PERSIAN RUG SIZE
In the past centuries, some new patterns have gradually originated in urbanized people’s lives, especially with the extension of urbanism. Most of its effects have caused direct influence in different directions. For example, the necessaries created by the new home architects and their limitations and the way they have to be covered with the carpets in various sizes, including oriental rug sizes, standard rug sizes, and common rug sizes, are some of these influences. Nowadays, woven rugs have different unique standards of their sizes, except for costume carpets which can be woven in different sizes according to the orders. Of course, carpets come in different shapes as well.
The most common dimensions for oriental rugs are 5 x 8 feet (1.5 x 2.5 meters). However, there are many other dimensions available on the market today, including 4 x 6 feet (1.2 x 1.8 meters), 4 x 8 feet (1.2 x 2 meters), 7 x 10 feet (2.2 x 3 meters), 8 x 10 feet (2.4 x 3 meters), 9 x 12 feet (2.7 x 3 meters) and 10x14 feet (3x4 meters).
CARPETS SHAPES COME INTO TWO TYPES
Foursquare shapes, including squares and rectangles, that have width and length.
Circle shapes, including circles and ovals, which has a diameter.
Other than these categories, some different types, such as carpets in octagonal shapes or volume carpets, need to be ordered. On the other hand, according to their sizes, carpets get their names and will be categorized. The dimensions which are used for woven rugs nowadays are coming here:
GHALI is a type of Persian carpet that comes in various sizes, ranging from 2×3 meters to 6×10 meters, and even larger sizes. Some of the most common sizes include 2.5×3.5 meters, 3×3 meters, 3×4 meters, 4×6 meters, and 5×7 meters. These carpets are known for their high quality, intricate designs, and rich colors. They are typically made from wool or silk and are woven by skilled artisans using traditional Persian techniques passed down through generations. When choosing a GHALI carpet, it's essential to consider the space size where it will be placed. A rug that is too small for the space can look out of place and make the room feel disjointed, while a too-large carpet can overwhelm the space and make it feel cluttered. Another consideration is the rug's design: GHALI carpets come in various formats—from traditional floral patterns to more contemporary abstract designs—and each design enhances its visual appeal in different ways depending on what kind of room you're decorating. In summary: GHALI is a type of Persian carpet in various sizes and designs that enhance its visual appeal depending on the room you're decorating.
The GHALICHE is a small Persian rug that comes in a variety of sizes, including 1×0.7, 2×1.5, 1×1.5, 2×1.8, and 2.2×1.4 meters, as well as larger sizes. These rugs are known for their intricate designs and rich colors. One type of GHALICHE is called Kalle-ee or SAR-ANDAAZ, a larger version of the rug with an approximate size of 1×2, 2×4, or 3×6 meters or even more significant. These rugs are typically longer than they are wide, with a length that is 1.5 or 2 times or even more than their width. This type of rug was more common in the past and is still sought after for its unique and beautiful design. When choosing a GHALICHE rug, it's essential to consider the space size where it will be placed. A carpet that is too small for the space can look out of place and make the room feel disjointed; while a rug that is too large can overwhelm the space and make it feel cluttered.
The PARDEH-EE is a finely woven Persian carpet that typically measures 1.8×2.8 meters or 1.5×2.5 meters and is known for its intricate designs and rich colors. The name "PARDEH-EE" means "like a curtain" in Persian, which reflects its traditional use as a wall hanging, much like a tapestry. These carpets can also be used as tablecloths or decorative throws. When selecting a PARDEH-EE carpet, it's essential to consider the size of the wall or space where it will be displayed, as well as the design and colors of the rug to ensure that it complements the overall decor of the room. A PARDEH-EE carpet can add beauty and elegance to any space and be a stunning focal point!
Runner carpets are usually long and narrow, with a short width. They're used for the sides of rooms, stairs, or narrow passages. In traditional Iranian halls and rooms, the leading carpet, or "Miyaan Farsh," is placed in the middle of the room and surrounded by two runner carpets on either side. In addition, another longer and narrower rug, "Kalle-ee," is placed on top of the first layer of runners at a perpendicular angle to create a beautiful and cohesive look in the room. These rugs serve a functional purpose by protecting the main carpet from wear and tear along the sides of the room..
“PAADARI” (or “TOODARI”)
To add a touch of Persian elegance to your home, look no further than a PAADARI carpet. These small Persian rugs are often used in landings or front doorways, but they can also be placed on tables, chests, or other pieces of furniture as decorative accents. PAADARI carpets are typically made using traditional Persian weaving techniques and are known for their intricate designs and rich colors. PAADARI carpets are known for their intricate designs and rich colors. They often feature geometric or floral patterns, detailed borders, and decorative fringe. Due to their smaller size, these carpets can quickly move around the home. In addition to being used in landings or front doorways, they can also be used as decorative accents on tables, chests, or other pieces of furniture. When selecting a PAADARI carpet, it's essential to consider the overall decor of the space where it will be used and the size and shape of the area where it will be placed. A well-chosen PAADARI carpet can add color, texture, and style to any room in your home!
Persian rugs are typically woven on looms and can be big or small. But if you're looking for a Persian carpet smaller than a normal-size (Khorjin) rug, the "Poshti" is for you! Poshti rugs are small, delicate pieces of art that are ideal for lying down and resting on. They are usually woven like a bag; the material used in their backsides is usually either Gilim or velvet. The sizes of Poshtis range from 50x80 – 130x80 _ to 60x90 centimeters. If you want to add a touch of elegance and comfort to your space or use it as an accent, this is the perfect pick for you!
Persian rug sizes are typically measured in "Zaro Nim," a traditional unit of measurement referring to a carpet with an area of 1.4 or 1.8 square meters. The sizes of these carpets typically range from 1.5x1.05 to 1.6x1.10 meters, though the exact length varies depending on the maker, age, and style of each rug.
A "Sajadeh-ee" is a type of Persian rug that is specifically designed for use during prayer. It is typically made of fine materials and features intricate designs, often centered around a "Mehrabi" motif, representing a mosque's Mihrab or prayer niche. The typical size of a "Sajadeh-ee" rug is around 2.10x1.35 meters, although variations may vary depending on the specific design and intended use.
The word "Sajadeh" means "worship," while "ee" refers to a cloth that has been woven specifically for this purpose.
Do-zar is a Persian term that refers to a type of rug approximately 7 feet long (two zars) and 4.5 feet wide. It is a size that is commonly used for small to medium-sized rugs in Iran and is often used in homes, mosques, or other places of worship. The do-zar size is versatile and can be used for various purposes, from small-area rugs to oversized room-sized rugs. The designs and patterns on these rugs are often intricate and beautiful, reflecting the rich cultural heritage of Iran.
Although this rug size has traditionally been used in Iran and surrounding countries, it has become increasingly popular with Western consumers due to its versatility.
“DO ZARO CHAARAK”
The Do Zaro Chaarak is a smaller Persian rug that can be used to decorate your home. It is approximately the size of two "zars" (which are about 2x3 feet) combined with a "chaarak" (which is about 2x2 feet), so it's perfect for small spaces, like table tops or hallway runners.
The name "Do Zaro Chaarak" refers to the fact that it is roughly the size of two "zar" (which are about 2x3 feet) combined with a "chaarak" (which is approximately 2x2 feet), so it's perfect for small spaces, like table tops or hallway runners.
Kharak-size rugs are similar to "Poshti" rugs but have smaller dimensions. The maximum length of a Kharak rug is usually 100 centimeters, but the standard size is 60x90 centimeters. Kharak rugs are often used as decorative rugs or cushion covers.
STYLE AND DESIGN
A Persian rug is a traditional piece of art created using various techniques and materials.
The design of Persian rugs is characterized by a wide range of motifs, including geometric patterns, floral patterns, animal figures, and human figures. These motifs are usually arranged across the field in symmetrical compositions:
ANCIENT AND ISLAMIC STRUCTURE DESIGNS
The designs in this category are inspired by the tiling, geometrical, and decorative shapes of buildings built during the ancient and Islamic periods. The minor categories are created over a long time from changes in the main types. The most famous ones are Sheikh Lotfol-llah’s mosque, Mehrabi Koofi, Masjid Kabood (dark blue mosque), Maghbareh Sheikh Saffy, Sardar Imam Zadeh Mahroogh, Gonbad Ghaboos, Masjid Shaah Isfahaan, Takht Jamshid, Taagh Bostaan and Taagh Kasraa (Eivaan Madaaen).
SHAAH ABBASI DESIGNS
The Shaah Abbasi Flower is considered the most beautiful flower of all. It is a symbol of eternal life and love. In this sense, the designers have created many designs based on the Shaah Abbasi flower in Persian Rugs. Moreover, the designers combine the Shaah Abbasi flowers with other formats, such as Ancient and Islamic structure designs, and present different patterns. Sub-branches of this group are Lachak Toranj Shaah Abbasi, Afshaan Shaah Abbasi, Shaah Abbasi Derkhti, Shaah Abbasi Sheikh Saffi, and Shaah Abbasi Jaanevari.
SHAAH ABBASI LACHAK TORANJ
The Shaah Abbasi Toranj design is a classic Persian rug pattern for old books and leather covers from long ago. The carpets woven according to this design have a central Toranj in the shape of a circle or rhombus, which usually has two "Sar Toranj" on its top and bottom or its sides and also four corners of the leading ground decorated with four similar designs with the name of "Lachak." However, some Shaah Abbasi designs do not have those four Lachaks in the corners, and they are called "Shaah Abbasi Toranj Daar." This design has been used for old books and leather covers for a long time. Carpets woven according to this design have a central Toranj shaped like a circle or rhombus. Usually, two "Sar Toranj" are placed on its top and bottom or sides, and four corners of the leading ground are decorated with four similar designs called "Lachak."
This type of design doesn’t have the central “Toranj” and those four Lachaks in the corners and the whole carpet is covered with “Islimy” flowers and leaves with a circle and semilunar lines.
SHAAH ABBASI TORREH DAAR
This design has got an elegant Toranj in the center and its main character is the tresses which are sited around the carpet in series. In another word in these kinds of designs, Lachaks are not formed of ¼ of Toranj and are formed in tresses and coming in series around the carpet.
SHAAH ABBASI TASSAROFI
This design has been formed by creating some changes in the main structures of Shaah Abbasi designs such as eliminating the Lachaks and using the half-Totanjes in the sides of the carpet and also using decorative frames and epigraphs in symmetry on sides.
This type of design is mainly formed with circular branches among the leaves. These branches are abstract trees. Islimy comes in many styles and is usually repeated in forms, but it’s also a predominant design in some carpets. The most famous Islimy is called Dahan Ajdar (mouth of a dragon), the branches are divided into two symmetry parts at the end of it and look like a dragon’s jaws, and some nodes decorate the components in different positions, mainly called Islim. Maybe the word “Islam” originated from the word “Islam,” which means node, or perhaps this word is a short version of the word “Islam,” As we know, this design is used a lot in Islamic arts. This design has a lot of sub-branches as well, such as Islimy, Islimy Bandy, Islimy Shekaste, Islimy Dahan Ajdar, Islimy Lachak Toranj, Islimy Toranj Daar and Islimy Maari.
In most of the carpet designs, their designs are continued and connected in a way that it looks like the painter has not stopped the painting-brush movement from the beginning till the very last moment, but in Afshaan's designs, flowers, leaves, and branches are scattered in the drawn design in a way that looks like they are connected anymore, and that's why this design is called Afshaan (means scatter in Persian). Still, in this type of design, a lot of variety and changes have been made. A lot of sub-branches originated from Afshaan as well, such as Afshaan Islimy, Afshaan Khataee, Afshaan Bandy, Afshaan Shekaste, Afshaan Gol Anaari, Afshaan Shaah Abbasi, Afshaan Shaakheh Pich, Afshaan Dasteh Gol, Afshaan Heivaan Daar, and Afshaan Toranj Daar.
BOTTHEH-EE ( BOTTEH JEGHEH)
Botteh-ee is the abstraction of the cypress tree. Iranian carpets curved bush, called "Botteh Jegheh," come in different forms and sizes in designs. There are various aspects of view for Botteh and its drawing origin, such as its similarity with the holy fire of Zoroastrians, pine fruit, water drop, cypress, palm branch, bird of kindness, and
Bushes' form and inspiration in different designs can be found in different sizes so that sometimes a few numbers are enough to cover the whole carpet design. Still, most of the time, they are settled in small sizes in parallels in the core or even in series in the margins, and they can be seen in broken styles.
Bushes form (Botteh-ee) can be found in carpets of these cities:
Kermaan, Sanandaj, Hamedan, Kashan, Saraaband, and Qom. The most famous Botteh-ee designs are Botteh Jegheh(بته جقه), Botteh Shaakh Gavazn, Botteh Termeh, Botteh Saraabandy, Botteh Khergheh-ee, Botteh Ghalamkaar Isfahaan, Hasht Gol, Botteh Kordestani or Hasht Botteh, Botteh Mir Shekaste, Botteh Lachak Toranj, Botteh Sanandaj, Botteh Afshari, Botteh Bazoo bandy, Botteh Baadaamy, and "Botteh" Mother and chilled.
Most of the Eghtebasi designs are too similar to the Iran frontier zones' carpet designs and neighbor countries and even other countries' carpets designs, and that's why they are called Eghtebasi, which means adopted (from). Ghafghaazi and Gooblany are some of their examples.
BANDY ( OR VAAGIREH-EE)
The word “ Bandy” is used to describe the act of a small piece repetition from a design in length or width of the carpet; as these pieces are joined together in the repetition, they are called “Band Bandy” ( something which is attached to something else in repetition) or “Vaagereh.” Sub-branches of this branch are:
Bandy Islimy, Bandy Pichak,Bandy Shekaste, Bandy Katibeh-ee, Bandy Mostofy, Bandy Varaamin or Minaa Khaani, Bandy Ghaaleb Kheshty or Lozi, Bandy Toranj Daar , Bandy Derakhty, Bandy Ghaab Ghaabi, Bandy Shir Skekari or Baazoo Bandy, Bandy Sarvy, Bandy Adamaki or Molla Nasreddin, Bandy Bakhtiari, Bandy Majlesi, Bandy Khooshe Angoory, Bandy Shaakheh Gavazn Heivaan Daar, Bandy Khaatam Shiraazi and Bandy Dasteh Gol.
BANDY MINA KHANI
The old examples of this type of design can be found in old carpet designs of Kurdistan, Bijaar and Saavoj Bolaagh zones. The Mina Khaani design is a unified design which covers the whole carpet and can be found in many parts of Iran such as Hamedan, Chaahaar Mahalo Bakhtiari and Ghaaenaat.
The Islimy lines and forms are connected together and combined with some flowers such as Khataee or Shaah Abbasi and will cover the main part of the carpet.
BANDY BAAZOO BANDY
Name of this design has been inspired from the bracelets and belts forms, that Iranians used to give them their heroes and athletes in old times and these forms are used to make a continues and uniform design. The frame designs and their paintings were the carpet designers, inspirational hints and by repeating these designs beautiful carpet designs were created.
In this type of design polygon frames with floral ornamentations are forming two frames with one flower or connected in a line together.
BANDY SHAAKH GAVAZN HEIVAAN DAAR
The curvy hartshorn is the main basic character of forming the Bandy Shaakh Gavazn Heivaan Daar design.in the core of this type of design, the flowers with their leaves and buds are limited by a design which is too similar to curvy Hartshorne as well as the flowers are mainly covering the carpet course in a symmetry way.
In “Bandy Shaakh Gavazn Heivaan Daar “ design some tiny animals, too similar to gazelle and deer can be found in different part of the carpet and beside the flowers. Around these designs are usually decorated with curly tiny Islimy lines which are embracing small flowers.
As the plants and trees design were always too blessed to ancient Iranians, so the carpet-weavers were too concern about it as well, this type of design is still weaving in many parts of Iran but the carpet experts believe Kermaan is where it is originated from.
The main is done by using the branches and leaves in carpet designing, but in this type, it is tried to protect the parallelism between the design and nature. The famous Derakhty designs are:
Derakhty Jaanevary or Heivaan Daar, Derakhty Sabzy Kaar or Aab Namaa, Derakhty Toranj Daar, Derakhty Sarvy and Derakhty Goldaany.
DERAKHTY HEIVAAN DAAR
In this design, some birds can be seen in the middle of the branches and leaves and some animal which is grazing or laying down the trees as well.
DERAKHTY SHEKAAR GAAHY
When there are some hunters on horses or on foot in the course or margin of the carpet, the Derakhty design will be known as Shekaar Gaah.
DERAKHTY SABZY KAAR
If a lake in turquoise-coloured in the middle of the carpet, the carpet design is called Derakhty Sabzy Kaar or Aab Namaa. There is nothing as the complete form of a tree and these are the branches and blooming tree stalk as the main design character.
The “Derakhty Sabzy Kaar” is one of the famous designs which is originated from the “Raaver” city in the “Kermaan” province, about sixty years ago and interred to the beautiful Iranian carpet designs and nowadays, weavers from Kashan, Isfahan, Qom, and Tehran are interested in weaving this type of design.
that must be said, that most of the European know the trees in the designs as a good sign and a reminder of life permanence, prosperity, and happiness.
TURKAMAN OR BOKHARA
The design of Turkman carpets is known as the tribal and designs and the colony people, that are weaved offhand and without any determinate design. The sub-branches of this type of design are:
Turkamany Ghaaleb Yamoony, Turkamany Shaaneh-ee, Ghazaal Goaz (gazelle’s eye), Turkamany Akhaal, Turkamany Chaahaar Ghaab, Turkamany Khourjiny va Ghaashoghy.
The main character of this style is using the hunt paintings and hunting-grounds in a way that a hunter or a horse rider is hunting a gazelle or any other animal by an arrow and a bow. Sub-branches of this style are:
“Shekaar Gaah Derakhty”, “Shekaar Gaah Toranj Daar”, Shekaar Gaah Ghaabi, Shekaar Gaah Lachak Toranj, and Shekaar Gaah Saraasary.
The course of the carpets are divided into numbers of different frames or parts which are sited in continues disciplined rows and each frame is decorated with different flowers or leaves. This style’s sub-branches are:
“GHABBI ISLIMY”, “Ghaaby Qurany Kermaan” or “ Sotouny”
All the designs of this group are designed based on natural flowers, especially light colored flower roses, such as yellow, blue and red. Sub-branches of Gol Farang design are:
Gol Farang Bijaar”, “Gol Farang Dasteh Goli “,” Gol Farang Gol-o Bolbol”, “Lachak va Toranj Gol Farang”, “Afshaan Gol Farang” and….
Many flowerpots can be found in the Goldaany designs in different sizes, and that’s why this style is called “Goldaany,” in fact, “Goldaan” means flowerpot in Persian, and “Goldaany” means something which contains some flowerpot or is similar to flowerpot.
Sometimes a big flowerpot full of flowers covers the whole carpet, and sometimes some tiny flowerpots are sited around the carpet course in summitry, or they cover the entire carpet in continuous rows. Sub-branches of this style are:
“Goldaany Khaataa-ee”, “Goldaany Do Tarafeh”,” Goldaany Mehraaby”,” Goldaany Saraasary”, “Goldaany Zellol Soltan” (“Golo Bolbol”), “Goldaany Haj Khaanoomy”,” Goldaany Tekraary”, “Goldaany Lachak Toranj” and “Goldaany Yek Tarafeh”.
GOLDAANY ZELL-E SOLTAN
It is one of the sub-branches of Goldaany designs with birds on the sides of the flowerpot instead of handles, and it is full of flowers.
GOLDAANY HAJ KHAANOOMY
It is of the “Goldaany” style sub-branches, which is most famous among the “Ghashaghaa-ee” people, and it is called “ Naghsh-e Nazem” in Shiraz city. The Ghaliche (rug) with this design is called “Nazem Kashkooly”.one of the significant points about this style is the proportions observance and the size and dimensions of the similar repeated objects throughout the carpet.
It is said that the name “ Haj Khaanoomy” has come from a lady called “ Haj Khaanoom Jahaan Aaraa Bee-bee,” who has made such an excellent effort for “Ghashghaee ” carpet(carpet style of Ghashghaee tribal) weaving art.
The word “Mehraab” means “altar “ in Persian, and the word “Mehraaby” is referred to whatever looks like an “ altar.” An altar shape is a moving object to carpet designers for this creating this style, those designs which are having this semicircular altar are not having a hunting scene usually, as well as using trees and flowers to visualize paradise, and it is hardly tried to implant the holiness of the altar to the observer as a spiritual place.
The primary key of this style is altering, which can be seen with a hung candelabrum from the altar’s arch, or some trees and flowerpots used as decoration, or sometimes the altar is standing over two giant columns placed on two sides of the altar.
MAHI DAR HAM
It is one of the most famous and current designs in Iranian carpet designs and it mainly comes with a “Vaagireh” ( or Mahi (is the name of a design that is fully covered with the repetition of a small object in the whole carpet) that is repeated in length and width of the carpet.in this design, a rhombus shape is in the middle of the carpet and four other triangles are sited on its four sides and fully covered with “Mahi” design.
“Mahi Dar Ham” designs are famous with different names in different part of Iran and the most important ones are:
“Mahi Heraty”, “Mahi Faraahaan”, “Mahi Zanboury”, “Mahi Kurdistan” and “Zire Mahi”.
The Moharramaat designs have an object from a design, which is repeated in the length of the carpet, and the rug's width is divided into some rows; each row is continued specified color and design from the start till the end, so the carpet is stripped. This design is called Ghalamdaany in some parts of Iran; the sub-branches of Moharramaat are:
Ghalamdaany Saraasary, Gol Riz or Kaf Saadeh and Botteh (means bush) Ba Kaf-e Alvan.
Geometrical shapes are used in this style of design, and that’s why it is called Hendesy, which means Geometrical in Persian. Usually, the lines are angular, and they don’t move in arches and circles .main sub-branches of this style are :
Hendesy Bandy Ghaabi, Hendesy Toranj Daar, Hendesy Moharramaat, Hendesy Lachak Toranj (Shaakheh Shekaste), Hendesy Kaf Saadeh, Hendesy Khataee, Hendesy Setareh ( Moozaaeek), Hendesy Khaanoom Shiraazi and Hendesy Joshaghaany.
This is one of the oldest Iranian carpet designs, and native carpet weavers' minds created the designs. Nature and their living environment are reflected in the most straightforward way in their carpet designs; they are not following the traditional design and have their beauty. The carpet designers have transferred this style from one region to another to be admitted from the most western part of Iran to the most eastern part of Iran. This style sub-branches are mainly from those regions where the designs were circulated from the beginning, or they are in the name of the people who had significant influence in the area or ordered the design. The old and famous characters of this group are:
Heibat Loo( related to Fars province), Ghashghaa-ee Botteh, Afshari, Khaatoony, Ardebil, Mezloghaan, Khamseh, Saaveh, Tafresh, Heriss, Goraavaan, Zanjaan, Meshkin Shahr, Bakhtiaary, Kurdy, Yelmeh, Gabbeh(Khod Rang),Sistaan , Ferdows,Saalaar Khaany, Yaghoob Khaany, Sang Chooby, Ali Mirzaa-ee, Jaan Beigy, Jaanamaazy, Javeen, Moosaa Abaad, Balochistan, Veis, Gharjeh, Seneh, Dasteh Gol.
In addition to mentioned designs, every one of them has its own specified name and history, some other designs are created out of the composition of two or more methods together, and the word “ Talfighy” means composed of two or more objects together. Sub-branches of this style are:
Shaakheh Pich Toranj Daar, Selseleh-ee Toranj Daar, Talfighy Lachak Toranj, Goldaany Band Islimy, Talfighy Toranj Daar, Talfighy Toranj Toranji Kaf Saadeh, Talfighy Lachak Toranj Kaf Saadeh, Talfighy Lachak Toranj Sabzy Kaar Kaf Saadeh and Talfighy Bandy Dasteh Gol.
GOL FARANG DESIGNS
The main critical elements of this style are red roses with regularly five or eight rose leaves in a bunch of flowers which are repeated in the whole carpet.
Sometimes Gol Farang is designed in the flower pot, and its other types' names are:
Gol Farang Bijaar, Bazoo Bandy, Dasteh Gol, Mostofy and…..
GOL FARANG MOSTOFY
The title “Mostofy” was honored by kings to their functionaries. This style has mainly common in the cities of Arak, Tabriz, and Bijaar, and it’s most probably referred to as one of the Mortifies from the Qajar Period; basically, this style is formed by some rhombus which is combined with “Gol Farang “ designs and decorative branches or even sometimes Islimy designs are used for more decoration.
GOL FARANG LACHAK TORANJ
In this style, the central "Toranj" is surrounded by red roses and "Gol Farang" flowerpots, and the recognizable difference between the design and the color of "Lachak," from the main base has created an elliptical shape right in the center of the carpet which the central "Toranj" is bragging in it. Wide margins in this style reflect the designs and primary colors of the basement.