An Introduction to Classic Traditional Design in South Persian Rugs

by Majid Paydar, PhD

Introduction

The purpose of this monograph is to illuminate the intricacy of design applications in South Persian rugs. Most of the applied patterns in fact are rooted in the past—sometimes thousands of years of history passed down from generation to generation among the weavers. Often these motifs have symbolic meaning attached. Sometimes the meaning and the names remained unaltered; occasionally they were modified. Often a weaver will adopt and apply the same patterns of the past. Sometimes she adds her own creations according to her situation. But her input is always calculated rather than random. The various categories of designs are treasure resources for South Persian weavers. In this monograph we describe the “Ashkali” or mixed design. This text is based to a large extent on an exhaustive two volume book by Cyrus Parham on South Persian rugs.*

The Ashkali Style

The oldest and most original type of designs used in South Persian rugs (by Qashqai and other tribes as well as villages in Fars province) is called “Ashkali” or mixed patterns. The definition of Ashkali, as the term suggests, refers to the juxtaposition of various motifs together that have no relation to one another. Furthermore, Ashkali style is in contradiction to many other styles, such as Eslimi (spiral pattern) where flowers and branches are interconnected in a symmetrical form, Moharramat (striped) patterns, the intertwined Mahi (fish) patterns, or the Nazim (floral) pattern.

Ashkali style specifications are as follows: first, the patterns are always geometrical; second, they are asymmetrical; and third, due to the fact that the weaver employs different isolated pre-existing traditional patterns through memory, it leaves a higher degree of freedom in terms of creating new designs that have no relation to the old ones. However, the weaver’s freedom is combined with carefulness in keeping the balance of colors and motif arrangements.

Various South Persian tribes and sub-tribes employ Ashkali patterns differently. For example, Sheshblukis arrange isolated patterns in an orderly fashion and symmetrically. Some other Qashqais (such as Shekarlu, Cherpanlu, and Heibatlu) only follow isolated, irregular patterns. Still some others employ Ashkali style, but often apply semi-geometrical patterns along with flowers and branches. These include Rahimlu, some Shehblukis, and Lori members of the Qashqai tribe. Finally, there is a group of weavers that seldom use Ashkali patterns; these include Igdar and Chegeni.

It is important to mention that application of Ashkali or mixed patterns is not confined to South Persia. Many other villages in Iran as well as weavers in the Caucas follow the same procedure.

The roots of classic Ashkali designs among Persians are archaic and are found in the Archimedian, Sassani, and Ashkani dynasties. The most important types of these patterns are:

1.     Khorshid-e Aryaie (Aryan sun)
2.     Gol-e Shatranji (checkered patterns)
3.     Neshan-e Sassani (Sassani sign)
4.     Morgh va Derakht (birds and tree)
5.     Gol-e Hashtpar (eight-petal flowers)
6.     Nilufar-e Aabi (water lily)

Design Elements

Aryan Sun—Perhaps the oldest symbol in South Persian rugs is the Aryan Sun. It is believed that the history extends to thousands of years before Christ. Moreover, this mysterious symbol has been found in artifacts of other cultures, such as China, India, Japan, and among American Indians—with different interpretations. Among the Chinese, for example, the symbol stands for happiness, while for Persians it refers to the sun, for which Persians had a great deal of admiration and respect.

The oldest example of the Aryan Sun was discovered in Sush artifacts believed to belong to the Ashkanian dynasty, 250 BC. The design originally was curvilinear, later transformed into a geometric shape. According to some archeologists, the symbol was comprised of four incomplete square corners, representing the four main substances for existence: water, wind, earth, and fire.

The origin of Figure 1 comes from the Ashkanian dynasty, who ruled Persia from 250 to 226 BC. The image is taken from the oldest fabric of that era demonstrating the Aryan Sun. As the image suggests, the geometric design has no continuation, but is rather isolated in form.
Figure 2 and Figure 3 show more complex and developed forms of Aryan Sun. These images are from the pre-Islamic era of the Sasani dynasty (224-652 AD).
The Aryan Sun in Islamic art was modified and combined with cuneiform style of writings, creating most interesting continuous forms. As we see in Figures 4 and 5, the design is continuous and infinite; in every direction the pattern is endless.
The design shown in Figure 6 is called the cuneiform flower, which is taken from Soltaniyya Tomb, one of the historic buildings made by Sultan Mohammad Khodabandeh. It is located in the east of Zanjan, northwest of Iran, and left from the Mongol’s invasion of Persia.
The design in Figure 7 shows the application of the Aryan Sun pattern in a continuous fashion in a Bakhtiari kilim. Figure 8 is representative of a network of the Aryan Sun in cuneiform style.
The designs in Figure 9, 10, 11, and 12 are more sophisticated forms of the Aryan Sun. Needless to say, the sun had a grave importance to these people; out of respect they applied that in their products.
Checkered—The second popular type of design applied by South Persian weavers is called Gol-e Satranji, or checkered. This pattern also has a long history. For example, the design in Figure 1 has a double significance, showing both the Aryan Sun and the checkered pattern. Many weavers apply black and white patterns both in the background and the borders of the rugs. Some examples of this type are shown in the following images.

The design in Figure 13 comes from a fabric of the Al-e Buya era (942-1070 AD). The design demonstrates both a plant with three flowers and “birds and tree” pattern (q.v.).
The design in Figure 14 is a complex form of diamond shape. Figure 15 shows the checkered design arranged into the “stairs” shape used by the Qashqai tribe, especially Shekarlu, Rahimlu, and Arab Cherpanlu. Finally, a more simplified form of checkered pattern, shown in Figure 16, was employed by weavers of the Darab mountains, called “Mohr” or “Mohri.”
Sassani Sign—The third class of designs is called Neshan-e Sassani. The design in Figure 17 can be found in many rugs all around the Fars province. Some weavers apply the pattern here and there, but some like Shishbluki, use the pattern all over the rug. Figure 18 shows the Lori Shishbluki version of the Sassani sign.
There are some ambiguities in the origin of Sassani design, and there is no exact identification of the pattern in that period. However, designs in Figure 19 and 20 are actually from that time period, and justify that the Sassani sign came from the eight wing pattern. A more modified design (Figure 21), which is called a sunflower among the weavers, is, in fact, a new version of the Sassani sign. Figure 22 shows the actual design used in a saddle bag by Qashqai (Shishbluki).
Birds and Tree—The fourth category of designs is labeled as “Morgh va Derakht,” meaning “birds and tree.” Figure 13 shows one of the oldest patterns of this sort, left to us from the Sassani period. The tree is the symbol of the tree of life, and the birds are usually in pairs facing each other. This is the case among the Baharlu tribe, Arab-Farsi, and among the weavers in Niriz and Bavanat.

The birds and tree pattern is also seen in other areas besides South Persia. For example, Figure 23 shows its application by weavers of the Caucas.
Qashqai weavers in general have not shown much interest in the birds and tree pattern; it is primarily found among the Khamseh Confederacy, mainly the Baharlu and Arabs. Figure 24 is an example of the pattern applied by Baharlu; Figure 25 is an example by the Arab-Farsi tribe.
Eight Petals Flower—The fifth category of designs refers to the Gol-e Hashtpar, or “flower with eight petals.” The antiquity of the pattern in South Persian rugs can be traced to twenty-four hundred years ago. Eight petal flowers either in black and white or light and dark colors were used by Sakas and Medes long before Christ. In some literature, the design shown in Figure 26, for example, has been interpreted as “four seasons.” In other places where the flower has twelve petals, it has been interpreted as the twelve months of the year.
Water Lily—The sixth category of designs is called “Nilufar-e Abi,” or water lily. The origin of the pattern can be traced to the Sassani dynasty. IT is important to mention that the South Persian as well as Caucasian weavers applied the pattern in its simplest geometric form, with the exception of Bavanat in South Persian rugs, where the pattern is transformed into floral or “Eslimi” pattern. Figure 27 and 28 show examples of this.
Furthermore, some of the water lily patterns (such as shown in Figure 28) have been interpreted as the origin of the famous Shah-Abbasi flowers. This is a modification of the simple straight lined geometric patterns into more complex curvilinear flowers and leaves. Designs in Figure 29, 30 and 31 demonstrate examples of the primitive forms of the water lily pattern.
*The material and translations of illustrations are based on the following two books written in Farsi:
1. Parham. Cyrus: Handwoven Rugs from Tribes and Villages of Fars, Vol. 1. Amir Kabir, Tehran. 1986.
2. Parham. Cyrus: Handwoven Rugs from Tribes and Villages of Fars, Vol. 2. Amir Kabir, Tehran. 1992.