nain

Everything About Nain Rugs Its History

Geographical Area

The city of Nain is located the southern of the central desert, 145 kilometers east of Isfahan. The Nain County is situated the foothills of the and Mohammadiyeh Zardkuh mountains on the western edge of the located in the southeast of Isfahan. The Nain County consists of three regions: Nain and its suburbs, Anarak, Khur, and Biabanak, a total of 13 districts and 830 villages.

The Naming of Nain

Nain  an small city located  the outskirts of the central desert of Iran. Its formation is attributed to the ancient times of the land of Iran and the era, where the city considered of the region that time. Some  the name "Nain" to a plant called "Ney" that grows alongside marsh. In the Nasiri era, Nain was name of one of Noah's sons ( ibn Noah). Some believe that the name Nain associated with the roots and the in the following way: after the Jews were liberated from Babylon Cyrus and migrated to the eastern lands, this city in memory of their homeland (which was called Neyin Nain) and named it accordingly.

Historical and Background of Nain

The of Nain has long been considered one of the most famous and important areas in the weaving industry Iran. The cotton fabrics such as Karbas Metghal a historical significance to the presence of cotton in the region. Carpet weaving, kilim weaving, making, and leaf weaving have been common trades in the region.

The most famous product of Nain in recent centuries has fine woolen fabrics, especially woolen cloaks, produced in workshops on the of Nain. The majority of cloak-weaving workshops are located in village of Mohammadiyeh in underground workshops with a history dating back a hundred years.

With the growth of the textile in last century, like shawls and Kashan's velvet silk fabrics faced a decline. At the same time, cloak Nain flourished, it was during period carpet weaving also took shape in Nain, with skilled weavers themselves the of highly delicate carpets.

History of Carpet Weaving in Nain

Carpet weaving in Nain and its surrounding areas, such as Varezhneh, Koohpayeh, Khur, Biabanak, especially Toodeshk, has been prevalent since ancient times. Due to the decline in the market for cloak weaving, carpet  emerged as a prominent profession. In 1302, Jalal Khan Naini (Pirzadeh) personally established a school at his expense to train some male students who, after completing primary education, couldn't their studies, to in carpet weaving. For purpose, he employed two carpet-weaving masters from Nain (Mirza Hossein and Mirza Sajjadi) who had the art in Isfahan.

Around the same time, Mirza Mohammad, the son of Mirza Yusef Khan, known as "Moallem" (the teacher), had previously in Arak and well-versed all aspects carpet weaving, including design, mapping, and carpet weaving, came to Nain with his wife and taught craft to the girls.

the of carpet weaving, the beginning and peak of carpet weaving activities in Nain coincide with the period of prosperity and glory of carpet weaving Iran, known as "Orientalcarpets," which started in the early 2 century. During this period, after the relative recession of in World War I, Iranian merchants and some Iranian companies began to operate.

establishment of the Carpet Department in 1309 AH, the School of Industries in 13 AH, and the establishment of the Carpet Company in 1314 AH indicate significance of the prosperity of the profession at time. start of World War II and subsequent recession in the international carpet markets, cloak weaving regained momentum in Nain.

Among the early producers of Nain carpets, the name of the Habibian brothers (Haj Fathollah) stands out more than any other, and their name still carries prestige in the world of these carpets.

Prominent Contemporary Carpet Weavers and Traders in Nain

Fathollah Habibian, Mofidi brothers, Haj Reza Ghanbari, Jalal Bande Ali, Borhani, Safa, Khamsi, and Hamid Mohammadi are among the most important producers and in Nain carpets.

Nain Carpet Weaving Industry

Nain are woven in various regions of Iran. In to the entire area of Nain County and neighboring cities, such as Tabas, Kashmar, Semnan, Khorasan, Isfahan, its suburbs, individuals influenced by the success and of Nain carpets have undertaken carpet production. When these carpets from Nain to cities like Tabas, Kashmar, Sabzevar, quality is somewhat altered.

Color and of Nain Carpets

The distinctive coloring of carpets, which contributes to their fame, involves a bright and colored background. With intricacy and precision in weaving, carpets feature densely patterned designs of traditional twists, creating a remarkably tranquil atmosphere.

Understanding this quality as one of the main for penetration of Nain carpets into global markets, one interpret it psychologically the beautiful, calming, and dream-inducing colors of Nain somehow moderating the emotions contemporary life. While Nain carpets lack a documented history explaining the justification for such coloring, this quality can attributed to the melancholy felt the of this small city.

From ancient times, wool threads of Nain carpets dyed with colors. The and stability, special effects natural on the wool threads, significantly the quality and softness of Nain carpets, making them a compelling factor for fame of these carpets. Nain carpets are primarily woven cream, beige, and navy blue. One is the use of subdued and ashy colors, known as "talking" colors.

The number of colors in Nain carpets consists of 11 main colors and 4 colors, as follows:

Main Colors: Cream, Beige, Light Brown, Brown, Coffee, Burgundy, Indigo, Petroleum Blue, Azure Blue (Oceanic), Blue, Lacquer Red, Elephant Gray.

Secondary Colors: Jade, Mauve, Green, Pink.

An feature of Nain weaving is the use of a beige border. In situations where the border is beige, the dominant of the field and text becomes cream, red, or sometimes navy blue.

and ashy colors of Nain, inspired the colors of the central Iranian desert, the in the air and the complexion of the desert's inhabitants.

This color, color of purity, serenity, mysticism, and neutrality, a type of color nostalgically mentions:

"When color became captive colorlessness, Moses became Moses in combat."

Or, it a symbol of spiritual aspirations and the transient flashy nature of the world:

"Loves that are a color are loveless in the end."

Design and Patterns Nain Carpets

Nain carpets, with their classical patterns and distinctive visual features, are recognized as highly harmonious for arranging a classic space by domestic architects. Consequently, Nain carpets have become widespread in many formal and spaces, including governmental halls, private residences, hotels, even palaces in various parts the world.

The designs used in Nain include various classical patterns such ** Shah Abbasi, Toranj, Afshan, using diverse and Khatayi motifs, Gombadi (dome) patterns, Haj Khanum, various tree patterns, Qaabi, Moharramat, Mehrabi, various Bandi (Deer Bandi and Arm Bandi) patterns, Vagirei, Afshan, Komei Gar, Gireh, and various historical and composite patterns.

murmurs suggesting uniformity Nain carpets prompted producers introduce innovations and use more diverse patterns. The use of flowers, especially European-style flowers, in the carpet's field, carpets in dimensions and shapes such as borders, circles, hexagons, octagons, squares, among the initiatives taken in last two decades.

Weaving and of Nain Carpets

Nain carpets, renowned in global markets, are known for their notable quality in weaving. The demand for these beautiful carpets ** **** worldwide. The wool used carpets is delicate, primarily from a type known as "kork." The warp and weft of Nain carpets made from cotton known as "charla," which a distinctive feature of Nain carpet weaving.

Charla yarns in Nain carpets are of the types four-ply, six-ply, and nine-ply, using No. 20 cotton yarn. Regardless whether have three more plies, they are soaked water for durability.

The weaving technique high-density carpets on the delicate cotton charla is considered complex and challenging by carpet weaving experts. Nain carpets exhibit a wide variety in weaving techniques and pattern densities, from 9-la, 6-la, to 4- Nain. The fineness of the carpets is determined by the number of per charla, commonly fluctuating 9-la, 6-la, 4-la Nain. Artisans use a specific terminology for the fineness of Nain carpets, with like Nain 9-la, Nain 6-la, Nain 4-la.

The knot density of Nain carpets 3600 to 4700 knots square decimeter or 235 to 300 knots per square inch (40 to 45 raj Nain 9-la). In carpets with higher density, the of increases to 8400 to 115 knots per square decimeter or 530 to 715 knots square inch (60 to 70 raj for Nain 6-la). In the finest carpets, the density can reach up to 40,000 per square decimeter or 2500 square inch (80 to 120 raj for Nain 4-la and 3-la).

The asymmetrical Persian knot is used Nain carpets, and after knotting, two cotton wefts pass and under the threads of  charla each row, adding to resilience the carpets.

Nain carpets are woven with a knot in 6-la or 9-la a single weft or a weft. The 6-la and single weft carpets are known their fine quality, while 9 and double weft carpets are appreciated for their delicacy. Currently, about 80% of carpet production falls the category.

The prominent designers of Nain include Veliollah Sharifi, Reza Yousefpour, Haj Hasan (Hassan Tahani), Jahan Mofidi, and Ali Mahmoudian.

Key Features Nain Carpets:

1. The predominant use of harmonious gray tones, especially cool shades (bitter grays).

2. Turanj roundel patterns.

3. Dominant colors in for the field earthy tones the border, occasional use of navy blue and sable.

4. Unique features include the use and flowers the design.

5. Persian weaving style ( single weft, Karbaas, connected Shirazi).

6. Nain charla yarns made cotton and their pile consists of and silk.

7. The buying and selling criterion for Nain is the number of threads.

8. Influence from Isfahan and a blend with (and lack of ostentation).

9. Minimal use of animal and human motifs in carpet patterns.

10. Incorporation of patterns and their fusion with other.

11. Predominant patterns include Turanj Lachak Toranj, Qaabe Qaabi (Frame a frame), Gol (flower vase), Darakhti (tree), Joushaghani, Koomeyei Gereft va Gire (pile-up and down), and Islamic architectural patterns, using combinations of Islamic and Shah Abbasi motifs in Nain patterns.

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