The warp refers to the vertical strands running up and down a rug. These are vital to the structure of the rug as the knots are tied to them. The wefts are also placed between them in order to keep the knots in place. The fringe of a rug is the tied loose ends of its warp.
The weft is used in order to keep the knots in place. Before and after each row of knots the weft strand is passed through the warp and combed and beaten down, this compacts the row of knots creating a tight structure.
PERSIAN RUG MATERIALS
Cotton is used for both warp and weft in most rugs, however, some tribal rugs use wool in their foundation and intricate silk rugs often use silk as a foundation as well as a pile.
Pile refers to the material or fiber used in weaving the rug. The main materials used in Persian rugs are wool, silk, and cotton. Sometimes camel or goats wool is used by tribal weavers.
Wool is the most commonly used material in weaving handmade Persian rugs, mainly because it is soft and durable but also due to the availability of the natural resource to the people of Iran. Although camel or goats hair is sometimes used, in excess it is undesirable. While they may add sheen to a carpet they are very difficult to dye and the rug may lose its color faster than if woven with sheep wool. The best wool generally comes from colder high altitudes and the mountainous topography in parts of Iran is well suited to producing excellent quality. Other wool is imported from Australia and New Zealand who also produce excellent materials. Kork or Kurk wool is regarded as the best type of wool, this is high-quality wool which is extremely soft yet durable. The wool is shaven from only the shoulders and under-belly of a lamb on its virgin cut. This is when the wool is at its finest and is often used in conjunction with silk.
SUPER FINE WOOL
Salmas, Mako, Urmia and Dasht-e Moghan regions in Azerbaijan; Torbat Heydariyeh, Neishabour, Quchan, Mashhad and Sabzevar in Khorasan Razavi and North Khorasan, Bam, Jiroft and Rafsanjan in Kerman province and Fars, Kurdistan, Kermanshah, Isfahan, Lorestan and Hamedan provinces are the main suppliers of "hand-woven carpet wool" Are.
Makui and Moghani breeds in Makoo and Moghan plain, Afshari and Kaboud Shirazi in Fars and Qara Gol and Kurdi in Kurdistan are among the best sheep breeds in Iran. In North Khorasan province, Torbat Heydariyeh wool is better than other regions. And has long and twisted strands.
Types of wool are divided into three categories in terms of diameter: First class wool, Second grade wool’ Grade three wool. Grade 1 includes wool that is less than 30 microns. The second grade consists of wools that are 30 to 35 microns in diameter. Grade 3 wool includes wools that are 40 microns in diameter.
In general, fleece in tropical parts of Iran is softer and more curly, and fleece in temperate and cold regions is coarser and less curly, which is more suitable for use in carpet weaving.
Depending on the breed, New Zealand and Australian sheep raised for their wool are suitable for making finer yarns and are used in rugs with a high number of ridges. Iranian wool gives a clearer product with better footprint due to its roughness, crease and less curl.
The best type of Iranian wool is obtained from Kermanshah, Khorasan, Khuzestan and Baluch regions.
Kermanshah and Khuzestan wools are suitable for coarse woven carpets due to their high height and diameter, and Torbat Heydariyeh and Baluch wools are suitable for medium woven carpets.
Natural silk is extremely expensive and therefore used less in rugs. Coming from the cocoon of the silkworms, which thrive on mulberry leaves, silk originally came from China before being brought into production in other countries. Silk has the advantage over other natural fibers of being both fine and extremely strong. If it were as thick as wool there would be no contest in durability however as the intricate detail, work and high expense go into making silk rugs it is recommended that they are used as wall hangings or in rooms with low traffic. Some rugs use small amounts of silk together with an all-over wool pile to highlight details and add depth to the character. Under no circumstances should a wholly silk rug be cleaned at home! If the rug does need to be cleaned, it should be taken to a professional Persian rug specialist and dealt with on their recommendations.
Cotton is generally used in the foundation of rugs. However, some weavers (such as the Turkmen) use it to introduce white details, creating a contrast in color and texture. Mercerized cotton is sometimes used to create an "art-silk" appearance.
PERSIAN RUG DYES
The wool or silk is treated and dyed prior to the rug knotting process. There are conflicting views about rug dyes with the more traditionalist believing only vegetable dyes should be used. The counter-argument is that chemical dyes have been used for over 100 years and many shades and designs simply could not be achieved using only the natural dyeing process.
We believe both types of dye have their merits. Natural dyes often provide a more muted, and indeed natural, palette. Whereas rugs using chrome dyes can be brighter, more vivid and lively than their plant and vegetable counterparts. It really depends on the look you are trying to achieve.
Some chemical dyes are more color-fast than vegetable dyes while some vegetable dyes are more color-fast than chrome dyes. It really is a matter of opinion.
NATURAL & VEGETABLE DYES
Some of the most beautiful colors are obtained from natural dyes, not only do these colors appear more natural but their durability tends to be greater than chemical dyes.
Indigo, produced by fermentation of indigo plant blossoms, is the source for all shades of blue. After around one week in fermentation, the solution becomes amber in color, when the wool is soaked in the solution and dried in the open air, it oxidizes turning blue in the process. Mixing different dyes creates various colors, for example, mixing saffron with indigo produces green. Saffron, pear leaves, almonds, and buckhorn berries produce different shades of yellow. The most common dye made from plants is Madder, which creates a red color and is quite prevalent in older rugs. Black is obtained by submerging previously dyed brown wool in indigo or by using dyes taken from the Logwood trees of Central America or the West Indies. Cochineal is a small insect when the female is roasted and pulverized the resulting powder produces hues of violet. Many colors in the purple range resulted combining a red and indigo.
The most commonly used vegetable dyes are indigo (originally obtained by extracting and fermenting the leaves of the indigo plant and used to dye wool blue), madder (produced by boiling the dried, chunked root of the madder plant in the dye pot to produce a red color), and larkspur (produced by boiling the crushed leaves, stems, and flowers of the larkspur plant). These dyes produce dark navy blue, dark rusty-red and muted gold. Expensive Saffron flower is used to create rare shades of yellow.
Long ago dyers realized that as more wool was dyed in a single dye pot, colors became weaker and weaker. Dyers use this notion of depleted dyes to their advantage. The first dyeing produces a deep, strong color. Subsequent dyeing in the same dye pot produces lighter, softer colors. Dyers also quickly learned to combine colors to produce different hues. There is, for instance, no "vegetable" dye material that yields green, which is an important color if you're interested in weaving a floral design. To produce green the wool is first dyed blue and then dyed again with yellow. If you look closely at the green color in a vegetable-dyed rug, you will commonly see that the color is uneven, blue-green in some areas, and more yellow-green in others. This is because of the double-dyeing technique.
So, by using the notion that depleted dyes produce different hues, and by combining some dyes through over-dyeing wool, dyers can produce a surprisingly large palette of colors from a very limited variety of materials.
Aniline dyes were introduced into the Persian region in the late 19th century, early dyes proved to be unsuitable for rug yarns as they produced crude colors that were prone to rapid fading. At the beginning of the 20th century, the Persian government banned the import of these aniline dyes and passed laws, which were strictly enforced, ordering dye houses found producing them to be burnt to the ground. Any weaver caught using the illegal dyed yarn could face severe punishment. Needless to say, these measures proved effective, and Persian weavers went back using natural dyes until the more reliable chrome dyes were introduced between the first and second World Wars. Modern chrome dyes are extremely reliable, colorfast and made in a wide range of attractive colors and shades. Today’s rug buyers can be assured that the colors, will only improve with age.
THE MEANING OF COLORS
Across all cultures there are meanings to colors and to an extent, these are important in rug design. While green in Muslim countries is the color of 'Mohammed’s coat' and considered sacred, therefore used less often, it is widely used in Chinese carpets. The reverse is true of yellow in China as it is typically seen as the Emperor's colors. Red is more universally viewed as a sign of power and richness.
Of course, commercial demand largely negates these cultural differences with modern pieces.
PERSIAN RUG DESIGN
Before knotting the rug is designed by hand by a skilled artist. City rugs are produced from detailed design plates or cartoons, a life-sized paint by numbers showing which color of wool to use for each knot. Tribal and village rugs may use this method to create standard designs however many tribal pieces are created from the imagination of the weaver. For this reason, tribal rugs have more "errors" than their city counterparts, these, of course, are an indication of authenticity and some collectors prefer the raw art form of tribal rugs to the more uniform appeal of city items.
Most Persian rugs are pile-woven, the knots tied by hand to the warp strings. Two factors are important when discussing knots – knot density and knot type.
Knot density refers to and is measured by, the number of knots per square inch (KPSI). This is done by counting the number of knots in an inch down the warp and across the weft and multiplying these figures together.
Knot density could be a factor in the value of a rug, but this is not always true. In nomadic and some village items, knot density is usually not a factor. It is not a factor for collectors of these rugs either because nomadic and village rugs are judged by different standards than workshop rugs. Nomads and village groups do not have the same sophisticated tools as other city weaving groups. Their items are valued by the fact that their designs are created from memory, their dyes and materials are provided from the nature around them, and most importantly the weavers' way of life is expressed in them. These rugs generally have a knot density of between 25 to 100 knots per square inch. Rugs with higher knot density take a longer time to make, and since nomads migrate as the season's change, if their rugs are not finished in time for the migration, they will have to carry the looms with them. Therefore, their rugs tend to have a lower knot density than workshop rugs. The value of these rugs lies in their heritage and simplicity. They have artistic value.
However, in many cities and workshop rugs, knot density is vitally important to determine the price of a rug. Similar to television resolutions the more knots (or pixels) per square inch the sharper the design (or picture). A skillful weaver is able to tie a knot in about ten seconds, meaning 6 knots per minute or 360 knots per hour. That means it would take a weaver around 6,480 hours to weave a 9x12-foot rug with a density of 150 knots per square inch. Divide this number by 8 (an 8-hour working day) and it would take one weaver 810 days (approximately two and a half years!) to weave such a rug. A rug as large as a 9x12 is usually woven by two or three weavers, so the above time can be reduced by half or third but the labor costs increase. This is one reason why most Persian rugs are to be considered prestigious items.
The different types or styles of knots have been culturally developed by the different groups and tribes of people as time progressed. The knotting process can be viewed in this video, different rug weaving areas use slightly different techniques and methods however the video shows the effort put into the creation of these masterpieces.
THE ASYMMETRICAL(PERSIAN OR SENNEH) KNOT
The asymmetrical knot is used in Iran and nearby countries such as India, Turkey, Egypt, and China. To form this knot, the yarn is wrapped around one warp strand and then passed under the neighboring warp strand and brought back to the surface. With this type of knot, a finer weave can be created.
THE SYMMETRICAL(TURKISH OR GHIORDE) KNOT
The symmetrical knot is used in Turkey, the Caucasus, and northern Iran. It is also used in some European rugs. To form this knot, the yarn is passed over two neighboring warp strands. Each end of the yarn is then wrapped behind one warp and brought back to the surface in the middle of the two warps.
THE JUFTI KNOT
The Jufti knot can be seen in the rugs of the Khorasan, Iran. This knot can be either symmetrical or asymmetrical and is usually tied over four warps making the weaving process faster.
After the rug knotting is complete the pile is very long and uneven and the pattern barely from the front side of the rug. At this stage, the pile must be carefully clipped and shaved to the correct height in turn showing the design and artwork and achieving the desired texture. Washing the rug ensures there is no color run later in life and removes excess dye and debris. This process may be repeated several times.
FINISHING & FRINGING
Finally, the rug is placed on a 'blocking' device to ensure no shrinkage has occurred during the wash, last minute checks are made as quality control is vital. The rug is then packaged and flown or shipped to showrooms around the world.
PERSIAN RUG TOOLS
The comb is used to slide and beat down the weft between rows of knots. This come, moved up and down the warp, pressing the knots in place, securing them before a new row is started.
A hook is a knife-like tool that becomes very narrow on the tip. This tool has two purposes - the weavers use the tip for separating the warp strands while tying a knot and then pulling out the yarn through the warp strands. The side of the hook, which works like a knife, is used for cutting the yarn after each knot is tied.
A rod used for spinning fiber into yarn.
Special scissors are used to cut the long or uneven pile as the carpet is woven.
The knife is used to cut the threads after each knot is tied. This is sometimes done using the hook.
Used as a reference when creating the rug, design plates show the weaver what colors to use. Normally on grid paper, design plates are often drawn up by master-weavers, famous designers or artists. These are used for the creation of some village rugs and all workshop rugs.
The loom is the frame which holds the rug together while it is being woven. Horizontal looms are the simplest type of loom. They are mostly used by nomads because they can easily be dismantled at the time of migration. Rugs woven on horizontal looms are generally small because they need to be finished in time for migration, and it is also difficult to weave large rugs on this kind of loom. Horizontal looms are constructed by four wooden bars similar to a frame. The distance between the two parallel side bars depends on the width of the rug to be woven on the loom, and the distance between the top and the bottom bars determines the length of the rug. The bars are secured to the ground by stakes or nails. After the loom is constructed, the warp strands are secured to the top and bottom bars. The warp strands are usually very close to the ground. As the rug is woven and the rows of knots and wefts are added, the weavers sit on the woven part of the rug in order to reach the unwoven top parts.
Vertical is specific to village and workshop rugs, and their assembly is more complicated than horizontal looms. A vertical loom consists of four bars, two sidebars that go from the ground up and two horizontal bars--one at the bottom, close to the ground, and one at the top. This loom looks like a frame that is standing up. The warp strands are secured to the top and bottom bars. Rugs woven on vertical looms are more exact in dimensions and design. There are three different types of vertical looms although different versions of each type may exist: the Fixed Loom, the Tabriz or the Bunyan Loom, and the Roller Beam Loom.
On the Fixed Loom, the weaver sits on an adjustable seat in front of the loom. The seat is raised as the rows of knots are added.
On the Tabriz or the Bunyan Loom, the warp strands are wrapped around and behind the top and bottom bars instead of being secured to them. On this loom, as the work progresses, the woven section of the rug is pulled down and behind the loom. This way, the weavers do not have to move. These looms are used in Iran in the Azerbaijan province and in the cities of Arak, Qum, and Hamadan, and also in commercial centers of Turkey.
ROLLER BEAM LOOM
On the Roller Beam Loom, the woven part of the rug is rolled around the lower beam. With this kind of loom, very large size rugs can be woven. This loom is the traditional loom used in villages of Turkey; it is also used in Iran and India. This loom is generally used for coarser weaves.
PARTS OF CARPET
It is the main backbone of a carpet and it consists of yarn strands that stretch from top to bottom (height-wise, vertically). These strands are stretched on the loom before weaving begins. Once the rug is completed and cut from the loom, the ends of the warp make up the fringe. The warp is normally made of wool, cotton or silk.
It is referred to as the collection of knots of yarn that are twisted between the warp strands. The knots are weaved in either the Turkish (Traditional, Ghiordes, Symmetrical) knot, or the Persian (Commercial, Senneh, Asymmetrical) knot. The Turkish knot is a double knot formed by looping the pile yarn across two warp strands and then drawing each end back through the inside of both warps. The Persian knot is a single knot formed by looping the pile yarn through two warp strands and then drawing it back through one. The Turkish knot is more difficult to tie and more durable than the Persian knot.
These are yarn strands that are inserted perpendicular (width-wise, horizontally) to the warp strands, and woven in and out of the warp strands during weaving. It is normally made up of the same material as the warp but is only visible from the back of the rug. The number of weft strands that pass between the rows of knots is referred to as shoots, and sometimes the weft strands are dyed.
Both edges of a woven rug are covered with overcast (a simple running stitch) or selvaged (finished with a woven band) in order to reinforce the edges, as they are particularly susceptible to wear.