{"id":12251,"date":"2023-05-18T13:37:40","date_gmt":"2023-05-18T13:37:40","guid":{"rendered":"https:\/\/dorontash.com\/en\/?p=12251"},"modified":"2023-05-18T13:37:40","modified_gmt":"2023-05-18T13:37:40","slug":"art-of-hand-woven-fabrics","status":"publish","type":"post","link":"https:\/\/dorontash.com\/en\/art-of-hand-woven-fabrics\/","title":{"rendered":"art of hand woven fabrics"},"content":{"rendered":"

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In this article, we want to discuss the art of hand woven fabrics and types of textures. Knitting is one of the most common methods for making two-dimensional woven fabric. The yarns are dyed at right angles and placed in the weaving process. A thread that is horizontal is called warp and a thread that is vertical is called weft. When the thread runs vertically along the length of the fabric, it is called the grain of the fiber. If you place a ruler or tape diagonally across the fabric, you will find the diagonal grain. At the edge of the woven part of the fabric, the warp threads are placed around the weft threads and this is called chele.
\nWeaving is done on a loom, if the weave is simple, this process is usually done on a simple loom, but if the weave is difficult and difficult with complicated weaves, then weaving must be done on a jacquard machine.<\/div>\n<\/div>\n<\/header>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Videos of how to art of hand woven fabrics<\/h2>\n

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Indian textile video<\/h3>\n

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Video of textile weaving in Europe<\/h2>\n

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Traditional weaving cloth video<\/h2>\n

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Finely hand woven fabrics video<\/h2>\n

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The art of hand woven fabrics and its history<\/h2>\n<\/header>\n
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\"Iranian<\/div>\n<\/section>\n

Weaving<\/strong>\u00a0is the process of forming and making\u00a0\u00a0fabric<\/strong>\u00a0\u00a0by interweaving two or more sets\u00a0\u00a0of threads<\/strong>\u00a0\u00a0using a fixed machine called\u00a0\u00a0a loom<\/strong>\u00a0\u00a0in modern times and\u00a0\u00a0by hand and basic and simple machines<\/strong>\u00a0\u00a0in ancient times.<\/p>\n

Humans\u00a0\u00a0\u00a0have started using\u00a0woven fabrics since the beginning of history.\u00a0<\/strong>If\u00a0 we exclude\u00a0the Paleolithic age<\/strong>\u00a0\u00a0, the history of civilization will largely\u00a0\u00a0\u00a0be\u00a0the history of weaving .<\/strong><\/p>\n

Although early civilizations used coarser threads to make\u00a0\u00a0cloth<\/strong>\u00a0, which were very crude and hard, \u00a0there are also\u00a0\u00a0sources of fine cloth creation through silk filament in\u00a0\u00a0China .<\/strong><\/p>\n

Woven fabric from the early centuries of Islam to the Mongol invasion<\/h2>\n

The style and texture of various fabrics in the early centuries of Islam<\/h3>\n

\"The<\/strong><\/p>\n

The period of Al-Buyeh<\/strong>\u00a0\u00a0(250-420 AH) and Seljuq is distinguished because of the progress achieved in cultural affairs.\u00a0In Darwan al-Buyeh, which arose from the Tabaristan region, the silk weavings during their rule (in the fourth and early fifth centuries) have designs that are not only a continuation of the same Sasanian motifs, especially in the image of animals, but also some masterful forms. added to them.\u00a0Designing one or more images in such a way that another role is obtained from their intervals is one of the old techniques of Middle Eastern design, which is frequently seen in Sassanid era fabrics.\u00a0In the silk fabrics of the Al Boyeh period, these motifs are among the most diverse designs and repeat the common designs of the Mazda worship period.<\/p>\n

“Iranian mystics who are well versed in the history of their tariqa have repeatedly pointed to the remains of images, allusions and ideas of the ancient Iranian religion in Sufism, and this meaning has been recorded on the silk fabrics of the 4th and 5th centuries.\u00a0These silk fabrics are considered as important documents in the history of culture, and in terms of the art of weaving, they have a perfect score in design and texture” (Pope, 98).
\nSome of the old designs are slightly different from the ancient examples even in style.\u00a0Despite its small size, the double-headed eagle looks huge due to its abstract design.\u00a0The horns of an antelope on the head of this royal bird show the durability of pictorial allusions, and the pattern of the winged king on the big chest of the bird also speaks of the same meaning.\u00a0The lion and peacock on both sides of the tree of life are completely Sasanian in meaning and appearance.\u00a0Although in their design and proportion, they have not completely followed the old tradition.\u00a0These animal motifs are limited in a circle like Sasanian works.<\/p>\n

Another example of this art is a design that shows two lions guarding the “Hervisp Tahgak” tree.\u00a0From the top of this tree, two imaginary birds fly down and sprinkle blessings on the ground.
\nThe peacocks, which are the sign of the starry sky, have become very small in the rhombus frame, which is an old allusion to the moon, in this design, while in other designs, they are shown big and large, and to clearly show their importance, other animals such as cats are placed under them. They have put their forks.<\/p>\n

Although according to ancient traditions, the distance tree grew from a jar of clouds, it is not subject to a specific design method.\u00a0The broad half-leaves with large dots at the end of their veins are adapted from the painting style of Kashan enamel pottery.\u00a0The legendary winged deer, although rarely seen in these motifs, have a history of their own.\u00a0But the shape of insects is a type of innovation that has no special meaning and value.\u00a0The contrast between the smallness and compactness of the circle motifs with the open space of the middle designs is strange and at the same time masterful.\u00a0This design, which includes different shapes in consecutive and parallel strips, is full of positive and negative roles.\u00a0One of them is the design of a palm tree with a thin stem between two peacocks, whose leaves look like a human face when you look closely, and this is out of the usual pre-Islamic designs.<\/p>\n

Maybe this\u00a0\u00a0fabric<\/strong>\u00a0\u00a0was made\u00a0\u00a0of\u00a0\u00a0linen .\u00a0<\/strong>From a bronze rod that was discovered in\u00a0\u00a0Hesar Damghan hill<\/strong>\u00a0\u00a0with other works belonging to the 3rd millennium BC, it is clear that it was used for\u00a0\u00a0spinning<\/strong>\u00a0\u00a0and very thin threads were woven with it, and this is the reason for the development of spinning at that time.<\/p>\n

Achaemenians<\/strong>\u00a0were famous \u00a0for weaving\u00a0 soft and delicate\u00a0woolen fabrics<\/strong>\u00a0\u00a0, and these fabrics are the reason for the fame of their luxurious and beautiful clothes.\u00a0The same floral fabrics<\/strong>\u00a0can be seen on the patterns\u00a0 of\u00a0the glazed tiles<\/strong>\u00a0\u00a0that\u00a0\u00a0\u00a0were obtained\u00a0 from the\u00a0Achaemenid<\/strong>\u00a0buildings \u00a0in\u00a0\u00a0Susa<\/strong>\u00a0\u00a0, and their design is definitely\u00a0\u00a0embroidered<\/strong>\u00a0on the\u00a0\u00a0fabric<\/strong>\u00a0\u00a0.<\/p>\n

But the fame of\u00a0\u00a0Iranian textile art<\/strong>\u00a0\u00a0reached its peak\u00a0\u00a0in\u00a0\u00a0the Sassanid period .\u00a0<\/strong>It was during this period that\u00a0\u00a0silk<\/strong>\u00a0\u00a0came\u00a0\u00a0to\u00a0\u00a0Iran<\/strong>\u00a0\u00a0from\u00a0\u00a0China\u00a0 , and\u00a0<\/strong>silkworm cultivation\u00a0<\/strong>\u00a0and\u00a0\u00a0silk industry<\/strong>\u00a0\u00a0were widely spread in the country itself.\u00a0From this period, only a few pieces\u00a0\u00a0of silk cloth<\/strong>\u00a0\u00a0and one or two pieces\u00a0\u00a0of woolen cloth<\/strong>\u00a0\u00a0are left.<\/p>\n

But the motifs of the flowers of these fabrics\u00a0\u00a0\u00a0left\u00a0 on the images of\u00a0Bostan vaults<\/strong>\u00a0\u00a0and\u00a0\u00a0Sasanian silver vessels<\/strong>\u00a0complete our information in this regard and \u00a0show the perfection of this\u00a0art<\/strong>\u00a0\u00a0in\u00a0\u00a0the Sasanian period .\u00a0<\/strong>The designs of these fabrics are very attractive and diverse, and their style has a special advantage.\u00a0Although this point is more in terms of strength and sobriety of the role than in terms of elegance.<\/p>\n

But the great transformation that happened in Iran’s religion and politics and ended the Sassanid dynasty, interrupted this industry and replaced it with Islamic idolatry, which prohibited not only religious allegorical roles but also any representation of living creatures.\u00a0Although\u00a0\u00a0the Iranians<\/strong>\u00a0\u00a0accepted Islam, Iran, which was the inheritor of three thousand years of artistic resources, did not leave the images of animals, birds and humans, which were the customs of their ancient\u00a0religion<\/strong> \u00a0. iran handicrafts<\/a><\/p>\n

hand woven fabrics in Iran<\/strong><\/h3>\n

\"IranianThe skill and initiative\u00a0\u00a0of Iranians<\/strong>\u00a0\u00a0in\u00a0\u00a0the art of weaving<\/strong>\u00a0\u00a0has a long history.\u00a0On\u00a0\u00a0the bronze blade of the ax<\/strong>\u00a0\u00a0, which was obtained with the pottery of the first era of Susa, due to the effect of copper salts, there is a trace of the cloth they were wrapped in, which shows that it was around 3,000 to 3,500\u00a0\u00a0years\u00a0\u00a0ago\u00a0<\/strong>\u00a0.<\/strong>\u00a0AD,\u00a0\u00a0it was common to weave fine\u00a0\u00a0cloth<\/strong>\u00a0\u00a0even with\u00a0 precision\u00a0looms .<\/strong><\/p>\n<\/div>\n<\/div>\n

The art of fabric weaving<\/strong>\u00a0is one of the ancient Iranian\u00a0handicrafts\u00a0, fortunately, there are examples of it from the Sassanid era.\u00a0In this article and the next article, after examining the history of woven fabric in the ancient eras, we will criticize the art of woven fabric in the Al-Buye and Seljuk eras.
\nThe skill and initiative of Iranians in the art of weaving has a long history.\u00a0On the bronze blade of the ax, which was obtained from the pottery of the first era of Susa, due to the effect of copper salts, there is a trace of the cloth they were wrapped in, which shows that it was around 3,000 to 3,500 years ago. Since ancient times, it has been common to weave fine cloth even with precision looms.\u00a0Maybe this fabric was made of linen.<\/p>\n

From a bronze rod discovered in Hesar Damghan hill with other artifacts belonging to the third millennium BC, it is clear that it was used for spinning and very thin threads were spun with it, and this is the reason for the development of spinning at that time.
\nFrom some of the motifs of Lorestan’s bronze saghres, which is in the Assyrian style, designs can be seen on the fabric of the clothes, the flower of which seems to have been woven into the fabric itself.\u00a0But at this time, it is more likely that they used to embroider flowers on the fabric, and sometimes braids can be seen in the patterns, which are apparently tapestries.<\/p>\n

The collection of Sassanid fabrics, like the arts created with other materials, are all traces of ancient pottery motifs.\u00a0Of course, during the long history between these two covenants, there were important changes in terms of shape and appearance.\u00a0But the great transformation that happened in Iran’s religion and politics and ended the Sassanid dynasty, interrupted this industry and replaced it with Islamic idolatry, which prohibited not only religious allegorical roles but also any representation of living creatures.
\nBut Iran was the heir of three thousand years of artistic resources.\u00a0Iranians accepted the religion of Islam with open arms, but they did not abandon the facial features of animals, birds and humans, which were the customs of their ancient religion.<\/p>\n

hand woven fabrics in the Mongol and Timurid eras<\/strong><\/h2>\n

\"Iranian<\/strong><\/h3>\n

A) Weaving centers<\/strong><\/h3>\n

From the time of Genghis Mongol’s attack on Iran until Ghazan Khan came to power in 694 AH, it should be considered a period of artistic stagnation in Iran.\u00a0But Ghazan Khan, with the encouragement of his minister of science and scientists, Rashiduddin Fazlullah, prepared the grounds for the establishment of scientific-cultural centers.\u00a0At this time, Tabriz became the center of art and as a result, many artists and researchers were attracted to this center.<\/p>\n

In general, during this period, much attention was paid to the development of industrial production and export.\u00a0One of the most important export items of Iran was silk and silk textiles, which were considered part of Iran’s wealth, and part of the sex taxes were also paid in the form of silk.\u00a0It is known that after the conquest of Gilan, Al-Jayto obliged the local rulers of that region to pay silk – each according to their capacity – in order to collect taxes.<\/p>\n

With the Mongol attack, many textile centers that were active until then, such as those in the cities of Shush, Shushtar and Ray, lost their importance due to the destruction of the cities, and some were completely destroyed and disappeared.\u00a0Despite this, after some time textile workshops were opened in the cities of Tabriz, Soltanieh, Yazd, Kashan and Neishabur.<\/p>\n

It is worth mentioning that Neyshabur was one of the main centers of fabric production before the Mongol invasion, and during this period, other workshops were added to it.<\/p>\n

Ibn Battuta mentioned the silk and kumkha fabrics, which were woven in Nishabur.\u00a0In addition, Soltanieh was an important center of fabric production;\u00a0Silk was imported from different regions such as Gilan and turned into cloth there.\u00a0In addition to being the center of textile weaving, Soltanieh was also considered one of the major commercial centers, as colorful fabrics came from Khorasan and silk fabrics from Shirvan.<\/p>\n

In the 9th century AH, at the same time as Timurid rule, the eastern parts of Iran were more affluent than other parts of the country, and Great Khorasan – which was famous for its weaving industry before this time – became more prestigious.\u00a0Especially the cities of Samarkand and Herat, which were considered two important cultural-artistic centers during the time of Timur and his son Shahrukh.\u00a0In addition, woven fabric flourished in the cities of Yazd, Kashan, Kerman and Tabriz, so that these centers exported their products to other places as well.<\/p>\n

In general, Timur and Shahrukh supported art, industry, commerce and trade.\u00a0Timur made Samarkand his capital and in all his wars with different lands, after the victory, he moved the artists and artisans of the defeated nations to Samarkand.\u00a0He turned Samarkand into the largest scientific-artistic center, and in the meantime, he brought many silk and silk weaving artists from Damascus to Samarkand.<\/p>\n

b) Types of fabrics in the Mongol and Timurid eras<\/h3>\n

\"The<\/h3>\n

The weaving of all kinds of precious woven fabrics, which existed in Iran before the Mongol conquest, flourished during the Ilkhanate period.\u00a0The Mongol leaders called the cloth weavers under their power, especially the cloth weavers who were masters in gold weaving, to the centers.\u00a0During the time of Ghazan Khan, due to the plan of his minister, Khwaja Rashiduddin Fazlullah, the trading of gold and wire was freed, and the amount of these two metals increased in the Ilkhanid countries.\u00a0As a result, it caused the production of more silk weaves.<\/p>\n

In addition to the weaving of zari types, silk weaving was also produced in the Seljuk style in centers such as Neishabur.<\/p>\n

There is little information about the weaving art of the Timurid period as far as it can be deduced from the texts;\u00a0Because there is rarely a piece of fabric that belongs to this period.\u00a0Despite this, we can safely say that many of the fabrics that are attributed to the Safavid period today belong to the Timurid era.\u00a0In this period, attention to this art-industry was so much that it caused its growth and prosperity, and eventually, this prosperity evolved and reached its peak in the Safavid era.\u00a0Unfortunately, unlike other arts of the Timurid period, such as painting, metalwork, book design, the art of textile weaving has been less studied.<\/p>\n

In general, the fabrics of this period can be divided into several groups:<\/p>\n

1.\u00a0Silk fabrics that are similar to the Seljuk period and before that in terms of texture.\u00a0Like double-weave fabrics, but not to the extent and quality of that time.<\/p>\n

2.\u00a0Types of zarbaft fabric, especially a zari type in which gold and wire are used in large quantities, so that the fabric is heavy in terms of weight.<\/p>\n

3.\u00a0Velvet and low-pile or low-pile velvet (perhaps it means the same lack of sleep that is used in the term velvet).\u00a0Ibn Battuta – as mentioned in part “A” of this chapter – mentioned its production in Nishabur.<\/p>\n

4.\u00a0Painted fabrics are another group of fabrics of this period.\u00a0One of the reasons for its popularity and development at this time was the arrival of Chinese goods, including painted fabrics, to Iran, which were welcomed and as a result, its production increased.\u00a0In addition to the fabrics that were carved with a mold, a kind of painting on the fabric was common, which was done with wax.<\/p>\n

5. Another group of fabrics of this period are fabrics on which embroidery was done, the main center of which was Kerman, and it was often done by women artists.<\/p>\n

c) Designs and decorative motifs of the Mongol and Timurid eras<\/h3>\n

\u00a0In general, the decorative subjects of Mongol and Timurid fabrics are divided into several groups:<\/p>\n

1. Motifs and subjects that show the continuity of the early Islamic and Seljuk style in this period.<\/p>\n

2.\u00a0Examples that include direct influences of Chinese art due to more contact with China.<\/p>\n

3.\u00a0A group of fabrics whose decorative motifs show the characteristics of this era.\u00a0In picture number 9, we see a silk fabric decorated with tangential geometric frames, which were very common in the fabrics of the early centuries of Islam, and two birds are placed face-to-face in each of the frames.\u00a0Although this fabric represents the continuity of the decorative methods before it, but in the spaces between the frames, the dragon motif has been decorated in the style of Chinese art, which can be said to be a well-defined combination of the previous methods with the new method.\u00a0This example belongs to the first group.<\/p>\n

Another group of decorative subjects is influenced by Chinese art and culture.\u00a0Due to the traditional and ethnic tendency of the Mongol patriarchs towards Chinese culture and traditions, and with the beginning of the establishment of Chinese artisans and artists, the preparations for an effective attitude to acquire Chinese art experiences were created among Iranian artists.\u00a0Although familiarity and contact with the culture and art of this land is related to a much older era than the Mongol rule over Iran, and the cultural relationship between Iranians and Chinese continued continuously throughout history, at this time, more influences are observed according to the wishes of the patriarchal rulers.\u00a0Therefore, on the artworks of this period, simorgh and dragon motifs in the Chinese art style can be seen many times, although before this time, simorgh motifs with special concepts were also depicted on fabrics in different ways.<\/p>\n

Another type of fabric left from this time – which can be said to be one of the characteristic weaves of the Ilkhanid period – is zarabaft fabric, which is woven from gold and silver fibers and has very delicate geometric decorations similar to Khatam work.\u00a0On the edges of this cloth, the phrase “Al-Kabir Aala” is usually written – which is one of the common expressions of this time.\u00a0It is woven in the Chinese style.\u00a0(Picture No. 11)<\/p>\n

One of the important features of art in the Ilkhanate period and especially in Timurid period – due to the formation of major cultural and artistic centers in the cities of Tabriz and then in Samarkand and Herat – is the closeness of some arts to each other;\u00a0Because in these art centers, artists of different disciplines worked together and exchanged ideas, among which the closeness of the art of miniature painting to woven fabric is remarkable in terms of decorative subjects.\u00a0In a way, the fabric can be classified under art schools such as Tabriz, Herat, and even in the Safavid period, the Isfahan art school.<\/p>\n

Woven fabric from the Safavid period to the end of the Qajar period<\/strong><\/h2>\n

A) Weaving centers\u00a0<\/strong>in the Safavid period<\/strong><\/h3>\n

\"Woven<\/p>\n

The 10th and 11th centuries AH can be safely called the golden age of textile art in Iran.\u00a0During this period, all kinds of silk, zari, velvet, cashmere, kalamkar fabrics, as well as all kinds of embroidery on fabric were made in textile workshops in Isfahan, Yazd, Kashan, Kerman, Herat, Mashhad, Rasht, Tabriz, and Qom. They were famous for making a type or types of fabric.\u00a0For example, Isfahan was the center of production of all kinds of woven fabrics and kalamkar.\u00a0In Yazd, silk fabrics were woven, and in Kashan, all kinds of silk and velvet fabrics, including silk velvet and embossed flower velvet;\u00a0As stated in Chardon’s travelogue: the wealth of Kashan people is based on silk weaving, and only in one of the suburbs of Kashan city called Harun, there are thousands of silk weaving workers.\u00a0Kerman was the main center for making cashmere shawls.\u00a0In the cities of Isfahan, Yazd and Kashan, all kinds of woven fabrics were woven, and the weaves of each place had their own characteristics;\u00a0As zari with mihrabi design were mostly produced in Yazd and flower zari with human motifs were mostly produced in Isfahan, or shawl fabrics were woven in the cities of Yazd and Kerman.\u00a0Kerman cashmere shawl fabric was very delicate and was made from the wool of Kerman goats – which is similar to silk;\u00a0But Yazd shawls did not have this quality, because cotton was used instead of wool.<\/p>\n

One of the characteristics of Safavid textile art, which started from the Timurid period and reached its peak at this time, was the collaboration of painters and weavers in the art center of Isfahan.\u00a0So that many fabric designers were famous painters of this time.\u00a0One of the famous weavers of the time of Shah Abbas is Ghiyasuddin Naqshband.\u00a0He managed the gold weaving and velvet weaving workshops of Isfahan, which Shah Abbas established.\u00a0He was one of the masters of Zari Bafi art style, who was famous for his eloquence and gentleness in addition to fabric design and texture.\u00a0He was from Yazd and at the request of Shah Abbas, he took charge of gold weaving workshops in Isfahan.\u00a0But after living in Isfahan for some time, he returned to his hometown and flourished this art there.<\/p>\n

In the cities of Isfahan, Yazd, and Hamadan, kalamkar fabric was also produced, but the main center was the city of Isfahan, which has continued ever since.\u00a0The neighborhoods of Chit Sazan Bazaar and Rangrozha Bazaar in Isfahan have been the center of Qalamkar fabric production.\u00a0All kinds of embroidery such as glabton embroidery, cocoon embroidery, ajideh embroidery, ten-one embroidery and pateh embroidery were also done in the cities of Kerman, Rasht, Mashhad, Isfahan and Kashan.<\/p>\n

b) Types of fabrics in the Safavid period<\/strong><\/h3>\n

\"Qajar<\/strong><\/h3>\n

Since the Safavid period is associated with the peak of weaving art in various fields, especially zari weaving, velvet weaving, calligraphy and all kinds of embroidery on fabric, therefore, in this section, we will give a brief description and history of each of the mentioned methods.<\/p>\n

zari bafi<\/strong><\/p>\n

Zari weaving is one of Iran’s national arts with an ancient background, which reached its peak of beauty in the Safavid period in terms of variety of textures, patterns and colors.\u00a0Perhaps one of the reasons for the continuity and progress of this art and craft throughout history is the support of kings and rulers.\u00a0Basically, a fabric with gold and silver fibers or glabton is called Zari or Zarbaft.\u00a0Glabton is also made of pure and delicate silk thread with gold or silver coating.\u00a0Gulabton thread has degrees of fineness and thickness that are very effective in zari weaving.<\/p>\n

Zari fabric is divided into several types in terms of weaving:<\/p>\n

1) Satin gold, whose texture is very delicate.<\/p>\n

2) Zari Hajana, in the texture of which the number of Glabton wefts is more, therefore the fabric is thicker.<\/p>\n

3) Zari mat whose texture is exactly like mat texture.<\/p>\n

4) Zari Lope woven on the back of the coil, the motifs woven on it are similar to the embroidery on the fabric, and the weft threads on the fabric are clearly defined, and the back of the fabric is exactly like the fabric on which the embroidery is done, and the threads are gathered on the back, which are distinct. .<\/p>\n

The construction of the zari weaving machine is very simple and made of wooden tools, usually two people work with each machine;\u00a0One is a gold weaver and the other is his student who is nicknamed the earring puller.\u00a0The work of the earring puller is to raise and lower the pattern on which the motifs are already patterned and mounted on the top of the machine, and he guides the motifs to the weaver.<\/p>\n

Usually, the background or in the term, the canvas of zarbaft fabrics is made of silk thread, and gulabtun is one of the weft threads with which it is patterned.<\/p>\n

As it was said, gold cloth was often the attention of kings and courtiers, and in most historical and literary texts it is mentioned as a precious and valuable cloth.\u00a0Although there are many references to gold fabric in most of the historical, literary, geographical and travelogues related to the early centuries of Islam and the Seljuk period, examples related to the mentioned period are rare.\u00a0For example, in the travelogue of Atbat Naser al-Din Shah, there is a mention of the Zarbafti cloth, which was woven during the reign of Azd al-Dula Dilami (4th century AH) and was seen on the shrine of the Prophet.\u00a0It is written in the same place that eight hundred years have passed since the life of this cloth.\u00a0Pache Zari and Zarbaft are mentioned many times in literary texts, two examples of which are mentioned:<\/p>\n

On the first day of the day, he wrapped a raging shroud on that Shahriar of the association<\/p>\n

Ferdowsi<\/p>\n

skirt and pocket, don’t jump if you weave, jump if you don’t erase the skirt and pocket<\/p>\n

Nasser Khosrow<\/p>\n

What is certain is that the weaving of gold cloth was very prosperous during the reign of the Ilkhans (8th century AH) and the nobles were obliged to send some gold cloth and raw silk to the leaders and rulers every year.\u00a0Ibn Battuta also mentioned a kind of very high-quality Zarbaft fabric that was woven in the city of Tabriz (its description was omitted).\u00a0In the Timurid period, gold cloth was considered one of the exquisite goods, and the cities of Tabriz, Herat, and Samarkand were famous for its production.\u00a0Despite this, the art of zari weaving reached its peak during the Safavid era, especially Shah Abbas, when zari weavers performed miracles in weaving all kinds of zari-woven fabrics that were woven in the workshops of Yazd, Kashan, Isfahan, and Tabriz.\u00a0One of the main reasons for this artistic peak was the attention and support of Shah Abbas (1038-996 AH).<\/p>\n

It is worth mentioning that during the time of Shah Tahmasb (930-984 AH), special attention was paid to this art and a special school was formed in gold weaving, which was the use of flower and plant motifs and hunting motifs.\u00a0After Shah Tahmasb’s death, Shah Abbas moved the capital from Qazvin to Isfahan, and a new style was formed under the supervision of Zaribaf artists in Isfahan.\u00a0One of the characteristics of the Safavid textile art, which started from the Timurid period, was the cooperation of painters and weavers in art centers.\u00a0The cooperation of these two groups in the art centers of Yazd, Isfahan and Kashan led to the production of zarabafti fabrics, which are unique in their kind and are considered among the artistic masterpieces of Iran.\u00a0In addition, there are two other schools in the art of weaving cloth during the Safavid period:<\/p>\n

A school led and initiated by Ghiyasuddin Ali Naqshband, whose style in designing fabric motifs was often the use of small designs and motifs that were in harmony with each other in a general design.\u00a0In the city of Yazd, zari with flower and plant motifs, surrounded by a crescent and an altar arch, were woven, and Ghiyath was also a master of this method.<\/p>\n

It is known that he wove a moshjari woven cloth for Shah Abbas and carved a quatrain on its border that was his own work:<\/p>\n

Oh King Sepehar, I want to meet you as long as the sun, I
\nwant you to wear this gift, because you are my fault, I want you to remember my fault.<\/p>\n

Some of Ghiyath’s children (Abdullah, Moez, Hossein and Yahya) were also artists like him and weaved excellent gold fabrics, and the names of some of them, like Abdullah, remain on the gold woven fabrics.<\/p>\n

The second style that became popular in the Safavid period was the style of Reza Abbasi – the famous painter of this period.\u00a0His style is the Isfahan school that he and his students invented and brought to its peak.\u00a0In the matter of gold weaving, the style of Isfahan became very prosperous, which was the use of large designs and motifs, mainly with the theme of the role of man and nature, in which most of the Iranian ways were desired.\u00a0Like Iranian almond eyes instead of Mongolian oblique eyes.\u00a0Among the famous weavers of this style, we can mention Muhammad Khan, Ali and Ismail Kashani and Moin, who were from Kashan, and others, Agha Mahmoud and Mughith, who were from Isfahan.<\/p>\n

The best document about the collaboration between fabric weavers and painters of the Safavid period is the gold atlas sample that is available in the Museum of the Islamic Era.\u00a0The pattern of this fabric is in the style of Isfahan, that is, the style of Reza Abbasi.\u00a0This fabric has a date and number, and its weaver, Moin Mosev, is one of Reza Abbasi’s students, who followed Reza Abbasi’s exclusive methods in painting and designing fabric.<\/p>\n

As mentioned, in the Safavid period, the art of gold weaving reached its peak of beauty in terms of the variety of motifs and texture, and after that, in the 12th and 13th centuries AH, it continued with the same methods presented in the Safavid period, in the centers of Yazd, Isfahan and Kashan. found, but a new method was not presented in this way and it can be said that it started to decline in terms of quality in the 13th century AH.\u00a0Unfortunately, despite the fact that during the textile history of Iran, Zarbaft fabric was considered one of the indicators of Iranian art and was considered one of the most important industrial-artistic products, since then it was not paid attention to and its long life was only observed by traditional arts workshops affiliated with the Heritage Organization. observed the culture of the country.<\/p>\n

Velvet weaving in the Safavid period<\/strong><\/h3>\n

\"Velvet<\/p>\n

Velvet is a type of cotton or silk fabric, one side of which is smooth and the other side has soft and close piles, and these piles sleep on one side.\u00a0The difference between velvet and other fabrics is that in addition to the warp and weft, which makes up the fabric, velvet also has piles.\u00a0In the old texts, velvet is mentioned as Khakhkhiz.<\/p>\n

There are two types of velvet fabric: single-sided velvet and double-sided or double-layered velvet, which has fluff on both sides.<\/p>\n

It is like a tent made of blue sky, which is covered with velvet lining<\/p>\n

Nasser Khosrow<\/p>\n

What is certain is that the weaving of velvet fabric has a long history in Iran, despite the fact that there are no examples before the Safavid period.\u00a0As in the historical and geographical texts, a kind of fabric named Kamkha is mentioned, which, taking into account its meaning, is the same velvet fabric.\u00a0In the dictionary of Dehkhoda, it is stated: “Manqesh fabric is said to be woven in different materials and it stands for low sleep” and it is clear that this fabric is low sleep and the sleep is specific to velvet fabric whose piles sleep on one side.<\/p>\n

There is no place for my hazle’s weak expression to Yazd Tabdar, here he rules over a foreigner<\/p>\n

Farrokhi Yazdi<\/p>\n

\u00a0During the Ilkhani period, the center of production of high-quality Kamkha fabric was the city of Neishabur, as Ibn Battuta has mentioned.\u00a0This fabric is also exported to India.<\/p>\n

During the Timurid period, velvet fabric was produced in the cities of Kashan and Yazd, and with the establishment of the Safavid dynasty in the 10th century AH, Shah Abbas, in addition to the velvet weaving workshops in Yazd and Kashan, also established velvet weaving workshops in Isfahan and invited skilled masters there, such as Zari weaving workshops under the supervision of Ghiyath Naqshband.\u00a0(its description was passed) was administered.<\/p>\n

In any case, the evolution of the velvet weaving technique and the preparation of velvet textiles – as it is known today – was realized in the Safavid era, and in the meantime, the city of Kashan should be considered the birthplace and place of growth of this very delicate and beautiful art.<\/p>\n

In general, the design of Iranian fabrics in the Seljuk era acquired a subtle artistic aspect, because it was mixed with the traditional elements of Iranian painting, and in the Mongol era, it was mixed with the art of Chinese painting, and in the Safavid era, it was refined with the taste of the artists of the time, which created unique masterpieces.\u00a0The skill of the master velvet weavers such as Ghiyathuddin Ali (Ghiyath Naqshband), Muhammad Khan and Ismail Kashani made them able to give the velvet fabric shine, hollowness and height (embossed patterns) by very delicately and skillfully increasing and decreasing the wefts of the fabric and the length of the knots.<\/p>\n

The most important centers of velvet fabric production in Iran were located in the central desert area, and Kashan, Yazd, and Isfahan were among the important weaving cities.\u00a0One of the types of velvet fabric that Yazd city was famous for its texture was purple purple velvet, which was decorated with golden yellow long-stemmed flowers with green leaves.\u00a0The feature of most of the Kashan velvet fabrics in the decorations were human motifs in the scenes of fighting and hunting.<\/p>\n

penmanship<\/strong><\/p>\n

\"Qalamkar,<\/p>\n

The history of painting on cloth is not very clear, but what is certain is that in the early centuries of Islam, in the lands of Iran and Egypt, there was such a common industry that they made designs on cloth with wooden molds.\u00a0After the Mongol invasion of Iran and the establishment of the Ilkhanate government, due to the increased connection between Iran and China and the arrival of Chinese goods including painted fabrics to Iran, the method of engraving on fabric quickly became popular in Iran.<\/p>\n

With the existing works, it is possible to attribute the peak of calligraphy art to the Safavid period in terms of the amount of production and variety of motifs.\u00a0The major centers of calligraphy were the cities of Yazd, Hamedan and Isfahan, but Isfahan was considered the main center and has been the continuation of this art ever since.<\/p>\n

Qalamkar fabrics are divided into four types in terms of working methods:<\/p>\n

1. An ordinary penman who works with wooden molds.<\/p>\n

2.\u00a0A pen on which verses of the Qur’an, supplications and hadiths are written with Kufic, Nashq, Thuluth and Ghbar lines.\u00a0Ayat al-Kursi or Nadali shirts, which were worn to ward off diseases and disasters, are considered to be of this type.<\/p>\n

3. Gold penmanship, which is a type of painting on cloth with gold;\u00a0In this way, gold was dissolved in water and used instead of paint to make patterns on cloth.\u00a0These fabrics were extremely expensive and special for the courtiers of the Safavid government.<\/p>\n

4.\u00a0Indian penman whose motifs are more inspired by Indian carvings.<\/p>\n

The preparation of the fabric for patterning is done in the following steps: in the first step, the fabric, which is usually made of canvas or silk, is called Nasheor;\u00a0This means that they wash it well with fresh and clear water and then make it mazo by combining several ingredients such as: pomegranate skin, gezbar and mazo;\u00a0That is, they soak the cloth in the solution of these substances and after some time take it out and dry it.\u00a0After this stage, the fabric is ready to be patterned, just like a canvas.\u00a0In the first step, the desired motifs are designed, and then carved on wooden molds that are usually made of pear or hawthorn wood (due to its strength).<\/p>\n

The preparation of template wood for drawing on fabric also has the following steps: first, it is left in the sun until it dries completely, then it is smoothed with sandpaper and a five-millimeter layer of melted tallow is applied on it, when the tallow has been on it for a while They shave it and rub it with pomegranate peel until the wood is completely smooth and soft, and finally, they carve the design on the wood (pictures 15, 16, 17).\u00a0It should be kept in mind that a separate template is needed for each of the colors used in the role of penman;\u00a0That is, the template with which black color is drawn, they can no longer use it for green or red color.\u00a0For example, if a Qalamkar fabric has four colors, it goes under the master’s hands four times;\u00a0It means that it should go under the master’s hand once for black motifs, once for red motifs and similarly for other colors.\u00a0Because black and red colors are the main colors of the Qalamkar fabric and in order for these colors to remain constant – when the designs of these two colors are drawn on the fabric – the fabric is placed in a large container in which a solution of Runas brain and pomegranate peel is poured. They boil the solution at 70 degrees and gradually bring it up to 100 degrees.\u00a0This practice is called Patili.\u00a0After drying the fabric, other colors are imprinted on the fabric in order.<\/p>\n

The main colors of Kalamkar are: black, red, blue, green and yellow, all of which are made from natural colors.\u00a0To obtain secondary colors, primary colors are combined to a certain extent.<\/p>\n

The above colors consist of the following materials:<\/p>\n

Black color: black alum, iron rust, castor oil and incense<\/p>\n

Red color: white alum, rose, sesame oil, incense<\/p>\n

Blue color: Peacock indigo, sulfur essence, grape juice, perfume, glycerin oil.<\/p>\n

Green color: white alum, peacock indigo, turmeric, incense, glycerin.<\/p>\n

Yellow color: pomegranate peel, white alum, turmeric, incense, glycerin.<\/p>\n

In the combination of all colors, katira is used to prevent the color from spreading on the fabric and glycerin is also used because it prevents the color from drying in the groove of the wooden molds.<\/p>\n

The patterns of kalamkar fabrics are usually similar to carpet patterns, and it can be considered as a subcategory of carpet patterns, which are:<\/p>\n

1. Lakh and Tareng patterns<\/p>\n

2.\u00a0garden design;<\/p>\n

3.\u00a0flowers and vases;<\/p>\n

4.\u00a0Inscribed;<\/p>\n

5.\u00a0altar<\/p>\n

6. house house;<\/p>\n

7. Cypress and Bete Jakeh.<\/p>\n

In addition, epic and heroic and sometimes romantic stories have also been depicted in the curtains of Kalamkar coffee house.<\/p>\n

embroidery<\/strong><\/h3>\n

\"Getting<\/p>\n

Various types of embroidery art on fabric is one of the most delicate and beautiful arts that Iranians – especially Iranian women – had a special skill in preparing.\u00a0Embroidery, or in other words, embroidery and crocheting, has been common in Iran for a long time, and although some of these examples have survived from the Safavid period onwards, many historical texts before this period also refer to this art and its types. has been\u00a0As in the world, it is made of a fabric called Sqlaton – which is a type of silk fabric embroidered with gold.\u00a0It has been mentioned that it was made in Isfahan, or the Kurdish cloths that were made in Khuzestan are mentioned in the mentioned book, and it was a type of cloth that was used to sew the edges of the book with a needle.\u00a0In later periods, various references have been made to the art of crocheting and embroidery on fabric in Isfahan and Kerman.<\/p>\n

In the Safavid period and after that, interesting examples of all kinds of embroidery have remained, and artists created very beautiful and favorable motifs of flowers and leaves and human and animal motifs on the fabric with colored silk needles and threads, and gold and silver fibers. have done<\/p>\n

There are various types of embroidery, which we mention a few examples:<\/p>\n

1. Khatami.\u00a0A type of embroidery that is very common in Iran and is known as Khatami.\u00a0It consists of a number of pieces of fabric with different patterns and colors that the artist put together with a special skill and sewed on the fabric and then embroidered the stitches with colorful silk.\u00a0This type of work is similar to Kashmiri shawls in terms of elegance and beauty.<\/p>\n

2.\u00a0Embroidery\u00a0Another type of embroidery is using sequins, which are sewn on fabric, or the use of flowers and patterns with silk threads, with gold and wire threads, which are sewn on exquisite fabrics.\u00a0This method also refers to another type of embroidery, which is designed with narrow metal strips on the fabric.<\/p>\n

3. Cocoon embroidery and wick embroidery.\u00a0Sometimes it is prominently embroidered on silk or velvet fabric with glabton threads or colored silk threads.\u00a0In cocoon embroidery, the patterns are smaller and more delicate;\u00a0But when they want larger designs and lines, first they put a long tube of thread or fabric – exactly like a wick – on the fabric according to the plan and sew on it with gold and silver threads, which is called wick embroidery;\u00a0That is, the motifs appear large and prominent.<\/p>\n

4.\u00a0Ajide Dozi\u00a0It means stitches and embroidery;\u00a0In this way, the space between the fabric and the lining is placed with a layer of cotton or wool to make it thick, and then the main fabric is stitched, and because of this, the thickness and the presence of the layer and the depressions of the needle, the patterns, hollow and prominent It seems<\/p>\n

5.\u00a0embroidery\u00a0The main center of its preparation is in Kerman and it is considered one of the most delicate Iranian arts.\u00a0In this type of embroidery, the artist embroiders different motifs of birds, leaves, and cypress trees on the silk shawl fabric.\u00a0For this purpose, first the desired motifs and designs are prepared on paper and then they pierce the paper with a needle.\u00a0After matching it on the fabric, they transfer the designs to the fabric by pouring ash into the holes.\u00a0After that, they sew patterns on the shawl with colored threads.\u00a0In Kerman pates, the design of four bates on four sides and a central bergamot and sometimes four bouquets on four corners has been very common.\u00a0Another common design of pates is the peacock design, in which a large cedar is sewn in the middle of the fabric, and two peacocks are sewn on both sides of the fabric.<\/p>\n

Each of the cities of Iran were skilled in a specific type or types of embroidery, such as the cities of Isfahan and Kashan, were famous for the art of embroidery, glabton embroidery, and silk embroidery, and in Tabriz, a type of needlework was made with woolen thread.\u00a0A type of zardozi on woolen cloth was common in the Turkmen of the Sahara, which is called Chekin.\u00a0In Rasht, there was also a type of embroidery that was done on mahout or velvet fabric. From the Safavid period to the end of the Qajar period, the art of embroidery on fabric continued to be done with the aforementioned methods on different types of fabric.<\/p>\n

c) Decorative designs and motifs<\/strong><\/p>\n

With all the diversity of decorative motifs on the fabrics of the Islamic era, they can be divided into several general groups:<\/p>\n

1. Human motifs shown in the scenes of fighting, fighting and hunting.<\/p>\n

2.\u00a0Animal motifs<\/p>\n

3.\u00a0Vegetal motifs and designs including different types of trees and flowers.<\/p>\n

4.\u00a0Various geometric designs.<\/p>\n

5.\u00a0Mythological motifs such as simorgh and dragon or symbols of mythological subjects.<\/p>\n

6.\u00a0Decorative designs and motifs, such as Bete Jagah, which is a modified form of cedar, or Taranj and Lekhi, which in a sense symbolizes the full sun and the sun at sunrise and sunset.<\/p>\n

7.\u00a0All kinds of slime and error patterns and designs, such as spiral slime, spiral, tendril, and elephant trunk.<\/p>\n

8.\u00a0Revealing the design of the mihrab in different forms, especially in the fabrics of the Safavid period.<\/p>\n

9. The use of calligraphy types such as Kufi, Tholut, Naskh, Ghbar and Nastaliq, which depends on the popularity of the calligraphy type at certain times.\u00a0For example, the use of Kufi script on the fabrics of the early centuries of Islam;\u00a0That is, a script that can be seen on other works of art at the same time, and Nashq and Thult script in the 7th and 8th centuries AH and Nastaliq script in the Safavid period, which the artist, according to the use of the type of script common at any time, to express the verses of the Quran, prayers, Various hadiths, poems and proverbs are mentioned and sometimes the name of the weaver or the customer is mentioned.<\/p>\n

It is necessary to mention that from the Seljuq period, the use of Iranian stories on fabric became common, and in the Timurid and Safavid periods, due to the closeness of the art of painting and bookmaking to woven fabric, the use of Iranian epic and romantic stories was one of the pillars of The main thing was to decorate the fabric.\u00a0Due to the abundance of diversity in motifs and decorative designs of Safavid era fabrics and after, with the description of the image, while dealing with the technique and type of fabric, we also examine the motifs.<\/p>\n

Knitting machines and weaving methods<\/h2>\n

\"Recognition<\/p>\n

Spindle is the first\u00a0<\/strong>weaving<\/strong>\u00a0\u00a0device\u00a0\u00a0\u00a0that turns fibers into yarn.\u00a0The evolution of this device has played an important role in the development of\u00a0\u00a0textile technology<\/strong>\u00a0\u00a0and is the introduction to the appearance of\u00a0\u00a0the spinning wheel<\/strong>\u00a0\u00a0.\u00a0Archeological findings indicate\u00a0\u00a0the Duke’s<\/strong>\u00a0use \u00a0from\u00a0\u00a0the Neolithic period<\/strong>\u00a0\u00a0.<\/p>\n

Many spindles have been found in many ancient sites of the Neolithic age of Iran.\u00a0A seal from the Chaghamish area of \u200b\u200bKhuzestan, dating back to 3300 BC, shows a woman spinning yarn.<\/p>\n

The weaving machine<\/strong>\u00a0\u00a0is the next device whose invention dates back to the beginning of the fourth millennium BC.\u00a0On a seal obtained from Susa, two people are depicted next to a loom, which indicates the existence of this profession at the beginning of the urbanization era.<\/p>\n

This device is one of the achievements of the history of civilization, in which\u00a0\u00a0the civilizations of Iran, China, Syria and Egypt<\/strong>\u00a0\u00a0have contributed significantly to its evolution.\u00a0The work of the knitting machine is to intertwine the yarn with the weft.\u00a0The loom keeps the threads stretched to weave the wefts.\u00a0The first braid found from Tepe Yahya in Kerman belongs to the fifth millennium BC and is made of threads obtained from animal fibers.<\/p>\n

Create designs and patterns on fabric<\/strong><\/h2>\n

It required tools and technical skills.\u00a0Most likely,\u00a0\u00a0the texture of patterned fabrics<\/strong>\u00a0\u00a0in the form of two-legged design became common in the south and west of Iran around two thousand years BC.<\/p>\n

In this method, two weaves were used together in one organization, one for\u00a0\u00a0simple weaving<\/strong>\u00a0\u00a0and the other for where it was necessary\u00a0\u00a0\u00a0to bring\u00a0the design on the fabric .\u00a0<\/strong>This method is a simple form of\u00a0\u00a0composite fabric<\/strong>\u00a0\u00a0.<\/p>\n

A little later than\u00a0\u00a0Iran<\/strong>\u00a0, a type of weaving became common in\u00a0\u00a0China<\/strong>\u00a0\u00a0, which is called composite\u00a0\u00a0design<\/strong>\u00a0\u00a0.\u00a0In this method, two threads with contrasting colors were used, and a part of each thread was placed on the fabric according to the design, and the weft passed between the two threads without the threads being intertwined, and the texture of the other weft was like a plain weave, which It tangled with both threads at the same time.<\/p>\n

At the beginning of\u00a0the Christian era,<\/strong>\u00a0\u00a0another method\u00a0 was\u00a0invented<\/strong>\u00a0\u00a0in\u00a0\u00a0China<\/strong>\u00a0\u00a0.\u00a0This method was slightly different from the previous method, in that the retaining thread was woven in a twill, and the design thread was free on it.\u00a0In this type of texture, the fabric in the part of the free and floating threads was satin, and the rest of the fabric had a contrasting twill background.<\/p>\n

Today,\u00a0\u00a0weaving<\/strong>\u00a0is done \u00a0on\u00a0\u00a0a loom<\/strong>\u00a0\u00a0, if the weave is simple, this process is usually done on a simple loom, but if the weave is complicated and difficult, then weaving must be done on a jacquard\u00a0\u00a0\u00a0machine\u00a0.<\/strong><\/p>\n

In general,\u00a0\u00a0weaving<\/strong>\u00a0is \u00a0one of the most common methods for making\u00a0\u00a0two-dimensional woven fabric<\/strong>\u00a0\u00a0.\u00a0The yarns are dyed at right angles and placed in the weaving process.\u00a0A thread that is horizontal is called warp and a thread that is vertical is called weft.<\/p>\n

When the thread runs vertically along the length of the fabric, it is called the grain of the fiber.\u00a0If you place a ruler or tape diagonally across the fabric, you will find the diagonal grain.\u00a0At the edge of the woven part of the fabric, the warp threads are placed around the weft threads and this is called chele.<\/p>\n

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Important points in knitting:<\/strong><\/p>\n