kashan

Geographical region

The geographical area of Kashan AND Kashan rug is located in the northern part of Isfahan province, situated at 51 degrees and 27 minutes east longitude and 33 degrees and 59 minutes north latitude. Kashan is bordered to the north by the Nain County, to the east by Semnan County, to the west by Faridan County, and to the south by Isfahan County. The Dasht-e Loot Desert is to the south of Kashan, and the Zagros Mountains are to the north

The Etymology of Kashan

Many believe that the name Kashan is derived from the two words "ka" and "shan." According to their belief, the city was built by the order of Zubaidah Khatoon, the wife of Harun al-Rashid, the Abbasid Caliph. During that time, to define the city's perimeter, they spread straw around it, and thus it became known as "kāh" (straw), later evolving into Kashan. Others argue that the word "ka" means fortress or tower, and "shan" refers to land or region. Therefore, Kashan is interpreted as a fortress in the land or region.

Some later scholars believe that Kashan comes from "ki" and "ashan," meaning the location of the Kianian kings.

Certain historical sources mention the early names of Kashan as Daryacheh Chahar Hasaran.

Others believe that the original inhabitants of the city were from the Kas tribe, gradually transforming into Kasu, Kashu, and finally Kashan.

In Islamic history, this city has often been referred to as Qasan, a name also associated with a city in Transoxiana and Farghana.

Kashan, known as the "Darolmomenin" (House of the Faithful), the city of flowers and rosewater, the city of historical houses, and the capital of the world's carpet, is considered the birthplace of one of the oldest civilizations in the world, named Silk, with a history spanning over seven thousand years.

This city boasts the distinction of having the first cohabitation and urbanization in history. Kashan and its outskirts are home to over 1700 historical works, with 333 of them being nationally registered.

Throughout its history, Kashan has been a residence for people of various races and religions. In past centuries, it served as one of the dwelling places for Iranian Jews. The Jewish community in Kashan mainly consisted of Jews expelled from Spain who chose to settle in this region.

During the Safavid era, a part of Kashan was allocated to the Jews, and they engaged in trade and handicrafts there. In the Qajar period, Jews also played an active role in Kashan as merchants and owners of cotton factories. Today, a Jewish community still exists in Kashan, recognized as a religious minority in Iran.

Historical and Artistic Background of Kashan

The ancient and cultural history of Kashan, as one of the early cradles of human civilization, is not well-documented with tangible evidence dating back to the fourth millennium BCE. This city has sustained its cultural and artistic vitality from the medieval period to the present. During the Seljuk era, Kashan was considered one of the significant cities of Iran.

The production of illustrious golden ceramics during the sixth and seventh centuries by two families, Abutaher and Abouzid, marked a milestone in the quality of the city's manufactured goods. The Safavid era witnessed the growth and flourishing of Kashan's cultural and artistic life, especially in the production of various textiles such as velvet, silk atlas, and brocade, as well as carpet weaving.

Sheikh Safi carpets, signed by Maqsud Kashani, and other exquisite carpets, including the famous Polonaise or Lhasa carpets with gold and silver threads, are among the masterpieces produced in this city.

According to historical documents, Kashan has been a center where many outstanding examples of fine carpets can confidently be attributed. The production of finely woven silk carpets with golden threads, as well as brocaded fabrics, velvet, and other textiles, along with kilims, was prevalent in Kashan.

In the year 980 AH, Armenian merchants, led by Sigmund III of the Vasa dynasty and the king of Lhasa, sent an expedition to Kashan. They commissioned silk and brocaded carpets, along with various other textiles, to Kashani weavers and artisans. Two intact kilims with the Vasa family crest still exist.

Lhasa carpets, characterized by the Baroque style (an art style characterized by ornate and intricate decoration, prevalent in the late 17th to early 18th century), provide a worthy description of a group of silk carpets, many of which may have been woven in Kashan.

Some of them, bearing the Lhasa or, in French, "Polonaise" name, which itself was a distinctive dance, were presented at the 1878 Paris World Exhibition due to the lack of awareness of the Lhasa name.

In Kashan, approximately 120 years ago, one of the esteemed survivors, a renowned poet and elegist from Kashan named Haji Molla Hasan Mohtashami, established a carpet-weaving workshop. His wife, a native of Arak, was skilled in local carpet weaving in Arak. Instead of using wool, which was readily available in Kashan, Mohtashami utilized silk in the carpet weaving process.

Mohtashami, who traveled to Tehran once a year, would recite the mourning poems of the Twelve Imams during mourning ceremonies, emphasizing his stature as a prominent figure in elegy recitation.

The first silk carpet woven in Kashan was presented as a gift to Naser al-Din Shah. In recognition of this achievement, Mohtashami received royal honors and a commendable reward. After visiting Tehran, Mohtashami, with the collaboration of Mohammad Taqi Poshti-Baf, expanded his workshops to further contribute to the development of the art of carpet weaving and achieve greater benefits.

In response to the recession in other textile production workshops, he focused on producing high-quality carpets. Many of his works were signed under the name "Mohtasham," and the prominent carpet known as "Haj Molla Hasan," also famous as "Mohtashami," bore his signature. He passed away at the age of seventy on May 2, 1917.

The history of carpet weaving in the city of Kashan dates back to the Safavid era. What has come to us from Kashan's handwoven carpets after the Safavid period includes exquisite carpets that were highly admired and produced in Kashan in the late Qajar era. The Borujerdi and Tabatabaei families are also considered notable carpet producers during the Qajar era.

Among the renowned artists in Kashan were two brothers named Mirza Ahmad and Mirza Ali Akbar. Their work focused on traditional painting on pottery and portraiture. Mirza Ahmad did not make a living through painting, but his skill lay in decorating various objects, including fabric.

He was a map paper maker in Isfahan and later introduced the first paper-making process to Seyed Reza Sanei. Many of the designs woven into Mohtashami carpets are attributed to Mirza Ahmad.

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Carpet Weaving in the Kashan Region

Carpet weaving in Kashan and its surrounding areas, including Aran and Bidgol, Ghamsar, Natanz, Ravand, Nushabad, Khava, Mashhad Ardehal, Bari Kharafs, Nyaser Barzook, Nushabad, Fin, Armaq, and others. The weaving in Kashan, Natanz, and Ghamsar itself exhibits superior quality and distinct characteristics.

In other regions of Kashan, carpets are often woven with traditional designs from this city, but with a somewhat lower quality. Traditional Kashan patterns, such as Lachak, Toranj, and Afshan, are also imitated in some carpet-weaving centers, including Kashmar, Ardakan, Yazd, Ardestan, and even in countries like Egypt.

Color and Dyeing in Kashan Carpets

In Kashan, there are numerous dyeing workshops that use both natural dyes and chemical colors. The majority of colors used in  Kashan rugs region consist of stable chemical colors, with predominant hues including lacquer red, indigo blue, turquoise, beige, turquoise blue, off-white, green, elephant gray, brown, and pistachio green.

The predominant production in recent years is based on carpets with bright colors, especially cream and beige. However, until 20 years ago, the majority of Kashan carpets were lacquer-colored.

Design and Patterns of Kashan Carpets

The designs and patterns of Kashan carpets have been quite diverse in the past, including Lachak Toranj, Afshan, Shikargah, Gol Farang Sheikh Safi, Mihrabi, Boti, and more. However, currently, they are not as diverse, and due to the Iranian taste preference, Toranj and Afshan patterns with cream backgrounds, earthy borders, or lucky backgrounds with earthy borders are more prevalent.

Most flower patterns with curved lines, including Khatai patterns (Shah Abbasi flowers), flowerpot patterns in Afshan designs, Gandil designs, and occasionally Joushaghani patterns in Mihrabi designs, flowerpot patterns called "Haj Khanoomi," are common designs and patterns in Kashan.

In general, Kashan carpets can be classified into four categories in terms of weaving style and patterns:

1. Classic Style (Safavid era):

Incorporating various traditional Safavid-era patterns, such as various Islamic and Khatai patterns, with complete and beautiful shapes. Examples include the Sheikh Safi carpet with the signature of Maqsud Kashani, Polonzi carpets, various geographical Mihrabi patterns, and the use of silk and gold threads in warp and weft. These carpets typically had more than 50 knots per square inch and were mostly woven in large cloth pieces.

 

1. Broken Branch Style (Qajar era):

The influence of Haji Molla Hasan Mohtashami on the revival of carpet weaving in Kashan, the inscription of various classic Toranj and Mihrab patterns in a broken and geometric style, with intricate almond-shaped Toranj, crooked knots, and large flower motifs. Various motifs, pictorial designs, the combination of traditional flowers with European flowers, and the predominant colors were cream, copper, wine, indigo, gold, maroon, etc. Prominent producers of this period include Haji Molla Hasan Mohtashami, Mohammad Taqi Poshti Baf, Borujerdis, and Tabatabais. Great designers of this era include Mirza Ahmad and Mirza Ali Akbar. Silk and Merinos wool were commonly used during this period, and the influence of Joushaghani, Saruq, and Farahan carpets is clearly visible.

1. Integration of Classic Patterns with Foreign Patterns:

A greater inclination toward foreign designs, with a dominance of foreign patterns and a tendency to increase the rotation of stems and vines, various leaves, and round flowers. Inscription, edge weaving, and Souf weaving, the use of more diverse flowers such as narcissus, lily, daffodil, jasmine, branches full of flowers and fruit, hairy leaves, and grape branches, as well as the presence of a crown on the tree trunk under the Mihrab. Various Mihrabi tree patterns and bird and animal depictions under the trees, with the pots and Mihrabs drawn by Islamic artists, usually containing images of the city's landmarks, are common. Various pictorial designs with limited coloring in the Qajar style (brown, navy blue, cream, beige), using Merinos wool and silk. Major producers include Modir Alavi, Mohammad Ali Farshchi, Mohammad Hassan Samsar, Arbab Hassan Tafazzoli, Haj Hussein Ali Farshchi, Ataii brothers, Daebir Al-Sanaye, Mohammad Tavakkoli, Haj Hussein Esfahani, and prominent designers of this period: Seyyed Reza Sa'naei, Mirza Nasrallah, Mohammad Afsari, Abbas Sa'naei, Hossein Sabet, Forouzan (Afshan pattern designer), Aabed, Khakshani brothers, Eshghi Golbaz, Mirza Ismail Khan Tehran (influence of historical buildings and existing designs on their design style).

1. Classic Style (Second Pahlavi era and recent decades):

Continuation of the previous style but in a more rounded manner, with finer stems and knots, more delicate flowers and Islamic motifs, and a greater inclination towards classic and traditional design. The effects of Isfahan in this era are visible. The almond Toranj becomes rounder, and various rounded Toranj patterns and Mihrabs, and their fusion with flowerpot patterns on the heads of Toranj and Lachak, are widely seen. The use of various Islamic designs with tufts and hollows, various Khatai patterns, Shah Abbasi flowerpots, butterfly flowers, various buds, image designs, and the combination of traditional flowers with European flowers are evident. The color palette primarily includes cream, copper, wine, indigo, gold, dark green, etc. The use of round and oval tufts and various classic Toranj and Afshan patterns, founded by Mirza Nasrallah and Mirza Abbas Sa'naei. Reduction of animals and creatures in the carpets, an inclination towards round-shaped Toranj, and the use of cream instead of lacquer red and navy blue in the background.

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Texture and Size of Kashan Carpets

Carpets produced in Kashan are mostly double-wefted with an asymmetric knot. The density of Kashan carpets ranges between 30 to 40 knots per inch. The primary material used in carpet production in Kashan is cotton for the warps and wefts of rugs. The main part of Kashan carpets (mostly) is made from wool, silk, and occasionally cotton for finer rugs.

Common terms in the design of Kashan carpets include "rek" and "rag." In this region (Persian weaving regions), design papers are read in terms of "rag," and the number of knots in one "rag" is called the knot count of the carpet.

A "rag" is the number of knots woven in 26 centimeters of the carpet's width. Round, oval, and polygonal carpets are not woven in Kashan. Square carpets are also very rare in this region. Common sizes for most carpets are 6, 9, and 12 meters, as well as small rugs and half and quarter rugs. Larger carpets, up to 40 meters, are also produced in Kashan.

One of the common methods used to measure and introduce the density of carpets in Kashan is the term "number of design houses" in half a carpet. For example, commercial six-meter carpets with an approximate knot count of 28 to 30 knots are introduced as "40 houses," and similarly, nine-meter carpets with an approximate knot count of 30 knots are introduced as "60 houses."

As the number of design houses in half of the six or nine-meter carpets increases, the density of the carpets is considered higher.

Great Designers of Kashan Carpets

Haj Molla Mohsen Mohtasham, Seyyed Mohammad Mir Alavi, Mohammad Ali Farshchi, Mohammad Jafar Esfahaniyan, Molla Mahmoud, Mohammad Tavakoli, Haj Hussein Farshchi, Master Kashi, Mohammad Hassan Samsar, Aqa Hasan Tafazzoli, Ataie Brothers, Secretary of Industries, and many others have been famous producers of Kashan carpets.

Notable carpet designers in Kashan include Seyyed Reza Sanei, Mirza Nasrollah, Mohammad and Nazam Afsari, Abbas Sanei, Hossein Sabet, Forouzan (designer of Kashan Afsaneh carpets), Kahkeshani Brothers, Abed, Eshghi Golbazi, Ismail Khan Tehrani (influenced by historical structures and existing roles in their Kashan carpet designs), Sazvar, Mohammad Afzali, Mohammad Sanei, Mirza Nasrollah Naqashzadeh, and others.

In recent decades, artists such as Abbas Mohtashamzadeh, Hossein Tabrizi, Amir Karimpour, Esfahanian, Taqdisi Sanai, Ali Jooybar, Malekzadeh, and Mahrfti have also played significant roles in carpet design in Kashan.

Mohammad, the Secretary of Industries, is one of the carpet designers and map designers of Kashan. He received the title of Secretary of Industries from Reza Khan Pahlavi due to the exquisite carpets he wove for Saadabad Palace in Kashan.

He was a promoter of designs nationwide and Afsahan in Kashan. He was also the creator of designs like Haj Khanoomi, Mina Khanoomi, and the design of Ayez al-Sultan in Kashan. Most of his works were produced in the 1930s to the 1950s. His real name was Agha Mohammad, known as Farshchi.

Master Seyyed Amir Hossein Afsari: Master Seyyed Amir Hossein Afsari, a designer, painter, and master of Muslim carpet weaving, was born in 1314 in Kashan into an artistic family.

He was the youngest child of the Afsari family and started weaving and designing carpets under the influence of his mother, Farokh Laqa, and his brothers, all of whom were active in the field of carpet weaving and design, from his early childhood.

Relying on his artistic talent, he reached the highest artistic and technical levels in this field. In his youth, he had such skill in penning for carpets that experts could not distinguish between his style and Mirza Nasrollah Naghashzadeh's.

He had complete technical skills in weaving to the extent that in 1342 and 1343, he was recognized as the country's master of Muslim carpet weaving by the Minister of Industries at the time. The project of reweaving the Pazyryk carpet was entrusted to him by the government as a gift to various countries.

Examples of his tapestry works with themes from Avicenna and Ferdowsi are preserved in the museums of Avicenna and Tus. He was proficient in miniature pen work, and his works had a distinctive, new, and unique style in coloration, unprecedented in the history of Iranian carpet weaving.

He had innovative methods and new formulations in wool dyeing for carpets, especially those for museum restoration known as ancient replicas. His most astonishing works are numerous studies for handwoven carpets, showing a combination of Achaemenid motifs and the traditional style of Kashan.

These works are rich in imagination and surreal elements, presented in new and surprising combinations. The spatial arrangement of these works seems to seamlessly connect the Qajar style in Kashan carpets with Sasanian and Achaemenid elements.

Throughout his illustrious life, Master Afsari was proud to have received prestigious and significant awards and honors. The Afsari family's trade and artistic name dominate a significant portion of the market for exquisite commissioned tapestries and carpets in Kashan, earning them a reputable place in the world.

The emergence of this commercial brand is attributed to unique and special designs, the efforts and creativity of the Afsari family, and the subsequent demand from the Western world.

Summary of Kashan Carpet Features:

1. Persian Weaving Style (Symmetric Knots)
2. Weaving Technique: Double Weft, Pile Weave
3. Warp Threads in Kashan Carpets are Typically Natural and Made of Cotton
4. Kashan Carpet Designs Bear a Striking Resemblance to Isfahan Designs
5. Kashan Carpets Are Known for a Large Number of Medallion and Corner Designs, and the Most Beautiful Medallion Designs are Woven in Kashan