Isfahan Rugs and Carpets - Modern

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Isphahan

The Older Isfahans from before W.W.II made a positive impact on the market. Buyers liked their fine weave and the degree of contrast between the borders and field. Of the Isfahans one of the towns that made a very attractive Isfahan developed their own reputation for quality. That town was Nain and in the second half of this century they began to make a distinctively different rug. The Nain was basically a very fine Isfahan with silk highlights and the contrast was toned down making a more homogeneous look.

The weaving masters of Isfahan saw a sizable portion of their market shifting to the finer Nain rugs. In response to the new competition they made some major changes to Isfahans as a type. They wove finer rugs that while not as fine as the finest Nain where ample to let them compete. They also began to use more silk both as highlights and as the warps.

Sadegh Seirafian Gol-o-bolbol Isfahan Rug

Faizullah Haghighi/Rostam Shirazi Isfahan rug

The workshops of Isfahan

One of the reasons for the greatness of Isfahan is the workshops. Supervised weaving production by master weavers called Ustad is the best way to insure superior quality. Some of the workshops became well known. 

The best known workshop is the Seirafian. The elder Haj Agha reza Seirafian created the design that has become identified as the quintessential 20th century Isfahan. Sarafian was a major workshop that popularized a style that we see to the left. Intricate fine work, extravagant Islimis. Perhaps extravagant is not the right word because it is details such as the correct execution of a multi-plane Islimis that makes them stand out.

The rug to the left is what is generally called a second generation Serafian . This is on the basis of the 576 knot to the square inch knot count , the silk highlights and the silk warps. When we say second generation Serafian we date the rug to post W.W.II.

Important Isfahani designers include:

• The Late Master Allameh

  • Sadegh Seirafian Red Field Eslimi Isfahan Rug

• Master Ahmad Archang

  • F. Haghighi Archang Isfahan rug

  • Sadegh Seirafian Arjan Isfahan Rug

• Master Isa Bahaduri

• Master Faizullah Haghighi

  • Isfahan Carpet Faizullah Haghighi 6 meter

  • Faizullah Haghighi The base of the dome of Shah-Mosque Isfahan Carpet

• Master Javad Rostam Shirazi

  • Faizullah Haghighi/Rostam Shirazi Isfahan rug

  • Faizullah Haghighi/Rostam Shirazi Isfahan rug #2

  • Faizullah Haghighi/Rostam Shirazi Isfahan rug #3

• The Late Sadegh Seirafian

  • Sadegh Seirafian Flowers & Butterflies Isfahan Rug

  The Dr. Pat Doran Dardashti Isfahan Rug

• Ahmad Dadkhah, Born 1947

  • Sadegh Seirafian Gonbad-e-mina Isfahan Rug

  • Sadegh Seirafian Charkh-e-Gardoon Isfahan Rug

• The late Master Haj Mosaverolmoki

  • Notes on the Late Master Haj Mosavar ol Molk

• Master Javad Rostam

One design that has never really caught on in the US but is popular in the rest of the world is the cream field all over design Isfahans that we see to the left. These are often seen in room sized and over-sized carpets

12 by 17 Foot Post W.W.II Isfahan2

Size: Most rugs are Zaronim (3 by 5 foot) or large Dozars (5 by 7 foot). Dozars sell for more per foot generally. Some Pushtis, Zaroquarts and small carpets are made as well.

Structure: Asymmetrical knot open to the left.  Average 200 to 1500 knots per square inch.

Yarn Spin: Z.

Warp: White cotton

Weft: 2  cotton. (up until recently handspun cotton was used which had slubs but now on better grade rugs mill spun wefts are often used used.)

Pile: 2 wool singles.

Ends: plainweave skirt with with warp fringe.

Selvages: 1 cord plain wool.

Handle: Light - medium.

Further Notes:

• Tabriz rugs may look like a Isphahan but have symmetrical knots and more regular wefts.
• Kashans may resemble Isphahan rugs but have more regular wefts and have a more traditional formal appearance.
• Nain rugs are so similar that attribution is challenging. Nain is more likely to have cotton warps with silk highlights but if a Isphahan has silk highlights then it usually has silk warps. A personal observation is that Nain have more homogeneous light color with less contrast. While not absolute Isphahan rugs have contrast between borders and the field.

Please see RugNotes Guides Older Isfahans and Classic Isfahans

Signed Serafian Isfahan Rug

Related examples:

• Isfahan Rugs: Older Zolfagari Isfahan Rug

• Isfahan Rugs: Older Zolfagari Isfahan Carpet

• Isfahan Rugs: Shoreshie Isfahan Rug

• Isfahan Rugs: The Malakouti Carpet Workshop of Isfahan

• Isfahan Rugs: Modern Isfahan Prayer Rug

• Isfahan Rugs: UK Esfahan carpet C. 1930 Sotheby's lot 37

• Isfahan Rugs: The Cloudband Serafian

  • Isfahan Rugs: My Favorite Isfahan Rug

• Isfahan Rugs: Isphahan Rug

• Isfahan Rugs: Serafian Silk & Wool Isfahan Carpet

• Isfahan Rugs: Serafian Isfahan Carpet

• Isfahan Rugs: UK Isfahan carpet 2nd half 20th C. Sotheby's lot 36

• Isfahan Rugs: Hekmatnajad Isfahan Rug

• Isfahan Rugs: Older Signed Serafian Isfahan Rug

• Isfahan Rugs: Signed Serafian Isfahan Rug

• Isfahan Rugs: Post World War II. Isfahan Carpet

• Isfahan Rugs: Isfahan Rug Circa 1950 Sotheby's lot 70

• Isfahan Rugs: early 20th century Isfahan carpet, Sotheby's lot 69

• Isfahan Rugs: Isfahan carpet, circa 1930 Sotheby's lot 44

• Isfahan Rugs: Mir'jalali Isfahan rug W&W

Hekmat najad Ispahan Rug

Guide to Rugs & Books

La Miniature En Orient

Southwest Asia Time Line