Mashhad Handmade Carpets — Rugeast

Discover the heritage and artistry of Mashhad carpets, rooted in Khorasan's historic weaving centers. From Timurid inspirations to Safavid elegance and modern mastery, Mashhad rugs are prized for dense, durable piles, refined motifs, and a signature palette led by deep reds and blues.

Geographical Area

Mashhad is the capital of Razavi Khorasan Province in Iran and one of its most important holy cities. During the Timurid period, it was a significant center of the empire and controlled the hinterland of Herat, which today belongs to Afghanistan. Mashhad became famous for its flower-patterned carpets during the Safavid era, inspired by the artistic treasures of the Timurid court. These designs gradually evolved into the present-day Herati pattern, widely recognized among weavers in Khorasan who were encouraged by Nader Shah to move away from traditional Khorasan designs.

Naming of Mashhad

The name Khorasan is derived from two words: "khwar" meaning sun and "asan" meaning place—implying the place where the sun rises. In ancient texts, it has been referred to as "Matla' al-Shams". In ancient times, Khorasan was a prosperous land that, over centuries, was divided due to various wars and the inefficiency of some rulers, with parts of it now in Turkmenistan and Afghanistan. Thus, modern Khorasan is considered a part of ancient or Greater Khorasan.

Historical and Artistic Background of Mashhad

Like other regions of Iran, Khorasan did not escape the ravages of the Mongol invasions and endured many calamities throughout history. Only the attention of Shah Rokh, a son of Timur, and his enlightened wife, Goharshad Khanum—who patronized many buildings and historical monuments in Khorasan, such as the Herat School and Goharshad Mosque in Mashhad—managed to revive its past glory. The Uzbeks also frequently threatened Khorasan, until Shah Abbas, the Safavid ruler, eliminated their leader, Shayban Khan, restoring relative peace to Mashhad during his reign. During the Afsharid era, a new vitality emerged in the region. Especially during the Qajar period, particularly under the reigns of Fath Ali Shah and Naser al-Din Shah, Mashhad enjoyed relative peace.

Dyeing and Colors in Mashhad Carpets

Mostly natural dyes are used, with a palette focused on red, purplish red, navy blue, mustard, turquoise, beige, and brown. Plant- and animal-based dyes include madder root, vine leaves, weld, walnut shell, pomegranate skin, and select industrial dyes. Local dyers traditionally produced deep reds from cochineal and madder; yarns were often dyed in single batches for consistency.

Historic Mashhad pieces frequently show dark fields—navy or dark red—with lapis-toned medallions. While indigo and cream grounds are now seen, green, orange, and yellow remain rare. Some workshops used lime-water soaks prior to dyeing to achieve smoother cochineal shades; however, this could weaken yarns and affect long-term durability on certain red-ground pieces.

Designs and Patterns of Mashhad Carpets

Old Mashhad carpets often feature large Shah Abbasi flowers with long, delicate stems—structurally akin to Herati. In recent decades, Gol Farang patterns have grown in popularity. The southern Khorasan "Lachak Toranj Sa'di" design also appears, alongside influences from Kerman, Kashan, and Na'in (impacting even Tehran markets). Despite adoption of outside elements, Mashhad rugs retain distinct identities.

Layouts are mostly Afshan or Lachak Toranj (with an Afshan ground). Premium qualities tend to use Lachak Toranj: a calm, plain central field with richly patterned, intricate borders. Renowned names include Saber, Sheshkelani, Pourangi, Haji Fakour, Ghazi Khan, Naeini, Zarrineh, Khadivi, Tabari, Tamizkar Noghani, and Kafi.

Weaving and Sizes of Mashhad Carpets

Khorasan employs both Persian (asymmetric) and Turkish (symmetric) knots; Mashhad is predominantly asymmetric, with symmetric knots largely limited to 1920s pieces (a legacy of Tabrizi-led workshops). Warps are cotton; the thin (second) weft is machine-spun and typically dyed blue/lapis, while the thick (first) weft is a strong, hand-spun yarn left natural or grey.

Local units include Eyagh (rug measure) and Moqate' (wage unit). Mashhad piles are known for thickness and luster thanks to quality regional wool; occasional silk pieces are woven to order. Historically, selvedges were braided during weaving; today they're often applied after completion.

Famous Carpet Designers of Mashhad

Among Mashhad's great designers is Abdulhamid Sanat Negar (designer for Amo Oghli). Major producers include Makhmalbaf, Fakour, Ghazi Khan, Saber, Amo Oghli, Sheshkelani, Khalilian Varesteh, Kafi, and Sheikh Pourangi. Today, the Iranian Carpet Company and Astan Quds Razavi Carpet Company are among the largest producers. Influences from Kashan, Kerman, Tabriz, and Isfahan are clearly visible in the region's work.

Summary of Mashhad Carpet Characteristics

1. Colors: Mainly dark tones such as deep madder red, crimson, and navy, with occasional cream and blue.
2. Designs: Primarily Lachak Toranj, Afshan, and Sheikh Safi, inspired by Islimi floral patterns, dragon's mouth, Shah Abbasi, Khatai, and Gol Farang.
3. Limited variety in colors and patterns.
4. Knot density: Typically 20, 25, 30, 35, 40, and rarely 50 knots per square inch.
5. As knot density increases from 20 to 40, production decreases.
6. Weaving styles: Persian and Azerbaijani, with cotton warp and wool pile.
7. The carpets of Sabzevar and Nishapur closely follow Mashhad's styles and features but are considered less refined.

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