst the most collectable examples of contemporary Persian tribal weaving; consequently, their investment potential is sound.

Balutch War Rug

The art of Oriental rug weaving was spread throughout the Persian empire to Pakistan, India, and further regions abroad. The new generations of oriental carpet weavers have learned the ancient Persian patterns, and integrating personal, political, and cultural symbols into their design methodologies. Some famous war rugs were inscribed and donated to the Armenian Library and Museum in Watertown, Massachusetts. These carpets show how the Armenians tried to preserve their cultural identity during a time of immense strife. Christian Armenians from the Ottoman Empire, who lived in a Muslim-dominated culture prior to the First World War, these people endured the Armenian massacre of 1915-1918, wove these War rugs. These carpets depict numerous Christian symbols in an attempt to establish a unique Christian identity of the peoples who had lost their homeland.

Today, war continues to play a large motive in rug design with rugs from Afghanistan, known as “War Rugs,” these carpets are made by the Belouchi’s who are a nomadic tribe of Afghanistan, Iran and southern China. Weavers of Balutch War Rugs depict stylized army tanks, airplanes, and various pieces of artillery equipment. Weavers use the same geometric pattern approach once reserved for the depiction of barnyard animals and flowers in Oriental carpets.

Image result for balutch war rug

Image result for balutch war rug