Rug Making
   

 
Design
The most distinguishing element of a rug is its design. Various regions over the centuries have developed their unique designs, which in many cases, and often from memory, have been passed from fathers to sons. These long-established local designs are found in tribal rugs of different regions and often have a geometric or rectilinear form. The more elaborate curvilinear designs of Persian city rugs, however, are carefully drawn to scale by master designers. A tradition that goes back to Safavid dynasty (about 500 years ago) and made possible the making of many Safavid complex rugs.
 

Iranian Rug Designer
 Although the terms geometric and floral are used often to describe the design of a rug, the more appropriate terms are “rectilinear” or “curvilinear” which describe the major approach to the design and also indicate something about the weave of the rug. Curvilinear rugs generally depict naturalistic floral designs and require a fine weave (in excess of 250 knots per square inch). The two main components of a rug are the Borders and the Field. The design of the field is a key distinguishing factor in describing the rug. The fields may have either an overall pattern or a medallion. Overall patterns often depict one repeating pattern throughout the field whereas the medallion designs, as its name suggests, uses a single pattern in the center of the rug. The area surrounding the medallion may be left as a solid background or have additional motifs to complement the medallion.

   
Construction
The three basic structural component of a rug are Warps, Wefts, and the Knots. The structure upon which the rug is made is called a loom, a horizontal or a vertical square structure that supports the fabric of the rug.
A Traditional Loom in Iran   Washing Rugs in Hamedan    
   
 
Vertical threads or “warps” are stretched tightly between the top and the bottom beams and are interlaced with the horizontal threads or “Wefts” between rows of knots. The knots are the wrapping of the pile yarn around the warps, which gives the rug its three-dimensional quality and the thickness. It is also the changing colors of each knot that brings to life the intricate designs of a rug.
Symmetrical Knot1
  Asymmetrical Knot
 
Dyes
An inherent part of the design and of equal importance is the harmonious use of color in Persian rugs. Until mid eighteen century, natural dyes were the sole source of color in all rug-weaving regions.
While sources of some color such as yellow and brown were available locally, others had to be imported from hundreds of miles away, making the trade of dyestuff a major part of the local economies. Some of the most beautiful colors are obtained from natural dyes. Indigo and Madder are the common sources of blue and red while other colors were derived from their combination.


   
Natural dyes from indigenous sources
 
 
The advent of synthetic dyes has introduced many controversies in the rug circles. “When it became clear that the first generation of the synthetic dyes was unstable in water and faded rapidly to dull, unappealing colors, those interested in oriental carpets raised a cry against them.”1 However, since then, many synthetic dyes have been developed with potentially better quality than the natural dyes which in some cases are identical to their natural prototypes. The synthetic dyes produced today are resistant to color run and fading and in combination, they can produce a rainbow of colors not previously available.
Some critics of synthetic dyes claim that they can tell the difference between a natural and a synthetic color by only visual means. This has proven to be a misconception as many dyes are chemically identical to their natural replica.

Though the material, wool or silk, can be dyed in various stages of rug making, the Persian dye masters apply their color at the yarn stage.
 
 Sources:
  1. Eiland, M. L., and Eiland, M. (1998), Oriental Carpets: A Complete Guide; Bulfinch Press, Boston
  2. Izmidlian, G, (1977); Oriental Rugs and Carpets Today: How to choose and enjoy them; David & Charles, Newton, Canada.
  3. http://tehran.stanford.edu/Iran_Lib/Images/Persian_Carpet/carpet_history.html