| Description |
The carpets woven in the city of Kashan can be defined as follows. Spreadable hand-woven materials consisting of a basic structure of strings made of cotton or silk interwoven in millimeter scales known as warp (Tar or Toon) on an erected framework known as ‘Dar’, while by means of wool or silk strings, and based on a colored design, appropriate knotting in harmony with the delicacy of the carpet are created on the surface.
In the weaving style of Kashan, after each row of knots, cotton strings are extended two times from within the warps in horizontal direction known as ‘woofs’. Woofs are divided in two categories in terms of thickness: thick woof or under-woof is almost of the same thickness of warps, while thin woof or top-woof is as thick as reel strings. These woofs are pressed on woven knots by means of combs and make the carpet more strong and delicate. This style, known as Farsi weaving has a background of four hundred years in Kashan which is the pioneer of this style.
The skills and elements involved in the process of production of these hand-woven carpets can be divided in certain categories:
Carpeting Tools:
1- Weaving frame: is a wooden or metal framework consisting of two vertical columns and two
horizontal beams. In addition, certain wooden accessories are used to reinforce the frame (wedges), while in metal frames, knots and jacks are also used. In order to control and move the strings in the course of weaving, two thin layers of woods are used.
2- Comb: is used for pressing the woofs after each row of weaving to make the carpet stronger and more delicate.
3- Stick: it is a metal belt with the width of 2 centimeters and length of 60 centimeters used to lead the woofs from among the warps.
4- Scissors: for cutting the tips of the woven strings after a number of rows as well as for leveling the surface of the carpet.
5- Bench: as a seat for the weaver, made of wood or metal.
Carpeting Materials:
1- Warp: prepared multi-layered cotton or silk strings in proportion to delicacy of the carpet and required by the design will establish the basic structure of the carpet. In Kashan style, the warps are drawn on the ground and mantles on the frame.
2- Khameh: woolen two-layered colored strings in various sizes for knotting to warps in 90 degrees angle which serve as the thickness of carpet in appropriate sizes.
3- Woofs: cotton strings in two thicknesses: thick woofs equal in thickness with the warps, and thin woofs as thick as ordinary reel strings which are led through the warps after each row of weaving and is pressed with comb which strengthens the carpet. In full-silk carpets, silk woofs are applied.
Design: in order to prepare the design of the carpet, which is the most artistic activity involved in
carpeting, certain rules are followed, the most significant of which can be summarized as follows:
A) Drawing is the general form and the first impression of the carpet which makes the basic design of the carpet in the first glance.
The procedure that is followed in Kashan is as follows:
1- Lachak-Toranj design: is this design limited by a background cadre and consists of a central oval shape known as Toranj and rectangular surrounding shapes known as Lachak. Each Toranj has four surrounding Lachaks. Sometimes, the Toranj is in circular form, known as Shemeh. Lachaks are normally in harmony with Toranj.
2- Toranjafshan Design: the design consists merely of a Toranj in the middle covered with symmetrical flower and leaf designs, without Lachak. If the surface is without flowers and leaves and other forms, the design is known as simple Lachak-Toranj.
3- Lachakafshan: There is no Toranj in the design, only four Lachaks around. The remaining portion of the design is covered with flowers, leaves, and other symmetrical shapes.
4- Mehrabi Design: The surface is normally without Toranj. Only to Lachaks are located on the top corner, with ornamental religious designs. The surface is simple with an urn or columns around.
5- Overall design: a basic design theme is repeated all over the surface. Single forms such as Botteh-Jegheh, scattered bouquets, frames, flowers, etc are repeated over the surface.
6- Koomeh Design: short scattered trees together with birds and animals.
B) Design is the combination of drawings, paintings, flowers, leaves, branches, animals and other forms which enliven the basic drawings by applying colors, each with its respective artistic identity inspired by nature, buildings, historical events, movements of living animals, and background mentalities of the designer and painter.
Dyeing:
Colors and dyeing materials: natural colors are more popular in Kashan, such as Ronas, walnut skin, pomegranate skin, vine leaves, etc. except for Ronas, other materials are among the waste natural materials. The masters of dyeing create very stable and beautiful color mixtures by using
various types of natural pigments.
Farsi weaving style also known as asymmetrical knotting is applied with exemplary delicacy in
Kashan
so that the back side of the carpet is made with equal longitudinal and latitudinal knots. |
| Social and cultural significance |
Social function: Social cooperation among various communities involved in carpeting from the early stages of material preparation toward design, painting, weaving, and economic activities has a significant role in the economic lives of the people of Kashan. Meanwhile, carpets are among the necessary furniture of every household in the area.
Cultural function: the design and paintings of Kashan carpets, while being inspired by nature, is of important symbolic aspects in terms of popular beliefs, epistemology, mythology, and
aesthetics, helping corroborate cultural unity among generations. |
| Transmission method |
Weaving masters who are mostly women, transfer their skills to their apprentices since past ages until each pupil becomes a master in her turn. This apprenticeship is also common in the fields of design, painting, dyeing, wool cutting, frame and tools fabrication, etc, which are mostly dominated by men. Recently, these methods have also entered into academic curricula as well as practical sectors.
1- Support by governmental organizations: It has been a number of years that a center has been established in the Ministry of Commerce named ‘National Center of Iranian Carpet’ which has undertaken to support Iranian hand-woven carpets. Holding of meetings, conferences and seminars in order to facilitate exchange of opinions among scholars, research on existing weak points and attempts to eliminate them, and asking for expert opinions in this respect, preparation of documentary films, books, articles, preparation of an encyclopedia, cultural and artistic discourses, protection of the users and the persons involved in Iranian carpet industry, including in Kashan. Such functions were undertaken in the past by the Iranian carpet Co. which followed the objective of sample production and continuation of production styles as of 1935.
2- The activities of Higher Education Centers: it is almost twenty years that discussions related to carpets have found a scientific and academic aspect. Although such efforts are yet experimental many of the topics related to the art and techniques of weaving have been so codified in theoretical terms and are taught in higher education. The first course of study on carpets was established in Kashan University.
3- Establishment of Publication and Media Centers Regarding Carpets by the Private Sector and Publication of Critical and sometimes encouraging analyses in various parts of the country.
4- Publication of books and collections by authors and researchers on carpets including on Kashan carpet artists by the Cultural and Art Center of Iran and holding of seminars under the title of ‘Lost Treasures’.
5- Encouragement of Kashan artists and their appreciation in various occasions especially the old artists. The present author has participated in one of such conferences in Kashan University raising some points as to revival of old designs and protection of the artists.
6- The action of the Iranian Cultural Heritage Organization in establishment of the specialized council with contribution from the Ministry of Culture: It has been a few years that the old artists who are capable of teaching through scientific and practical methods are assessed and ranked so that the Center can benefit from their experiences in teaching and those artists can also be duly appreciated in their old age.
7- One of the favorite methods in the relations between employers and producers of Kashan carpets with Carpet weaving artists is that the ordered carpet is once again evaluated in terms of market prices of the place of production and the balance will be paid to the weaver after deduction of material costs. Thus, one may say that the weaving families who comprise 30% of Kashan population will have a proportionate share in the added value of the carpets. This method is only applied in Kashan and Qom. Therefore, carpet weaving becomes an important source of earning where nearly 80% of the personnel involved are girls and women. Today that most women have higher education, this sideline activity will be a suitable source of income for them. |
| Community |
Producers of Raw Materials, Dyers, Designers and Painters of Carpets, Carpet Weavers, Manufacturers of Frames and Tools, (Note that an aggregate 30 percent of the total 370,000 population of Kashan are involved in the carpet industry of which 70 percent are women), Domestic and International Traders of Kashan Carpets, National Center of Iranian Carpet, The
Organization of Cultural Heritage, Handicrafts, and Tourism of Iran, The Cultural Center of Iranian Art, Iranian Carpet Joint Stock Company, and the Iranian Higher Education Centers
(Kashan Faculty of Carpet).
Persons who have had a conspicuous role in promotion of Kashan carpets:
- Late Master, Mohtasham Kashani (Weaver).
- Master Attaei (innovative producer).
- Master Ali Rashtizadeh (innovative production manager).
- Master Dabir Sanayea (Design and Painting).
- The Afsari Family (Painting, Design and Rug Weaving of Kashan).
- The Sanaei Family (Painting and Design of Kashan Carpets).
- Master Ahmad Sattari (Traditional Dyeing of Kashan Carpets). |
| Type of UNESCO List |
Representative List of the Intangible Cultural Heritage of Humanity |
| Incribed year in UNESCO List |
2010 |
