In Iran, handmade carpet is not only an art that depicts the history of our country, but also a passion for passion, mysticism and beauty in the realm of life. But the hand-made carpet that Isfahan carpet is unique kingdom ,is another story. Rug Isfahan is educated and has elegance, beauty and memorization of the magnificent carpets of Safavid era. The designs of these carpets are painted by artists such as Kamal al-Din Behzad, which becomes a carpet design.
In the sixteenth century, Safavid aristocrats gathered diversists and artisans from northwestern Iran, settling in Isfahan at the place known as Jolfa. Following this, in the center of the city, carpet manufacturing workshops were built on palaces and temples. Some time later, it was created alongside other workshops of the Industrial Court. The production of these weavers at the court service was not only internal, but also used to pay taxes. Especially during the Shah Abbas era, knitting for the court began to create mass industrial activities, the main owner of which was the king himself. At the same time, the weavers of these workshops were also allowed to take personal orders.
Coordination, suitability and variety of colors, especially bright colors in dark and light spectra, short petioles, a range between 50 to 90, the use of Persian knots, cuffs, and often double-sided and pipe sticke, as well as polishing during the texture of the carpet features of Isfahan.
Chellekeshi and placing and drawing of the warp on the head and bottom of the woving instument. This is done by two people. One makes a Chelle and the other drops the Chelle on the instrument. This should be done with precision and skill. It is necessary to divide the warp layers into two half-layers in order to interact with the warp. The first half of the layer is forth warps and second layer of the layer is the bottom warps. The Koji is a wooden sticke that thread is wrapped round it, taken from a single yarn. In order to make Chelle Isfahan, they first create silk wrappers and then install them. Thereafter, Koji and warps, as well as the Haf wooden sticke, divide the two layers of warps. During the texture, the woven part is lowered to form another part of the Chelle against the weaver, which requires high physical fitness.
In the Persian knot, weavers of womens throw their slim fingers easily between layers. Thumbs, forearms, and mediums fingers have a difficult task, and they are assisted by a set of tools. A weaping knife that cut stringeafter they knots each knot after the closure of the knot to form a knot. The Shane tool that includes wooden handles, curved with thick and parallel metal blades. These blades are placed between the warpes of Chelle and tighten the Pod thread and knots in place. This compression of the rows depends on the force of the weaver, and usually one person takes over so that the patterns of the carpets are not tilted. A metal scissor that weavers put the thick blade of scissors on the Chelle and sets the height of the naps. The tourniquet is a dentine tool for extraction of additional wool knots.
Professor Yadollah Safdar Zadeh Haghighi is one of the famous producers of Isfahan carpet. He uses genuine plans that include the meanings of mystical and literary interpretations derived from religious and cultural values, and focuses the attention of each visitor to the right. Harmony of colors, in particular the colors of the happy, in the dark and bright spectra, the suitability and variety of the features of their carpets is unique and stunning.
Great carpets are kept in the most prestigious museums in Iran and the world, as well as six nesting, elegant and beautiful carpets in the carpet and textile treasures of Astan Quds Razavi, whose motivation is to donate this love affair to the province of Imams, especially Imam Reza.