Silk Oriental Rugs
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KomKom Silk Rug 5ft x 7ft MuseumQuality
This carpet is available in various sizes and color combinations. Email at sales@kashmirhandcrafts.com or call us at 617-236-7001 to check availability and discuss other designs and patterns in our selection. We have the finest selection of Silk Rugs in various sizes, designs and color combinations.
Much of the significance cannot be attributed to ancient symbolism, which is depicted in many carpet designs, but one cannot be dubious of the fact that there are at times religious and mythological ideas having a great influence on carpet art.
The tree of life design represents the connecting link between the three world levels of ancient Orient: Paradise (in the sky), the world of men (on Earth), and the world below. It is believed that above in the universe, they are united by a great axis running vertically through the center. The idea of depicting the world axis as a tree is very important as well as ancient and is found in many other arts, besides carpets (of course, in European as well as oriental mythology). Always to remember is that with oriental mythology, the language of Symbolism is many layered.
The universal appeal of tree of life design, or any other design, depends in purely aesthetic consideration of the suitability of motif in the given design situation and the degree of technical accomplishment in its’ execution.
The tree of life as world axis is by no means the only form of symbolic tree encountered in ancient art; we can find countless examples of tree in carpet designs with religious associations.
An awareness of possible mythological implications in tree designs needs however, to be balanced by the knowledge that much of Persia is stony desert, this alone should be sufficient reason why carpet designs should so often be filled with flowers and trees.
The tree of life finds its genesis in a village called Niriz halfway between Shiraz and Sirjand in Persia. Imam Gul Khan, the famous Governor of northwest province in Persia ordered a special carpet with tree of life design for the tomb of Sheikh Saidis. The carpet was completed in 8 years under the personal supervision of Ali Hashmi, the master weaver of par excellence. The same rug has even decorated the majestic courts of Nadir Shah and Ahmed Shah Abdali.
During Iranian revolution, the rug was sold to a Britishers who later sold it to the Prince of Wales and is nowadays seen in Victoria & Albert Museum, London.
In Kashmir, the Hamdan family (descents of the Bakhtiyar tribe in persia) have been knotting Tree of life design carpets since 16th century with numerous variations. In fact, in reality, the Kashmiri variations in this design has outclassed the designs originally conceived in Persia, because of the various beautiful additions and improvements, which have been influenced by the beautiful environment of Kashmir “ The Paradise on Earth” having abundant natural beauty, flowers, trees, gardens, and streams.
Dab Dhar:
This is a design conceived in Kashmir on exactly the same lines as that of “Tree of Life”. Basically there is no difference as for as content of design except the size of the rectangles in which the design of tree of life accommodated and accomplished. Nor does it, in any way encroach upon the originally conceived design of tree of life, which continues to enjoy same popularity today, as it commanded in yester years.
In the Dab Dhar design the rectangles are smaller say 3”x4” or 4”x5” or even this can be of square shape 4”x4” or 5”x5” depending upon the size of the carpet, while in tree of life the rectangles are usually of 8”x10” or 10”x12” size.
The Kashmir version or as Dab Dhar it is called, can accommodate more religious, mythological and other symbolism’s and is particularly suitable for smaller rugs, with possible scope for more color combinations; Dab Dhar in essence means kashmiri design in rectangles or square shape.
Maqbool Kashan Silk Rug Carpet 6ft x 9ft
This carpet is available in various sizes and color combinations. Email at sales@kashmirhandcrafts.com or call us at 617-236-7001 to check availability and discuss other designs and patterns in our selection. We have the finest selection of Silk Rugs in various sizes, designs and color combinations.
Zobeida, the favourite wife of the famous Caliph Haroun-al-Rasheed, established the town of Kashan, which is situated between Tehran and Isfahan. Due to the very weaving and the beautiful colours and designs, Kashans have come to be classified among the finest carpets. The knotting is very fine. The woollen Kashan has between 120 and 240 knots to each square inch, and there are 240 to 550 knots to each square inch in a silk one.
The warp and weft are made of cotton or silk. The designs vary from medallions with tendrils to vases, and from all-over patterns to very fine floral designs. However, the most common designs are those with a central medallion.
The intricate design reflects the linear and arabesque motifs found throughout Islamic architecture. The bird and flower imagery is frequently used as well. Commonly known as the “garden design,” Kashan carpets resonate with the entire ambiance of a garden, usually with a central medallion on a field and decorated with a pattern of interlocking flowering branches. Normally there is a large border clearly separated from the field, often by several narrow borders. In Kashmir, this design is called Shalimar after the famous mogul garden.
Kashmiri art and handicrafts go back over 500 years, with design inspiration from Persia and other nearby nations. Dating back to 1398, Taimur invaded India, and the Sultan Sikander of Kashmir came to terms with the invaders. As part of his tribute to the invaders, he sent his son back with the Amir to Samaekand, his capital. Taimur, in addition to his military ambitions, aspired also to be a great patron of the arts, letters and philosophy. Therefore, the exile for the young Kashmiri prince proved instructive and stimulating, and he made good use of this rare opportunity. When he returned and ascended the throne in Srinagar as Zain-ul-Abedin in 1423, he collected around him skilled craftsmen and artist who began the great art tradition of Kashmir.
Over time, carpet weaving in Kashmir has attained extraordinary levels, and can claim some of the finest hand-knotted carpets in the world. While retaining the original techniques, great advancements have been made. The pile itself is now made of the fine silk from mulberry worms raised in Kashmir expressly for these carpets. The resulting sheen and luster give interplay of infinite reflections, and become even richer over time as they are used. The density of knots has been refined to achieve suppleness unknown in Persian carpets of wool. Still cottage industries, these works of art are woven in the artisan’s home, with various family members assisting. The pattern, or taleem, is “sung” and pliant weaver’s fingers respond by creating specific number of knots in a particular color.
An Urdu couplet says:
‘They are purse proud in the world that can practice some handicraft.
The fingers of a craftsman are the keys to the treasury of Kashmir.’
Kashan carpets stand to be among the best and are as hard wearing as they are decorative.
Qum Silk Rug 8ftx11ft
This carpet is available in various sizes and color combinations. Email at sales@kashmirhandcrafts.com or call us at 617-236-7001 to check availability and discuss other designs and patterns in our selection. We have the finest selection of Silk Rugs in various sizes, designs and color combinations.
Much of the significance cannot be attributed to ancient symbolism, which is depicted in many carpet designs, but one cannot be dubious of the fact that there are at times religious and mythological ideas having a great influence on carpet art.
The tree of life design represents the connecting link between the three world levels of ancient Orient: Paradise (in the sky), the world of men (on Earth), and the world below. It is believed that above in the universe, they are united by a great axis running vertically through the center. The idea of depicting the world axis as a tree is very important as well as ancient and is found in many other arts, besides carpets (of course, in European as well as oriental mythology). Always to remember is that with oriental mythology, the language of Symbolism is many layered.
The universal appeal of tree of life design, or any other design, depends in purely aesthetic consideration of the suitability of motif in the given design situation and the degree of technical accomplishment in its’ execution.
The tree of life as world axis is by no means the only form of symbolic tree encountered in ancient art; we can find countless examples of tree in carpet designs with religious associations.
An awareness of possible mythological implications in tree designs needs however, to be balanced by the knowledge that much of Persia is stony desert, this alone should be sufficient reason why carpet designs should so often be filled with flowers and trees.
The tree of life finds its genesis in a village called Niriz halfway between Shiraz and Sirjand in Persia. Imam Gul Khan, the famous Governor of northwest province in Persia ordered a special carpet with tree of life design for the tomb of Sheikh Saidis. The carpet was completed in 8 years under the personal supervision of Ali Hashmi, the master weaver of par excellence. The same rug has even decorated the majestic courts of Nadir Shah and Ahmed Shah Abdali.
During Iranian revolution, the rug was sold to a Britishers who later sold it to the Prince of Wales and is nowadays seen in Victoria & Albert Museum, London.
In Kashmir, the Hamdan family (descents of the Bakhtiyar tribe in persia) have been knotting Tree of life design carpets since 16th century with numerous variations. In fact, in reality, the Kashmiri variations in this design has outclassed the designs originally conceived in Persia, because of the various beautiful additions and improvements, which have been influenced by the beautiful environment of Kashmir “ The Paradise on Earth” having abundant natural beauty, flowers, trees, gardens, and streams.
Dab Dhar: This is a design conceived in Kashmir on exactly the same lines as that of “Tree of Life”. Basically there is no difference as for as content of design except the size of the rectangles in which the design of tree of life accommodated and accomplished. Nor does it, in any way encroach upon the originally conceived design of tree of life, which continues to enjoy same popularity today, as it commanded in yester years.
In the Dab Dhar design the rectangles are smaller say 3”x4” or 4”x5” or even this can be of square shape 4”x4” or 5”x5” depending upon the size of the carpet, while in tree of life the rectangles are usually of 8”x10” or 10”x12” size.
The Kashmir version or as Dab Dhar it is called, can accommodate more religious, mythological and other symbolism’s and is particularly suitable for smaller rugs, with possible scope for more color combinations; Dab Dhar in essence means kashmiri design in rectangles or square shape.
Qum Silk Rug Taj Museum Quality Hand Knotted Silk Carpet 5ftx7ft
This carpet is available in various sizes and color combinations. Email at sales@kashmirhandcrafts.com or call us at 617-236-7001 to check availability and discuss other designs and patterns in our selection. We have the finest selection of Silk Rugs in various sizes, designs and color combinations.
Red Isfahan Silk on Silk Rug MuseumQuality 5ft x 7ft
This carpet is available in various sizes and color combinations. Email at sales@kashmirhandcrafts.com or call us at 617-236-7001 to check availability and discuss other designs and patterns in our selection. We have the finest selection of Silk Rugs in various sizes, designs and color combinations.
Isfahan, the capital of Persia during the reign of Shah Abbas, (1571-1629), had the most splendid mosques and monuments. Isfahan was known as a paradise of art and beauty. The artifacts of precious metals and textiles, enamelware and paintings all point to the cultural richness of the city. Even the antique tiles that adorned minarets and domes of mosques were extraordinary.
It was from this splendor that the carpet design called Isfahan originated. The intricate design reflects the linear and arabesque motifs found throughout Islamic architecture. The bird and flower imagery is frequently used as well. Commonly known as the “garden design,” Isfahan carpets resonate with the entire ambiance of a garden, usually with a central medallion on a field and decorated with a pattern of interlocking flowering branches. Normally there is a large border clearly separated from the field, often by several narrow borders. In Kashmir, this design is called Shalimar after the famous mogul garden there.
Kashmiri art and handicrafts go back over 500 years, with design inspiration from Persia and other nearby nations. Dating back to 1398, Taimur invaded India, and the Sultan Sikander of Kashmir came to terms with the invaders. As part of his tribute to the invaders, he sent his son back with the Amir to Samaekand, his capital. Taimur, in addition to his military ambitions, aspired also to be a great patron of the arts, letters and philosophy. Therefore, the exile for the young Kashmiri prince proved instructive and stimulating, and he made good use of this rare opportunity. When he returned and ascended the throne in Srinagar as Zain-ul-Abedin in 1423, he collected around him skilled craftsmen and artist who began the great art tradition of Kashmir.
Over time, carpet weaving in Kashmir has attained extraordinary levels, and can claim some of the finest hand-knotted carpets in the world. While retaining the original techniques, great advancements have been made. The pile itself is now made of the fine silk from mulberry worms raised in Kashmir expressly for these carpets. The resulting sheen and luster give interplay of infinite reflections, and become even richer over time as they are used. The density of knots has been refined to achieve suppleness unknown in Persian carpets of wool. Still cottage industries, these works of art are woven in the artisan’s home, with various family members assisting. The pattern, or taleem, is “sung” and pliant weaver’s fingers respond by creating specific number of knots in a particular color.
An Urdu couplet says:
“They are purse proud in the world that can practice some handicraft.
The fingers of a craftsman are the keys to the treasury of Kashmir.’
Isfahan carpets stand to be among the best and are as hard wearing as they are
Tree of Life Silk Carpet 6ft x 9ft
This carpet is available in various sizes and color combinations. Email at sales@kashmirhandcrafts.com or call us at 617-236-7001 to check availability and discuss other designs and patterns in our selection. We have the finest selection of Silk Rugs in various sizes, designs and color combinations.
Much of the significance cannot be attributed to ancient symbolism, which is depicted in many carpet designs, but one cannot be dubious of the fact that there are at times religious and mythological ideas having a great influence on carpet art.
The tree of life design represents the connecting link between the three world levels of ancient Orient: Paradise (in the sky), the world of men (on Earth), and the world below. It is believed that above in the universe, they are united by a great axis running vertically through the center. The idea of depicting the world axis as a tree is very important as well as ancient and is found in many other arts, besides carpets (of course, in European as well as oriental mythology). Always to remember is that with oriental mythology, the language of Symbolism is many layered.
The universal appeal of tree of life design, or any other design, depends in purely aesthetic consideration of the suitability of motif in the given design situation and the degree of technical accomplishment in its’ execution.
The tree of life as world axis is by no means the only form of symbolic tree encountered in ancient art; we can find countless examples of tree in carpet designs with religious associations.
An awareness of possible mythological implications in tree designs needs however, to be balanced by the knowledge that much of Persia is stony desert, this alone should be sufficient reason why carpet designs should so often be filled with flowers and trees.
The tree of life finds its genesis in a village called Niriz halfway between Shiraz and Sirjand in Persia. Imam Gul Khan, the famous Governor of northwest province in Persia ordered a special carpet with tree of life design for the tomb of Sheikh Saidis. The carpet was completed in 8 years under the personal supervision of Ali Hashmi, the master weaver of par excellence. The same rug has even decorated the majestic courts of Nadir Shah and Ahmed Shah Abdali.
During Iranian revolution, the rug was sold to a Britishers who later sold it to the Prince of Wales and is nowadays seen in Victoria & Albert Museum, London.
In Kashmir, the Hamdan family (descents of the Bakhtiyar tribe in persia) have been knotting Tree of life design carpets since 16th century with numerous variations. In fact, in reality, the Kashmiri variations in this design has outclassed the designs originally conceived in Persia, because of the various beautiful additions and improvements, which have been influenced by the beautiful environment of Kashmir “ The Paradise on Earth” having abundant natural beauty, flowers, trees, gardens, and streams.
Dab Dhar: This is a design conceived in Kashmir on exactly the same lines as that of “Tree of Life”. Basically there is no difference as for as content of design except the size of the rectangles in which the design of tree of life accommodated and accomplished. Nor does it, in any way encroach upon the originally conceived design of tree of life, which continues to enjoy same popularity today, as it commanded in yester years.
In the Dab Dhar design the rectangles are smaller say 3”x4” or 4”x5” or even this can be of square shape 4”x4” or 5”x5” depending upon the size of the carpet, while in tree of life the rectangles are usually of 8”x10” or 10”x12” size.
The Kashmir version or as Dab Dhar it is called, can accommodate more religious, mythological and other symbolism’s and is particularly suitable for smaller rugs, with possible scope for more color combinations; Dab Dhar in essence means kashmiri design in rectangles or square shape.
Ardabil Silk on Silk Oriental Rug Brown Handknotted 9ft x 12ft
This carpet is available in various sizes and color combinations.
Email at sales@kashmirhandcrafts.com or call us at 617-236-7001 to check availability and discuss other designs and patterns in our selection. We have the finest selection of Silk Rugs in various sizes, designs and color combinations.
This splendid and world famous design has its origin in the town of Kashan. In 1530,
Master weaver Maqsud was commissioned by Shah Tahmasp to produce for the prayer hall of his court one of the greatest carpets of all times known as the Ardebil carpet.
At 17.5 feet x 34.5 feet, this carpet could not be completed during Shah Tahmasp’s reign and was actually completed during the reign of Shah Abbas in 1539. It carried the distinction of being personally supervised by Maqsud of Kashan which is apparent in its beautiful proportion and superb colors.
Moreover, it bore this inscription:
I have no refuge in the world other than thy threshold. There is no protection for my head other than this door. The work of the slave of Maqsud of Kashan in the year 946 (1530 – 40 A.D)
The Ardebil carpet by virtue of its design and craftsmanship is regarded as one of the greatest carpets in the world. The warp and weft of the carpet is pure silk. Ardebil is a tranquil in design. It has 16 bands radiating out and equidistant from an almost round 16 pointed medallion. This suggests that the design was intended to indicate a circular dome from which two golden lamps would be suspended. As is the custom, a quarter of the center design is repeated in the four corners for harmony and symmetry. The cartouche border features a twin guard and introduces the cloud motif. Because it was created for a holy place, the design does not contain images of animals and figures.
This carpet was purchased by the Victoria and Albert Museum, London in 1924 for 18000 pounds where it is exhibited today. Previously it was acquired by Zieigler & Co of Tabriz, and then by Vincent Robinson & Co in 1893.
Isfahan Silk on Silk Oriental Rug Royal Ivory Handknotted 6ft x 9ft
This carpet is available in various sizes and color combinations.
Email at sales@kashmirhandcrafts.com or call us at 617-236-7001 to check availability and discuss other designs and patterns in our selection. We have the finest selection of Silk Rugs in various sizes, designs and color combinations.
Isfahan, the capital of Persia during the reign of Shah Abbas, (1571-1629), had the most splendid mosques and monuments. Isfahan was known as a paradise of art and beauty. The artifacts of precious metals and textiles, enamelware and paintings all point to the cultural richness of the city. Even the antique tiles that adorned minarets and domes of mosques were extraordinary.
It was from this splendor that the carpet design called Isfahan originated. The intricate design reflects the linear and arabesque motifs found throughout Islamic architecture. The bird and flower imagery is frequently used as well. Commonly known as the “garden design,” Isfahan carpets resonate with the entire ambiance of a garden, usually with a central medallion on a field and decorated with a pattern of interlocking flowering branches. Normally there is a large border clearly separated from the field, often by several narrow borders. In Kashmir, this design is called Shalimar after the famous mogul garden there.
Kashmiri art and handicrafts go back over 500 years, with design inspiration from Persia and other nearby nations. Dating back to 1398, Taimur invaded India, and the Sultan Sikander of Kashmir came to terms with the invaders. As part of his tribute to the invaders, he sent his son back with the Amir to Samaekand, his capital. Taimur, in addition to his military ambitions, aspired also to be a great patron of the arts, letters and philosophy. Therefore, the exile for the young Kashmiri prince proved instructive and stimulating, and he made good use of this rare opportunity. When he returned and ascended the throne in Srinagar as Zain-ul-Abedin in 1423, he collected around him skilled craftsmen and artist who began the great art tradition of Kashmir.
Over time, carpet weaving in Kashmir has attained extraordinary levels, and can claim some of the finest hand-knotted carpets in the world. While retaining the original techniques, great advancements have been made. The pile itself is now made of the fine silk from mulberry worms raised in Kashmir expressly for these carpets. The resulting sheen and luster give interplay of infinite reflections, and become even richer over time as they are used. The density of knots has been refined to achieve suppleness unknown in Persian carpets of wool. Still cottage industries, these works of art are woven in the artisan’s home, with various family members assisting. The pattern, or taleem, is “sung” and pliant weaver’s fingers respond by creating specific number of knots in a particular color.
An Urdu couplet says:
They are purse proud in the world that can practice some handicraft.
The fingers of a craftsman are the keys to the treasury of Kashmir.
Isfahan carpets stand to be among the best and are as hard wearing as they are decorative.
Red Kashan Medallion Carpet Silk on Silk Rug Handknotted 5ft x 7ft
This carpet is available in various sizes and color combinations. Email at sales@kashmirhandcrafts.com or call us at 617-236-7001 to check availability and discuss other designs and patterns in our selection. We have the finest selection of Silk Rugs in various sizes, designs and color combinations.
The history and development of the carpet industry in Kashmir was associated with and influenced by the opulent lifestyles of its rulers, nobles, and aristocrats. The introduction of this industry into Kashmir dates back to the reign of Zain-ul-Abdin (Badshah), c1420 A. D. Hundreds of master craftsmen were invited to Kashmir from Persia. Some of the craftsmen settled in Kashmir and initiated rug weaving. This is perhaps due to an atmosphere conducive for this trade and also the great appreciation for these works of art.
Later, during the reign of Mughals, rug weaving gained a prominent position and emperors like Jahangir and Shah Jan (who built the monument of love, ‘The Taj Mahal’) established a distinctive style in Arts and Architecture of that era. The carpets woven during those periods bore similar motifs, patterns, and decorative styles as found in the palaces and monuments.
To trace the history of the hand-knotted carpets is to follow a path of cultural growth of one of the greatest civilizations the world has ever known. From being simply articles of necessity, used simply to cover the floor area near any entrance and to protect the nomadic tribesmen from dampness and cold, the increasing beauty of the carpets found them new owners, kings and noblemen.
During this time, many people in Kashmir invested their entire wealth in carpets and were referred to as Kashmir’s stocks and shares. These were underground storage areas in Kashmir full of fine carpets and kept as investments by shrewd businessmen. For many centuries the hand-knotted carpet has received international acknowledgment for its artistic splendor.
The element of luxury with which a Kashmiri carpet is associated today provides a marked contrast with its humble beginning among the nomadic tribes that at one time wandered the great expanse of Kashmir in search of a livelihood. At that time, it was an article of necessity, but from necessity the art was born. Through their beautiful colors and magical designs, the floor and entrance covering that protected tribesmen from the ravages of weather also brought relief to this dour and hardy life.
Besides being an article of furniture, the carpet was used as a form of writing for illiterate tribesmen, setting down their fortunes and defeats, their aspirations and their joys. It also came to be used as a prayer mat.
Thus began a tradition of people handing down their skills to their children who articulated these skills and in-turn, handed down the closely guarded family secrets to their offspring.
Cotton came to be used very early for the warp and weft of the carpets. The herds of sheep surrounding the tribes provided the basic material, wool. The cold mountain climate provided an added advantage in that wool was finer and had longer fibers. Silk was used in the weaving of the rug with wool laid behind as the warp of the carpet. Silk carpets provided much more precision in designs and its thread added to the intricacy of workmanship.
A key feature of carpet making involved dying and proper knotting. Dye manufacturers maintained well kept secrets handed down through generations. The ingenious tribesmen used plants, rocks, and barks.
Since Persians influenced the rug weaving in Kashmir, the knotting technique is also Persian, commonly referred to as single knotted or senneh knotted carpets which have an edge over double knotted or Turkish knotted carpets.
A true hand-knotted carpet, if properly maintained, outlives humans throughout the world. It has a life span of 250 years. Any carpet younger than 50 years is considered new. A carpet 50-90 years old is semi-antique. Only a carpet more than 100 years old can qualify as an authentic antique. Hence, a well-chosen carpet can become a family heirloom, handed down from generation to generation.
Over the years, the hand-knotted Kashmiri Silk Carpets have been indomitable and priceless treasures that carpet connoisseurs can bring into their homes. These carpets have been enthralling enough to captivate people from every part of the world.
