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Craft

Khatamkariخاتم‌کاری

A Persian inlay art in which fine rods of wood, bone and metal are bundled into star units, sliced into thin sheets and applied to a wooden surface to form dense geometric tessellation.

Craft

Persian carpetفرش ایرانی

A hand-knotted pile textile woven across Iran in city workshops, village looms and pastoral camps, distinguished by regional structure, palette and design vocabulary.

Craft

Tabriz carpetقالی تبریز

The workshop carpet tradition of Tabriz in East Azerbaijan, characterised by drawn cartoons, a distinctive hook-knife weaving method and a wide range of fineness grades.

Craft

Termehترمه

A patterned Iranian brocade woven with supplementary wefts, historically in silk and wool, associated above all with Yazd and Kerman.

Craft

Qalam-zaniقلم‌زنی

The Iranian tradition of decorating copper, brass and silver vessels with small chisels struck by hammer, working the metal into line, ground and relief.

Craft

Persian miniatureنگارگری ایرانی

The Iranian tradition of small-scale painting made for manuscripts and albums, built from fine line, flat luminous colour and layered spatial convention rather than single-point perspective.

Craft

Nasta'liq calligraphyنستعلیق

A hanging cursive script developed in Iran for Persian poetry, distinguished by its sloping baseline, sharply contrasted thick and thin strokes, and sweeping final letters.

Craft

Haft-rang tileworkکاشی هفت‌رنگ

Square polychrome tiles painted with several overglaze colours and fired together, allowing large architectural schemes to be produced faster than cut tile mosaic.

Craft

Gabbehگبه

A thick, coarsely knotted pile rug woven mainly by pastoral and village weavers of the Zagros, with open fields, few motifs and a directly personal design language.

Craft

Kilim (Gelim)گلیم

A flat, pileless woven textile made across Iran by interlocking or slit-weaving coloured weft threads over a warp, used as floor covering, storage bag, saddle cover and tent divider depending on region.

Craft

Jajimجاجیم

A narrow-strip flatwoven textile, usually made in warp-faced bands on a portable loom and then sewn together into a wider cloth, traditionally used as bedding cover, floor spread or door hanging by village and pastoral households.

Craft

Qalamkar block printingقلمکار

A resist-dyed and block-printed cotton textile, historically associated with Isfahan, in which carved wooden blocks stamp repeating floral and figural patterns onto cloth in successive colour stages.

Craft

Pateh embroidery (Kerman)پته

A hand-embroidered wool textile from Kerman in which coloured silk or wool threads are worked in dense chain and satin stitching over a woollen ground, typically in a limited palette against a natural or dyed field.

Craft

Sermeh-duziسرمه‌دوزی

A metal-thread embroidery technique in which fine gold or silver wire, or wire-wrapped thread, is couched onto velvet or other heavy cloth to create raised, reflective patterns, historically used on ceremonial garments and furnishings.

Craft

Namad feltنمد

A non-woven wool textile made by matting and pressing raw wool fibres with moisture, heat and friction rather than by weaving, traditionally produced across Iran for floor coverings, cloaks and protective mats.

Craft

Giveh footwearگیوه

A traditional handmade summer shoe with a cotton-thread woven or crocheted upper and a sole historically made of pressed cotton fabric or leather, produced in a number of Iranian towns known for the craft.

Craft

Zilu (Meybod)زیلو

A pileless, reversible cotton floor covering associated especially with Meybod near Yazd, woven on a vertical loom with ground heddles and pattern harnesses that control its geometric, often two-colour design.

Craft

Minakari enamelمیناکاری

A decorative technique in which powdered coloured glass is fused by heat onto the surface of gold, silver or copper objects, producing a smooth, glossy coloured surface, historically practised in Isfahan on vessels, jewellery and decorative panels.

Craft

Filigree (Malileh)ملیله‌کاری

A metalworking technique in which fine drawn wires of silver or gold, often twisted or beaded, are soldered into openwork lattices and coiled floral forms to build jewellery, vessels and decorative panels.

Craft

Moarraq tile mosaicکاشی معرق

A technique of architectural revetment in which monochrome glazed tiles are cut into small individual pieces to a template and set together, glaze face down, into a mortar bed to form complex polychrome patterns and inscriptions.

Craft

Mina'i wareسفال مینایی

A historic overglaze-enamelled stonepaste ware produced mainly in Iran during the twelfth and early thirteenth centuries, decorated with figural and courtly scenes painted in multiple colours applied after glazing and fixed by a low second firing.

Craft

Lalejin potteryسفال لالجین

A regional pottery tradition centred on the town of Lalejin near Hamadan, producing thrown and press-moulded glazed and unglazed earthenware, from utilitarian storage vessels to decorative tableware, in a large number of household workshops.

Craft

Gereh-chini latticeگره‌چینی

A joinery technique for building geometric lattice screens and panels from small, precisely cut wooden pieces assembled without glue or nails, using interlocking notched joints to form windows, doors and room dividers with openwork star and polygon patterns.

Craft

Wood carving (Monabbat)منبت‌کاری

A relief wood-carving technique in which solid panels, furniture and architectural elements are carved directly with chisels to produce raised or recessed floral, arabesque and geometric ornament, distinct from inlay techniques that build a surface from separate pieces.

Craft

Paper marbling (Abr-o-bad)ابر و باد

A decorative paper technique in which pigments are floated and manipulated on a thickened liquid bath and then transferred to a sheet of paper by careful contact, producing swirling, veined patterns historically used for manuscript covers, borders and endpapers.

Craft

Persian lacquer paintingلاکی‌کاری

A decorative technique in which papier-mâché or wooden objects, such as boxes, mirror cases and pen boxes, are painted with fine miniature-style scenes or floral ornament and then sealed under multiple coats of clear lacquer varnish.

Craft

Turquoise inlay (Firuzeh-kubi)فیروزه‌کوبی

A decorative technique, associated particularly with Mashhad, in which small chips of turquoise are set edge to edge with adhesive onto a metal object's surface to create a dense mosaic-like covering, most often seen on vessels, jewellery and decorative plates.

Craft

Velvet weaving (Makhmal-bafi)مخمل‌بافی

A silk weaving technique producing a cut or voided pile on a foundation weave, used in Iran for garments, cushion covers and furnishing panels, with figured Safavid velvets among the most studied survivals.

Craft

Brocade weaving (Zari-bafi)زری‌بافی

A figured silk weaving technique in which supplementary wefts, often including gold- or silver-wrapped thread, create pictorial or floral designs on a silk ground.

Craft

Rasht embroidery (Rasht-duzi)رشتی‌دوزی

A northern Iranian needlework tradition associated with Rasht in Gilan, combining wool felt or broadcloth appliqué with chain-stitch embroidery for covers, hangings and saddle cloths.

Craft

Needlework embroidery (Suzan-duzi)سوزن‌دوزی

A broad term for Iranian needle embroidery on cotton, silk or wool grounds, including counted, darned and satin-stitch work used on covers, garments and prayer cloths.

Craft

Inlaid metalworkفلزکاری ترصیع‌شده

Decoration of brass, bronze or steel vessels by setting silver, copper or gold into cut recesses, producing figurative scenes, inscriptions and ornament in contrasting colour.

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Steel openwork (Fulad-kari)فولادکاری

The chiselling and piercing of steel into plaques, standards (alam), locks and fittings, often with inscriptions or arabesque openwork.

Craft

Jewellery and gem settingجواهرسازی

Iranian jewellery ranges from gold and gem-set court ornaments to silver tribal adornment, often combining enamel, turquoise, pearls and coloured stones.

Craft

Glassmakingشیشه‌گری

Iranian glass includes Sasanian cut glass, early Islamic mould-blown and cut vessels, and later blown bottles and rosewater sprinklers, with a small studio glassblowing tradition today.

Craft

Lustreware (Zarrin-fam)زرین‌فام

A ceramic decoration in which metallic oxides are painted onto a glazed surface and fired in a reducing kiln to produce a metallic sheen, associated especially with Kashan.

Craft

Blue-and-white ceramicsسفالینه آبی و سفید

Stonepaste wares painted in cobalt blue under a clear glaze, produced in Iran with strong dialogue with Chinese porcelain, especially in the Timurid and Safavid periods.

Craft

Stucco carving (Gach-bori)گچ‌بری

The carving and moulding of gypsum plaster into architectural ornament, including mihrabs, inscriptions, muqarnas and wall panels.

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Stone carving (Hajjari)حجاری

The carving of marble, limestone, alabaster and softer stones for architectural elements, gravestones, inscriptions and vessels.

Craft

Bone and ivory carvingاستخوان‌تراشی

The carving of bone and, historically, ivory into figurines, plaques, combs and inlay elements, also used as a component in khatam.

Craft

Instrument making (Saz-sazi)سازسازی

The workshop making of Iranian instruments such as the tar, setar, kamancheh, santur and oud, combining woodwork, skin membranes and inlaid decoration.

Craft

Illumination (Tazhib)تذهیب

The decoration of manuscript pages and album leaves with gold and coloured pigments in geometric and floral designs framing text or painting.

Craft

Slip-painted ceramicsسفال نقاشی‌شده با گلابه

Earthenware decorated with coloured slips under a clear or tinted glaze, including early Islamic Nishapur-type wares and later village production such as Lalejin.

Craft

Mat and basket weaving (Hasir-bafi)حصیربافی

The weaving of mats, baskets, fans and containers from date-palm leaves, reeds and rushes, practised especially in southern and northern Iran.

Craft

Leatherwork (Charm-duzi)چرم‌دوزی

The cutting, stitching, tooling and painting of leather for bags, belts, bookcovers, saddlery and small goods.

Craft

Traditional bookbinding (Sahhafi)صحافی سنتی

The hand binding of manuscripts and books with leather or lacquer covers, often with a flap (lisan) and stamped, cut or gilded decoration.

Craft

Puppetry (Kheimeh-shab-bazi)خیمه‌شب‌بازی

Traditional Iranian string-puppet theatre, and the craft of making its carved and costumed puppets, including the well-known character Mobarak.

Craft

Kashan carpetفرش کاشان

Hand-knotted city carpets from Kashan, often in wool or silk, known for medallion designs and deep reds and blues.

Craft

Nain carpetفرش نائین

Very finely knotted city carpets from Nain, recognisable by ivory and blue palettes with silk highlights.

Craft

Heriz carpetفرش هریس

Durable, geometric village carpets from the Heris area of East Azerbaijan, with large angular medallions.

Craft

Bakhtiari carpetفرش بختیاری

Village and tribal carpets from the Chaharmahal and Bakhtiari region, best known for the garden (khesti) design of repeated panels.

Region

Isfahanاصفهان

The densest concentration of court-descended crafts in Iran: inlay, engraving, fine carpet weaving, miniature painting and tile.

Region

Shirazشیراز

Inlay and bookbinding alongside the tribal weaving traditions of the surrounding Qashqai and Khamseh territories.

Region

Tabrizتبریز

The most technically ambitious carpet-weaving city in Iran, with a long tradition of workshop-drawn designs.

Region

Kermanکرمان

Termeh weaving, pateh embroidery and a distinctive soft-palette carpet tradition.

Region

Yazdیزد

Silk and velvet weaving, zilu flatweave and traditional dyeing houses.

Region

Kashanکاشان

Historic ceramic and tile production, rosewater distillation and fine silk carpets.

Region

Qomقم

A relatively young but technically exacting silk carpet tradition.

Region

Mashhadمشهد

A major Khorasan craft and trading centre with a long carpet-weaving tradition and active bazaars.

Region

Sistan & Baluchestanسیستان و بلوچستان

Baluch needlework, mat weaving and pile rugs in dark, saturated palettes — several of these traditions are now at risk.

Region

Hamadan and Lalejinهمدان و لالجین

Lalejin near Hamadan is a working centre for wheel-thrown, moulded, glazed and unglazed earthenware.

Object

Tabriz Medallion Carpetقالی تبریز

Hand-knotted wool on a cotton foundation with a classical Shah Abbasi medallion, corner spandrels and an all-over vine field. Woven from a cartoon drawn in the workshop, at approximately 50 raj.

Object

Khatam Inlay Boxجعبه خاتم

A hinged box faced in fine khatam, with a six-point star tessellation on the lid and a matching border on all four sides. Interior lined in velvet.

Object

Engraved Brass Vesselگلدان قلم‌زنی

A raised brass vessel with a full arabesque scheme over a punched ground, worked entirely by hand chisel. The design reads faintly on the interior, as hand engraving does.

Object

Handwoven Termeh Clothترمه دست‌باف

A sofreh cloth with boteh bands and a deep patterned end border. Supplementary wefts are visible on the reverse, and the repeat carries the small irregularities of hand weaving.

Object

Qashqai Gabbeh Rugگبه قشقایی

An open-field pastoral gabbeh with pronounced abrash across the ground and a scattered animal row. Woven without a cartoon; borders are deliberately irregular.

Object

Haft-rang Tile Panelکاشی هفت‌رنگ

A four-tile panel painted with a symmetrical floral scheme in cobalt, turquoise, white and manganese, fired as whole squares in the haft-rang manner.

Object

Illuminated Album Pageصفحه مُرَقَّع

A contemporary album page in the Isfahan manner: a garden scene with a gilded border and ruled frame. Described here as new work, with no claim to historic origin.

Object

Kashan Silk Carpetقالی ابریشم کاشان

A finely knotted silk carpet with a dense medallion field. The dating rests on structure and palette rather than documentation, and is presented here as an estimate.

Object

Persian Ghalam Zani Copper Lidded Candy Dish Bowl Featuring Birds Hand Chased

This is a vintage Persian 'Ghalam Zani' lidded candy bowl that features intricate hand chased designs of birds, flowers, and geometric motifs. The piece is believed to be made of copper, showcasing a lovely rose gold hue.

Object

Vintage Engraved Metal Plate: Traditional Ghalamzani Art H9.8"/25cm (N3283)

This vintage Persian decorative plate features traditional Ghalamzani art, showcasing intricate hand-engraved designs of birds and floral patterns. It is heavy and in perfect condition, dating back to the 1970s.

Object

Vintage box / Persian wooden box / Storage box with inlays / Wooden casket / Persian Khata

This vintage Persian Khatam casket is handcrafted with intricate inlays. It serves as a stylish storage solution for small treasures or as a unique gift.

Object

Vintage Persian Khatam Jewellery/ Trinket box- handpainted with micro-mosaic

This vintage Persian trinket box features intricate micro-mosaic marquetry and a hand-painted scene depicting a traditional polo match. It is lined with red felt and showcases traditional Khatamkari inlay work with geometric patterns.

Object

Antique Persian Lacquered Qalamdan (Pen box) Handpainted with Flowers & Vines

This is an exquisite, antique Persian lacquered qalamdan (pen box) from the early 19th century, decorated with finely handpainted leaves and vines. The box features a scene of two birds, making it an attractive collector's item or gift.

Object

Antique Persian Hand Blown Cobalt Glass Tear Catcher or Rose Water Sprinkler

This is a Persian antique cobalt blue handblown glass vessel believed to have been used as a tear catcher or perfume bottle. It dates back to the 19th century and is in excellent antique condition.

Object

Persian Miniature Painting on Bone - Polo Scene - Handmade Khatam Kari Inlay Frame - Iranian Folk Art - Isfahan Vintage Wall Decor - Middle

This exquisite miniature painting depicts a traditional polo scene in Iran. Handcrafted using fine bone and set in a handmade Khatam Kari inlay frame, it showcases the beauty of Iranian folk art from Isfahan.

Object

Handwoven Wool Kilim Rug: Vintage Persian Varni, Geometric Wall Art

This vintage Persian kilim rug features a geometric pattern, making it an elegant addition to your home decor. Handwoven with care, this piece showcases traditional craftsmanship.

Object

Handmade Persian Enamel Bowl and Plate Set, Minakari Art, Decorative Display

This is a beautiful handmade Persian enamel bowl and plate set featuring traditional Minakari artistry. Ideal for decorative display, it showcases intricate designs and craftsmanship.

Object

Minakari, Mina Bowl, Enamel, miniature, On table, Decor Bowl , Persian Art

This is a Minakari Mina Bowl, featuring beautiful enamel work that showcases traditional Persian art. It serves as a decorative piece for your table.

Object

Toranj Termeh Vest

The Toranj Termeh Vest is a unique piece made with traditional Persian fabric, designed for modern heritage clothing. It's suitable for artistic layering and reflects cultural craftsmanship.

Object

Baluchi needlework and mirror embroidery earrings (yellow and magenta)

Diamond-shaped embroidered earrings with central reflective elements and yellow tassels. Included as an example of seller-stated Iranian hand needlework, not as independently authenticated stock. The listing also labels the product made in Germany; do not infer that every component or final assembly occurred in Iran.

Object

Vintage Persian miniature painting in khatamkari inlaid frame, hunting scene

A vintage miniature of a mounted hunting scene set in a khatamkari marquetry frame. Shown as an illustrative listing; the painting and frame have not been examined.

Object

Minakari enamel decorative plates, set of three

Three scalloped wall plates with blue-ground minakari star and floral patterns. Illustrative third-party listing, not CraftPersia stock.

Object

Pair of handmade minakari enamelled copper vases

Two fluted-mouth copper vases painted in blue minakari with scale and floral motifs. Illustrative third-party listing, not CraftPersia stock.

Article

How Persian carpets are made

From fleece to finished pile: the sequence of preparation, dyeing, knotting and finishing that produces a hand-knotted carpet.

Article

How to buy a Persian rug: appraisal, where to buy, negotiating and shipping

The complete buyer's path: planning, where to buy, inspection, KPSI and labels, appraisal, negotiation, paperwork and safe shipping.

Article

Identifying khatam from printed imitation

Three checks that separate constructed inlay from a surface film printed to resemble it.

Article

Storing and caring for Iranian textiles

Light, humidity, pests and physical support — in that order of importance.

Article

Understanding natural dyes

What madder, indigo and weld do over time, and why colour alone cannot date a textile.

Article

Reading a condition report

The vocabulary conservators use, and what each term implies for value and for care.

Article

Introduction to Persian handicrafts

A first orientation: the main craft families, the regions that shaped them, and how to read the vocabulary.

Article

Reading a Persian rug label or listing

What terms such as 'Persian', 'Iranian', 'Persian design', 'kork wool' and 'KPSI' really mean when you see them in a shop or online listing.

Article

Caring for handmade textiles at home

Simple, safe habits for termeh, kilims, embroidery and printed cloth: light, dust, moths, folding and cleaning.

Article

Caring for enamel and inlaid metalwork

How to clean and store minakari, engraved brass, koftgari and turquoise-set pieces without damaging them.

Article

Caring for Iranian ceramics and tiles

Display, cleaning and repair advice for glazed pottery, lustre, mina'i ware and loose tiles.

Article

What to look for in khatam inlay

Fine khatam versus printed or plastic imitations: what to look at on boxes, frames and panels.

Article

Buying Persian miniature paintings

Original, hand-painted copy or print? How to tell, and what affects price for contemporary nagarghari.

Article

A short history of Persian tilework

From Seljuk brick and lustre to Timurid mosaic and Qajar painted tiles: how Iranian tile-making changed over time.

Article

Nomadic weaving of Iran

Gabbeh, kilim, jajim and bags woven by Qashqai, Bakhtiari, Lur and other groups, and how mobile life shapes them.

Article

Choosing a Persian handicraft as a gift

Practical choices by budget and use: small khatam boxes, termeh runners, giveh, engraved brass and more.

Article

Shipping and customs for crafts from Iran

General points on sanctions, customs rules and carpet export limits that buyers outside Iran should check.

Article

Natural and synthetic dyes in Iranian textiles

Madder, indigo, weld and walnut versus synthetic dyes: what changes, and why the difference is hard to see.

Article

A visitor's guide to Iranian craft bazaars

What to expect in the bazaars of Isfahan, Shiraz, Tabriz, Kashan and Yazd, and how to shop with care.

Article

Endangered Iranian crafts and how to help

Why some crafts are losing makers, and practical ways buyers and readers can support living traditions.

Article

Understanding price in Persian handicrafts

Hours of work, materials, fineness, age and condition: what drives price, and when a price is too good to be true.

Article

Spotting replicas and “Persian style” imports

How listing wording, construction and materials reveal pieces that borrow Persian designs but are not Iranian handmade work.

Article

Understanding knot density: KPSI and raj

What knot counts measure, how Iranian weavers express them, and why a higher number is not always a better rug.

Article

Persian and Turkish knots explained

The asymmetric and symmetric knots, where each is used in Iran, and why the knot alone does not prove where a rug was made.

Article

How khatam is made, step by step

From filed rods to glued bundles, sliced sheets and finished boxes: the sequence behind Iranian micro-mosaic inlay.

Article

How minakari enamel is made

Painted enamel on copper from Isfahan: base coats, painting, repeated firings, and how to recognise the real thing.

Article

How termeh is woven

Yazd’s patterned wool-and-silk cloth, its looms, and how to tell woven termeh from printed fabric.

Article

How qalamkar block printing works

Isfahan’s hand block-printed cotton: carved blocks, printing by hand, and signs that separate it from screen prints.

Article

How qalam-zani metal engraving works

Chasing and engraving copper, brass and silver with small chisels, and what to look for in the finished surface.

Article

How to place a Persian rug in time — and why it is hard

The clues specialists use to suggest an age range, and why no single feature gives a firm date.

Article

Washing a handmade rug: what to do and what to avoid

Routine care, spot cleaning and when to call a professional washer.

Article

Displaying textiles on the wall

Hanging methods that spread the weight and avoid damage.

Article

Caring for wooden inlay and lacquer work

Humidity, light and handling for khatam, moarraq wood and painted lacquer.

Article

Caring for paper: miniatures and calligraphy

Framing, light and storage for painted and written works on paper.

Article

Tile and ceramic glazes of Iran

Turquoise, lustre, haft-rang and mosaic: how the main glaze families differ.

Article

Iranian crafts for new collectors

Where to start, how to set a budget, and how to build a small collection with good records.

Article

Ethical buying of Iranian handicrafts

Fair pay, credit to makers, cultural property rules and honest labelling.

Article

Trade rules and buying from Iran: what to check

Why import rules vary by country, and why you should check them before buying.

Article

Women and weaving in Iran

The central role of women in rug, kilim and textile work across villages, tribes and workshops.

Article

Reading motifs without over-reading them

Why motif meanings are often disputed, and how to talk about them honestly.

Article

Visiting Iranian craft workshops

Practical and respectful ways to see makers at work in Iran.

Article

Gabbeh rugs: a beginner’s guide

The thick, simple-patterned pile rugs of the Qashqai and Luri weavers of south-west Iran.

Article

Kilims of Iran: a beginner’s guide

Flat-woven rugs without pile, made by tribal and village weavers across Iran.

Article

Jajim and narrow-band flatweaves

Warp-faced striped textiles woven in narrow strips and sewn together.

Article

Namad: felt making in Iran

Pressed wool felt rugs made by rolling, wetting and beating wool fibres.

Article

Giveh: Iran’s hand-made cotton shoes

Light summer shoes with crocheted cotton uppers and pressed-cloth soles.

Article

Zilu: the cotton flatweave of Meybod

Durable cotton floor coverings long woven for homes and mosques in Yazd province.

Article

Sermeh-duzi: gold-thread embroidery

Couched metallic-thread embroidery on velvet, associated with Isfahan and religious textiles.

Article

Pateh: the embroidery of Kerman

Dense wool-thread embroidery on woollen cloth, often with boteh patterns.

Article

Malileh: silver filigree of Zanjan

Fine twisted silver wire shaped into open patterns.

Article

Schools of Persian miniature painting

An overview of the Tabriz, Herat, Shiraz, Isfahan and Qajar traditions.

Article

Nastaliq for beginners

The flowing Persian script: tools, practice and how to look at a calligraphy page.

Article

Haft-rang versus moarraq tile

Two ways of making multi-coloured tile surfaces in Iranian architecture.

Article

Recognising Tabriz carpet features

Common construction and design features used when describing Tabriz carpets.

Article

Recognising Kashan carpet features

Features often described in Kashan carpets, from wool to silk pieces.

Article

Recognising Nain carpet features

Pale ivory and blue palettes, fine wool and silk highlights.

Article

Recognising Heriz carpet features

Bold geometric medallions and hard-wearing wool from north-west Iran.

Article

Recognising Bakhtiari carpet features

Garden-panel designs from the Chaharmahal region.

Article

Caring for brass and copper

Keeping engraved and hammered metal clean without wearing it away.

Article

How crafts are priced in Iranian bazaars

Labour, materials and middlemen: the parts that make up a bazaar price.

Article

Carpet terms every buyer should know

A short list of words used in rug listings, with plain explanations.

Article

Isfahan carpets: features and identification

Fine city rugs with silk-highlighted wool, central medallions and balanced floral designs.

Article

Qom silk carpets: a buyer's guide

What to check when considering a silk rug attributed to Qom.

Article

Kerman carpets: features and history

Soft-coloured, finely drawn rugs from south-east Iran, including the famous Laver Kerman.

Article

Qashqai tribal rugs and weavings

An introduction to the pile rugs, flatweaves and bags of the Qashqai confederation of Fars.

Article

Turkmen weavings in north-east Iran

Gul designs and deep red grounds from Turkmen communities in Golestan and Khorasan.

Article

Baluch rugs: dark tones and prayer designs

Rugs woven by Baluch groups in Khorasan and Sistan with deep reds, blues and camel tones.

Article

Ghalamkar: hand block printing on cotton

The carved-wooden-block textile printing of Isfahan.

Article

Mina-kari: painted enamel on copper

Isfahan's glossy painted enamel on copper and silver.

Article

Ghalamzani: engraved metalwork

Hand engraving and chasing on copper, brass and silver.

Article

Moarragh: wood marquetry

Pictorial inlay using cut pieces of different woods.

Article

Lalejin pottery

Glazed earthenware from Lalejin near Hamedan.

Article

Meybod pottery and its motifs

Painted earthenware from Meybod in Yazd province, with fish and sun motifs.

Article

Glassblowing in Iran

Hand-blown glass traditions, including Shiraz and Tehran workshops.

Article

Making Persian musical instruments

Tar, setar, kamancheh, santur and daf craftsmanship.

Article

Persian bookbinding and lacquer covers

Leather bindings, gilded tooling and painted lacquer covers.

Article

Abru: paper marbling

Floating colours on thickened water and transferring them to paper.

Article

Reed pens, ink and paper for calligraphy

The basic tools of Persian calligraphy.

Article

How to spot a machine-made rug

Simple checks to tell hand-knotted rugs from machine copies.

Article

Tabriz rugs: designs, knots, grades and how to recognise one

A Tabriz rug is a hand-knotted city carpet from Tabriz in north-west Iran, known for wide design range and fine, even knotting.

Article

What is a Persian kilim? Flatweave structure, regions and buying tips

A kilim is a pileless flatweave rug made by interlacing coloured wefts through the warps — light, reversible and often tribal.

Article

Kashan rugs: history, medallion designs and identification

Kashan rugs are fine city carpets from central Iran, famous for deep red fields, navy borders and elaborate central medallions.

Article

Heriz rugs: geometric style, durability and dating

Heriz rugs are sturdy, geometric village carpets from north-west Iran, prized for durability and bold angular medallions.

Article

Traditional Persian jewellery: filigree, enamel and turquoise

Persian jewellery covers filigree silver, painted enamel, turquoise inlay and tribal ornaments made by hand in Iran.

Article

Persian calligraphy scripts explained: nastaliq, shekasteh, naskh

Persian calligraphy is the art of beautiful writing in the Persian script; its signature style is nastaliq.

Article

Gabbeh rugs: Qashqai and Luri origins, symbolism, real vs. copy

A gabbeh is a thick, loosely knotted tribal rug from south-west Iran with simple designs and open fields of colour.

Article

What is Persian miniature painting? Schools, techniques, famous works

Persian miniature is a detailed painting tradition, usually illustrating manuscripts of poetry and history.

Article

Termeh: Yazd's woven silk-wool cloth and how to spot printed fakes

Termeh is a hand-woven brocade from Yazd with dense boteh patterns, made from silk and fine wool.

Article

Persian tilework: haft-rangi, moarraq and where to see it

Persian tilework covers mosaic (moarraq) and painted seven-colour (haft-rangi) tiles used on mosques, palaces and shrines.

Article

Isfahan rugs: fine knots, silk foundations and famous workshops

Isfahan rugs are among Iran's finest city carpets, with high knot density, silk foundations and balanced medallion designs.

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Persian rug patterns: a visual guide to medallions, herati, boteh

Most Persian rug patterns fall into a few layouts — medallion, all-over, prayer, garden and pictorial — filled with recurring motifs.

Article

Persian pottery through history: lustre, minai and Lalejin today

Persian pottery spans 8,000 years, from painted prehistoric wares to medieval lustre and minai, to modern Lalejin workshops.

Article

Persian silk rugs: Qom, Isfahan, Tabriz and checking real silk

Persian silk rugs are hand-knotted with silk pile, mainly from Qom, Isfahan, Tabriz and Kashan; many 'silk' rugs are artificial silk.

Article

Minakari: Isfahan enamel on copper, process and care

Minakari is the Persian art of painting enamel on metal — usually copper — and firing it, centred on Isfahan.

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Khatam kari: how Persian micro-mosaic inlay is made

Khatam kari is Persian micro-mosaic inlay: tiny triangles of wood, bone and metal arranged into star patterns and glued onto objects.

Article

How to clean a Persian rug at home — and when not to

Clean a Persian rug at home by vacuuming both sides, shaking out grit and blotting spills with cold water; leave full washing to a specialist.

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Why Persian rugs cost so much: labour, knots, fibre, age

Persian rugs are expensive mainly because each knot is tied by hand — a fine rug can take one weaver many months or years.

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What makes a rug "Persian"? Origin, structure and terms

A Persian rug is a hand-knotted (or hand-woven) rug made in Iran; 'Persian design' alone does not make a rug Persian.

Article

Wool, silk and cotton in Persian rugs

Persian rugs are made mainly of wool pile on a cotton or wool foundation; finer pieces use silk for the pile, foundation or highlights.

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Persian rug prices: what drives value (indicative only)

Persian rug prices vary enormously; size, knot density, fibre, age, condition and origin matter more than any list price.

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Selling a Persian rug: appraisal, auction and dealer options

To sell a Persian rug, first get it identified and appraised, then choose between a specialist dealer, an auction house, consignment or a private sale.

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Getting a Persian rug appraised: what an appraiser checks

A Persian rug appraisal records type, origin, age, materials, condition and a value for a stated purpose such as insurance or sale.

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How to tell a real hand-knotted Persian rug

Turn the rug over: a real hand-knotted Persian rug shows each knot on the back, slight irregularities and a fringe made from the warps.

Article

Valuing antique Persian rugs: age, condition, provenance

Antique Persian rugs (usually 100+ years old) are valued on type, age, condition, colour, rarity and provenance — not age alone.

Article

Persian velvet weaving (makhmal): a beginner's guide

Velvet is not simply a soft fabric. Its raised pile is supported by a ground weave, and a figured example can combine contrasting areas of texture and colour. When reading a catalogue, distinguish the fibres identified in the ground from those in the pile. A silk description should not be extended to every yarn without evidence.

Article

Zari-bafi: Persian gold-thread brocade explained

The word brocade covers patterned fabrics whose ornament is produced during weaving, often with supplementary yarn systems. An Iranian catalogue may specify a more precise construction such as lampas. Preserve that technical term rather than replacing it with a universal claim that all zari-bafi is made by the same drawloom method.

Article

Rasht-duzi: the felt appliqué and chain-stitch of Gilan

Rasht work can bring together coloured wool cloth, shaped pieces and chain-stitch decoration. Begin with the relationship between those layers: is a coloured area a separate piece of cloth, an inserted section, or a field made by embroidery? A floral motif alone does not answer that question.

Article

Suzan-duzi: Baluch needlework from Sistan and Baluchestan

Suzan-duzi means needlework; Baluch embroidery should be understood through the specific community, garment and use described by its maker or source. A yoke, cuff or pocket panel has a placement and orientation that can matter to the design. Do not treat every geometric embroidered accessory as the same tradition.

Article

Persian metal inlay: a guide to gold and silver on steel and brass

In recessed inlay, a contrasting material is held in prepared channels or cavities. In surface overlay, fine metal can be secured to a roughened surface. Terms such as damascening and koftgari are used in different ways across catalogues and regions; preserve a source’s description rather than assuming one label fixes the method.

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Persian steelwork (fulad-kari): openwork plaques and standards

Openwork steel uses removed areas as part of the design. A plaque’s outer profile, internal openings and surviving bridges work together, while inscriptions or surface ornament may add another layer. Do not call all decoration engraving: piercing, relief modelling, chasing and inlay describe different operations.

Article

Buying handmade Iranian jewellery: turquoise, silver and enamel

Compare jewellery by its actual construction: metal parts, settings, stones, enamel and movable fittings. A decorative name such as Persian turquoise does not specify whether it refers to style, stone origin or a maker’s location. Ask for those claims individually and retain the exact wording.

Article

Handblown Persian glass: what to look for

Glass may be free-blown, mould-blown, pressed, cast or shaped with combinations of methods. A maker can use a mould while blowing by hand. Consequently, a mould seam is not proof of machine production, and a pontil scar is not proof of Iranian origin.

Article

Persian lustreware: metallic glazes from Kashan to today

Lustre decoration is applied to an already glazed ceramic and fired in conditions that produce a metallic-looking surface effect. The body, glaze and lustre are different parts of the object’s construction. A golden reflection does not mean a vessel is covered in ordinary gold paint or a sheet of gold.

Article

Persian blue-and-white ceramics: Safavid to modern

Iranian blue-and-white ceramics include different bodies and production contexts. Safavid stonepaste, often called fritware, should not be collapsed into porcelain or into modern earthenware merely because all carry cobalt-coloured ornament. Record the catalogue’s material identification and any uncertainty.

Article

Gach-bori: Persian carved stucco in architecture

Gach-bori is associated with worked plaster, often gypsum-based, but a complete decorative surface can include backing, successive plaster layers, pigments and earlier repairs. Calling everything white “gypsum” hides that complexity. A relief’s position in a room also matters: lighting, viewing height and adjoining inscriptions shape how it was read.

Article

Persian stone carving: Mashhad soapstone and beyond

A stone vessel has at least three separate stories: the geological material, the method of shaping and the place where the object was made. A seller’s “Mashhad soapstone” description combines all three, but each needs its own support. Steatite-rich stone can be carved readily; marble and other decorative stones differ in grain and working properties. A polished surface alone does not identify any of them.

Article

Bone and horn carving in Iran

Iranian carvers work camel bone, cattle bone and horn. Bone is boiled, degreased and sometimes bleached before being sawn, filed, engraved and drilled; horn can be softened with heat and pressed flat or shaped over forms. Camel bone in particular is prized as the traditional, ethical substitute for elephant ivory in khatam micro-mosaic and inlay work, where thin white strips form the light lines of the geometric patterns.

Article

Tazhib: the art of Persian manuscript illumination

Tazhib organises ornament around or alongside text. An opening, headpiece, medallion or border has a role in directing attention, not just filling empty space. Start by asking where the decoration sits within a manuscript or album and whether the page survives in its original setting.

Article

Slip-painted ware of Nishapur and Samarkand

Slip is a liquid clay mixture used to cover or decorate a ceramic body. On slip-painted wares, the relationship of ground slip, coloured decoration and glaze matters to the surface’s appearance. The exact composition and firing sequence should come from a technical record, not from the colour of a photograph.

Article

Hasir-bafi: Iranian mat-weaving and basketry

Hasir-bafi — mat and basket weaving — is one of Iran's oldest everyday crafts, and it is organised around whatever strong, flexible plants grow nearby. In the Persian Gulf provinces of Bushehr and Hormozgan, and across Khuzestan, date-palm leaves are the main fibre, plaited into baskets, fans, food covers and floor mats. Around the Caspian wetlands of Gilan and Mazandaran, and beside Hamun Lake in Sistan, reeds and rushes serve the same purpose, while wheat straw is worked in parts of the northwest.

Article

Charm-duzi: Iranian handmade leatherwork

Leather is a processed material, not a single predictable surface. Ask for the animal source, tanning description and finish where known; coated, lined and laminated products may behave differently from an uncoated hide. Colour and a leather smell do not establish tanning method or Iranian manufacture.

Article

Sahhafi: Persian bookbinding traditions

Persian bookbinding uses leather or lacquer covers with stamped, gilded or painted decoration and a characteristic envelope flap (lisan).

Article

Kheimeh-shab-bazi: traditional Persian puppet theatre

Kheimeh-shab-bazi is Iran's traditional string-puppet theatre, performed in a small booth — the kheimeh, literally 'tent' — with the puppeteer hidden above or behind the stage. A single puppeteer, the ostad, manipulates all the marionettes, while a narrator or musician, the morshed, sits outside, talks to the characters, sings and comments on the action. The dialogue between the hidden puppets and the visible morshed is the engine of the show.

Article

Firuzeh-kubi: turquoise inlay on copper and brass

Firuzeh-kubi combines small turquoise pieces with an adhesive system over a prepared support, commonly metal. The boundaries of the decorated fields, bare metal areas and joins are part of the object’s construction. A bright blue surface alone does not establish stone identity or Iranian manufacture.

Article

Persian lacquer painting (rugani): pen-boxes, mirror cases and covers

Persian lacquer painting decorates papier-mâché pen-boxes, mirror cases and book covers with miniature-style scenes under layers of varnish.

Article

Monabbat-kari: Persian relief wood carving

Monabbat relief carving uses a solid wooden surface to model ornament above a background. Look at the relationship of high points, recessed areas and the wood’s grain. Tool direction and grain can influence edges and fine detail; a crisp motif is not the only valid expression of skill.

Article

Gereh-chini: Persian geometric wooden lattice

Gereh-chini uses fitted wooden elements to create a geometric network. The visible star-and-polygon pattern is one level of description; the joints, framing and supports are another. A pattern diagram does not show how a full window carries weight or responds to use.

Article

Abr-o-bad: Persian paper marbling

Abr-o-bad, 'cloud and wind', floats pigments on a thickened bath and transfers the pattern to paper — used for calligraphy borders and art.

Article

Mina'i ware: overglaze-painted ceramics of medieval Iran

Mina’i ware is associated with medieval Iranian ceramics whose polychrome decoration includes overglaze colour. Ceramic body, glaze, painted decoration and gilding where present should be recorded separately. A general firing summary cannot establish the exact sequence or pigment composition of an individual vessel.

Article

Buying qalam-zani engraved metalwork

Qalam-zani is used for decorated metalwork made with chisels and related tools, but the operation should be described precisely. Engraving removes material; chasing displaces or models it, often with a prepared support. A design may also combine punching, forming, inlay or a dark surface compound.

Article

Giveh shoes: buying and caring for handmade Iranian footwear

Giveh combine a textile upper with a separately made sole, and contemporary versions may use cloth, leather, rubber or mixed materials. Record the upper fibre, sole construction and joining method separately. A handworked upper does not prove that every part was handmade or made in the same workshop.

Article

Namad felt rugs: buying and caring for Iranian felt

Felt is formed by entangling animal fibres into a coherent material rather than interlacing warp and weft yarns. In traditional wet-felting practices, preparation, moisture and repeated working help bind the fibres. The exact sequence and materials should be described by the maker, not inferred from a finished rug photograph.

Article

Zilu: buying the cotton flatweaves of Meybod

Zilu are hard-wearing cotton flatweaves from Meybod, traditionally in blue, white and earth tones; check for handloom weaving and natural cotton.

Article

Buying Zanjan silver filigree (malileh)

Filigree combines fine wire elements with a supporting framework, joined to form open or backed decoration. Twisting, flattening and shaping can produce different textures. Record the wire pattern, frame and any separate fittings rather than judging the whole piece from a single scroll.

Article

Crafts of Isfahan: a visitor's guide

Isfahan is Iran's craft capital: khatam, enamel, engraved metal, block-printed cloth and carpets cluster around Naqsh-e Jahan Square.

Article

Crafts of Kashan: carpets, velvet, rosewater and tiles

Kashan is famous for fine carpets, historic velvet and lustre tiles; its restored houses show stucco and lattice windows.

Article

Crafts of Tabriz: carpets, leather and metal

Tabriz's covered bazaar, a UNESCO site, is a hub for carpets, leather goods and metalwork; it is one of Iran's great weaving cities.

Article

Crafts of Yazd and Meybod: zilu, termeh, pottery

Yazd and nearby Meybod keep alive termeh weaving, zilu flatweaves and earthenware pottery among desert-city architecture.

Article

Crafts of Shiraz and Fars: inlay, nomad weavings and glass

Shiraz is a gateway to Qashqai nomad weavings — gabbeh and kilim — and has its own khatam and glass traditions.

Article

Crafts of Kerman: pateh, carpets and copper

Kerman is known for pateh embroidery, fine carpets, felt and a copper bazaar where smiths still hammer by hand.

Article

Crafts of Mashhad and Khorasan: turquoise, soapstone, carpets

Mashhad is the market for Neyshabur turquoise, carved soapstone cookware and Khorasan carpets.

Article

Crafts of Zanjan: filigree, knives and charoq

Zanjan is known for silver filigree (malileh), handmade knives and charoq leather shoes.

Article

Crafts of Gilan: Rasht-duzi, mats and Masuleh

Gilan's humid north has Rasht-duzi embroidery, reed and straw mat weaving and the hill village of Masuleh with its knives and wooden crafts.

Article

Crafts of Sistan and Baluchestan

Iran's southeast is home to Baluch needlework (suzan-duzi), Baluch rugs, palm and reed weaving, and Kalpurgan pottery.

Article

Genuine Iranian handmade gifts on a small budget

Small authentic Iranian handmade gifts — block-printed cloths, small pottery, engraved spoons, giveh — can still be found at modest prices.

Article

How to ship a handmade rug safely

Roll a rug pile-in around a tube, wrap it in breathable cloth then plastic, and insure it at a documented value.

Article

Persian rug sizes explained: zaronim, dozar, ghali and runners

Traditional Persian rug size names describe formats; actual woven-body dimensions vary and must be checked.

Article

Colours in Persian rugs: dyes and what they suggest

Red from madder, blue from indigo, yellow from weld or pomegranate: Persian rug colours come from dyes, with meanings that are mostly folk interpretation.

Article

Choosing a Persian rug for a dining room

For a dining room choose a durable wool rug or kilim large enough that chairs stay on it when pulled out — usually 60 cm beyond the table.

Article

Persian rugs and pets: practical tips

Wool rugs tolerate pets well if you act on accidents fast; avoid silk, and choose dense pile or flatweaves for busy homes.

Article

Preventing and treating moth damage in wool rugs

Clothes moth larvae eat wool in dark, undisturbed places; regular vacuuming, light and inspection are the best prevention.

Article

What is abrash in a Persian rug?

Abrash is the visible band-like colour change across a handmade rug caused by different batches of dyed wool.

Article

Persian rug fringes: what they are and how to care for them

On a hand-knotted rug the fringe is the end of the warp threads — part of the structure — so it should be protected, not cut off.

Article

What is KPSI and does it matter?

KPSI — knots per square inch — measures knot density. Higher density allows finer detail, but it is only one factor in quality.

Article

Persian rug vs Turkish rug: key differences

Persian and Turkish rugs differ in typical knots, designs and wool, but overlap a lot; origin is best confirmed with the seller's documentation.

Article

Persian rug vs oriental rug: what's the difference?

'Oriental rug' covers handmade rugs from across Asia; a Persian rug is specifically one woven in Iran.

Article

Iranian tea culture and handmade tea ware

Iranian tea is served in small glasses with sugar cubes or nabat; handmade holders in filigree, engraved brass or enamel are classic gifts.

Article

Decorating with Iranian handmade crafts

Pair a single strong rug with a termeh runner, a few ceramics and a carved wood piece rather than filling a room with everything at once.

Article

Iranian crafts on UNESCO's heritage lists

Several Iranian craft traditions are recognised by UNESCO, including carpet weaving in Kashan and Fars and Kheimeh-shab-bazi puppetry.

Article

How to learn a Persian craft: classes, apprenticeships and online

Calligraphy, miniature, rug weaving and tazhib can be started through Iranian associations, diaspora teachers and online courses.

Article

Boteh: the Persian origins of paisley

The teardrop boteh motif, known in the West as paisley, is common in termeh, rugs and pateh; its exact origin and meaning are debated.

Article

Persian prayer rugs: the mihrab design

Prayer rugs feature an arch (mihrab) at one end; Persian examples range from tribal kilims to fine silk city pieces.

Article

The tree of life in Persian art

Tree-of-life designs — a central tree with birds and blossoms — appear in Persian rugs, textiles and miniatures.

Article

Persian garden carpets: paradise on the floor

Garden carpets map the Persian chahar-bagh — four-part garden with water channels — in a grid of plants, fish and trees.

Article

Bijar rugs: why they are called the iron rugs of Persia

Bijar rugs from Kurdistan province are known for very dense, heavy construction. This guide explains how that density is made, how to recognise it and how to care for a stiff rug.

Article

The Ardabil carpets: history, myths and what they teach buyers

The pair of Safavid carpets known as the Ardabil carpets, now in London and Los Angeles, is among the most studied in the world. Here is what is known and what remains uncertain.

Article

Persian rug repair and restoration: what can and cannot be fixed

Worn ends, loose sides, holes and moth damage are common problems in Persian rugs. This guide explains the usual repairs, what to ask a restorer and when to stop.

Article

Rug underlays, placement and sunlight: protecting a handmade rug at home

Where and how a rug lies decides how fast it wears. Practical advice on underlays, furniture, sunlight, rotation and underfloor heating.

Article

Khorjin, mafrash and tribal bags: woven storage of Iranian nomads

Iranian nomadic groups wove saddlebags, bedding bags and salt bags for life on the move. This guide covers the main types, construction and how to judge a bag.

Article

Iranian copper cookware: tinning, safety and care

Hammered copper pots are still made in Iranian bazaars such as Zanjan, Kashan and Isfahan. Learn why cooking copper needs a tin lining and how to look after it.

Article

Termeh in Iranian weddings, Nowruz and the sofreh

Termeh cloth appears on wedding spreads, Nowruz tables and family heirlooms. A guide to these uses, the vocabulary and how to choose and care for a ceremonial piece.

Article

Collecting Persian tiles responsibly: legality, condition and display

Historic Persian tiles were usually removed from buildings. This guide explains why provenance matters most, how to judge condition and how to display a tile safely.

Article

Framing and displaying Persian miniatures and illuminated pages

Paintings on paper, gold and pigments need gentle framing. A practical guide to mounts, glazing, light levels and handling, whether the piece is old or contemporary.

Article

Caring for khatam, moarraq and carved wood at home

Khatam boxes, inlaid frames and carved panels are glued and lacquered assemblies. Learn how dry air, heat and cleaning products damage them, and how to keep them sound.

Article

Caring for minakari enamel, filigree and Iranian silver

Enamel is glass fused to metal, and filigree is fine wire. Both need careful cleaning. A guide to tarnish, chips, storage and safe cleaning methods.

Article

Storing calligraphy, marbled paper and albums

Calligraphy panels, abri marbled sheets and album pages share the same enemies: light, damp, acid and handling. A simple storage plan for collectors and families.

Article

Displaying Iranian glass and ceramics safely

Hand-blown glass and glazed pottery are easy to break and sometimes unsafe for food. Practical advice on shelves, earthquakes, cleaning and food use.

Article

Sarouk rugs: dense Arak-area weaving and the 'American Sarouk'

Sarouk rugs come from villages around Arak in Markazi province. This guide explains classic and 'American' Sarouks, how they are built and what to check before buying.

Article

Malayer rugs: village weaving between Hamadan and Arak

Malayer rugs combine the single-weft build of Hamadan villages with designs close to Sarouk. Learn how to tell them apart and what makes a good one.

Article

Afshar rugs: tribal and village weaving of Kerman province

Afshar weavers in the Sirjan and Kerman region make bold geometric rugs and bags. This guide covers construction, designs and how they differ from Kerman city carpets.

Article

Shahsavan flatweaves: sumak bags and kilims of north-west Iran

The Shahsavan pastoral groups of Azerbaijan and the Moghan plain are known for sumak bags and fine flatweaves. Learn the techniques and what to check.

Article

Luri rugs: weaving of the Lur peoples of western Iran

Lur weavers in Lorestan and nearby provinces make bold rugs, gabbeh-like pieces and bags. This guide explains their traits.

Article

Yalameh rugs: Qashqai-related weaving near Isfahan and Fars

Yalameh rugs are woven in villages between Isfahan and Fars. Learn how to spot their stepped hooked medallions and soft wool.

Article

Joshaghan rugs: the lattice design of a central Iranian town

Joshaghan is known for an all-over lattice of small floral diamonds. This guide explains the design and what to look for.

Article

Kashmar rugs: pictorial and floral weaving of Khorasan

Kashmar in Khorasan produces finely knotted floral and pictorial rugs. Learn how they compare with Mashhad carpets.

Article

Mashhad carpets: workshop weaving of Khorasan

Mashhad, capital of Khorasan, has a long workshop carpet tradition. Learn its characteristic colours, knots and how to buy one carefully.

Article

Abadeh rugs: Qashqai designs in a settled town

Abadeh rugs, woven in a town in northern Fars, adapt Qashqai designs to a settled, often finer build. Learn the classic diamond design.

Article

Mood and Birjand rugs: fine weaving of South Khorasan

Mood, near Birjand, is known for finely knotted rugs with small mina-khani and herati repeats, often with silk highlights.

Article

Quchan Kurdish rugs: weaving of the Khorasan Kurds

Kurdish groups in north Khorasan, around Quchan, weave bold rugs and kilims quite different from western Kurdish work.

Article

Ferahan rugs: herati fields and green borders of the Arak plain

Ferahan rugs from the plain north of Arak are known for small all-over herati patterns and, on older pieces, green borders. Learn how they are built and what to check.

Article

Lilihan rugs: Armenian village weaving near Arak

Lilihan rugs were woven by Armenian communities in villages near Arak. They look close to Sarouk but have a different build.

Article

Saveh rugs: Markazi province weaving and its Sarouk links

Saveh, north of Arak, gave its name to rugs that sit between Hamadan village work and Sarouk designs.

Article

Zanjan rugs: Hamadan-type village rugs of the north-west

Zanjan rugs are village rugs from the province between Tabriz and Qazvin, often single-wefted with bold medallions.

Article

Ardabil rugs: Caucasian-style weaving of north-west Iran

Modern Ardabil rugs use geometric, Caucasian-looking designs. Learn how they differ from the famous sixteenth-century Ardabil carpet.

Article

Meshkin rugs: geometric village rugs near Ardabil

Meshkin Shahr, north-west of Ardabil, produces long geometric rugs and runners with Caucasian-style medallions.

Article

Turkmen rugs of Iran: gul designs from Golestan

Turkmen communities in Golestan province weave rugs with repeating gul medallions. Learn how Iranian Turkmen work fits in the wider tradition.

Article

Bakhtiari rugs: garden panels from Chaharmahal

Bakhtiari rugs from Chaharmahal and Bakhtiari province are known for the garden-panel design. Learn their build and how to buy one.

Article

Senneh rugs: fine Kurdish knotting of Sanandaj

Senneh (Sanandaj) is known for very fine rugs and kilims with small herati repeats. Learn how they feel and what to check.

Article

Qashqai rugs: nomadic weaving of Fars

The Qashqai of Fars weave lively, geometric rugs on wool foundations. This guide covers their build, designs and buying checks.

Article

Nain rugs: ivory and blue fine weaving

Nain rugs, from a desert town near Isfahan, are known for ivory and blue fields and fine knotting with silk outlines.

Article

Qom rugs: twentieth-century silk weaving

Qom is known for fine silk rugs. Learn the designs, how to check silk and what affects value.

Article

Reading an Amlash silver cup: raised form, hunting scenes and relief

A close-reading guide to lion hunting cup (1965.25): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading a Sasanian horse-shaped vessel: sculptural form and partial gilding

A close-reading guide to horse-shaped drinking vessel (1964.41): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading a Luristan horse bit: winged ibexes, casting and object assembly

A close-reading guide to horse bit with winged ibex cheekpieces (1980.102): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading a fragmentary Nishapur bowl: radial ornament and missing evidence

A close-reading guide to bowl (40.170.22): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading Sari ware: a bird bowl, polychrome slip and Amul attribution

A close-reading guide to bowl with bird and flowers (58.91): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading an Iranian brocaded panel: rosebush repeats, deer and metallic yarn

A close-reading guide to panel with rosebush, birds, and deer pattern (49.32.99): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading a Seljuq bird-shaped vessel: casting, chasing and an inlaid eye

A close-reading guide to bird-shaped vessel (1948.458): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading a Samanid Nishapur figural bowl: figures, animals and angular script

A close-reading guide to nishapur figural bowl (1959.249): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading a Garrus griffin bowl: carved slip, dark ground and a single creature

A close-reading guide to bowl with griffin (1925.1182): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading a Sultanabad bowl: flying birds, dense foliage and an Ilkhanid palette

A close-reading guide to bowl with flying birds (1915.589): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading an Ilkhanid Sultanabad dish: deer, phoenixes and borrowed motifs

A close-reading guide to ceramic dish with deer, phoenix, and lotus blossoms (1924.742): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading a Safavid bird study from Isfahan: natural history, margins and inscription

A close-reading guide to black and white bird perched on a shrub (1971.84): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading Nishapur ceramics: green ornament and pseudo-inscriptions

A close-reading guide to bowl with green pseudo-inscriptions and clusters of spots (39.40.52): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading an Iranian bird bowl: glaze layers and qualified Gurgan attribution

A close-reading guide to bowl (51.183): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading early Iranian silk: paired animals, roundels and fragment edges

A close-reading guide to textile fragment (38.147): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading an Iranian barber’s apron: woven ornament and assembled clothing

A close-reading guide to barber's apron (2013.1144): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading a Seljuq Qur’an folio: ornamental Kufic, illumination and page evidence

A close-reading guide to folio from a qur'an (1933.488): catalogue evidence, materials, composition, condition limits and responsible collecting.

Article

Reading Baluchi embroidery photographs: stitches, mirrors and maker evidence

An illustrated guide to recording Baluchi needlework, distinguishing visible stitches from seller claims, asking for reverse views and keeping image permissions separate from provenance.

Article

Reading a Meybod zilu listing: whole view, weave detail and evidence limits

Compare a seller-stated Iranian cotton zilu’s whole view and weave detail, separate handweaving from design labels, and document dimensions, condition, maker evidence and photo permissions.

Material

Woolپشم

A protein fibre used for Iranian pile weaving, flatweaves and felt. Fleece, yarn preparation and construction vary; the finished surface does not identify a breed or origin.

Material

Silkابریشم

Reeled filament used for fine pile, highlights, termeh wefts and brocade grounds.

Material

Cottonپنبه

Used for carpet foundations, block-printed cloth and embroidery grounds.

Material

Walnut woodچوب گردو

Timber used in some carved and inlaid objects; a decorative veneer does not identify every wood in the support.

Material

Brassبرنج

A copper-zinc alloy favoured for engraved vessels and trays because it holds a crisp chisel line.

Material

Copperمس

Softer than brass, traditional for tinned cooking vessels and deeply raised forms.

Material

Clay (earthenware)خاک رس

Earthenware clay underlies Persian village pottery, slip-painted wares and most architectural tile; quartz-rich stonepaste (frit) bodies are recorded separately.

Material

Natural dyesرنگ‌های گیاهی

Madder, indigo, weld, walnut husk, pomegranate rind and cochineal give the palette of older Iranian textiles.

Material

Camel boneاستخوان

Cut into fine rods to supply the white elements of khatam inlay.

Material

Metal threadنخ فلزی

Fine metallic strip or wrapped thread couched onto a textile ground for raised, reflective embroidery.

Material

Leatherچرم

Flexible material used for some soles, bindings and structural components.

Material

Silverنقره

Ductile metal drawn into wire for some filigree work.

Material

Paperکاغذ

Absorbent sheet used in marbling, manuscript arts and painted lacquer objects.

Material

Lacquer coatingلاک

Layered protective and decorative coatings used on some painted paper and wood objects; recipes vary.

Material

Turquoiseفیروزه

Blue-green stone fragments set into metalwork for decorative contrast.

Material

Gold leafورق طلا

Very thin beaten gold applied to paper, lacquer, wood and plaster for illumination and gilding.

Material

Shell goldطلای حل‌شده

Powdered gold mixed with a binder and applied with a brush, used for fine illumination lines.

Material

Lapis lazuli (ultramarine)لاجورد

A deep blue stone ground and refined into the ultramarine used in manuscript painting and illumination.

Material

Bone and ivory substitutesجایگزین عاج

Bone and modern substitutes used in inlay where ivory was once used; ivory itself is restricted.

Material

Vitreous enamelلعاب مینا

Powdered coloured glass fused onto metal at high heat.

Material

Stonepaste (frit)خمیر سنگ

A white ceramic body made of ground quartz, glass frit and a little clay, used for fine glazed wares.

Material

Opaque glazeلعاب مات

White opaque glaze used to hide coloured bodies and provide a ground for painting.

Material

Cobalt blueکبالت

The blue colourant of underglaze painting; Kashan was once associated with a cobalt source.

Material

Gypsum plaster (gach)گچ

Fast-setting plaster carved while soft into wall and ceiling ornament.

Material

Marble and soapstoneسنگ مرمر و صابونی

Stones carved into vessels, grave markers and architectural parts; soapstone is common for Mashhad cookware.

Material

Mulberry woodچوب توت

A dense wood valued for the bowls of the tar and setar.

Material

Membrane (skin)پوست

Thin skin stretched over the bowl of some instruments, such as the tar.

Material

Palm leaf and reedبرگ خرما و نی

Leaf strips and reeds used for basketry, mats and trays in the south of Iran.

Material

Goat hairموی بز

Strong dark fibre used in tent cloth, ropes and some flatweaves.

Material

Kork woolکرک

Soft under-fleece from the neck and shoulders, prized for fine carpets such as some Kashan and Nain pieces.

Material

Madderروناس

A plant root giving reds, pinks and browns in carpet and textile dyeing.

Technique

Knotted pile weavingقالی‌بافی

Pile is built by tying short lengths of yarn around warp pairs, row by row, then beating down and trimming the surface.

Technique

Wood inlay (khatam)خاتم

Fine rods of contrasting wood, bone and metal are bundled into a star unit, glued, sliced into thin sheets and applied to a carcase.

Technique

Chisel engraving (qalam-zani)قلم‌زنی

A pitch-filled metal vessel is worked from the outside with small chisels struck by hammer, raising line and texture rather than removing much metal.

Technique

Tazhib illuminationتذهیب

Gold and fine pigment are applied in disciplined ornamental bands and grounds around text or painting.

Technique

Underglaze paintingنقاشی زیرلعابی

Colour is applied beneath a glaze layer; body preparation and firing sequences vary between workshops and ceramic systems.

Technique

Supplementary weft brocadeزری‌بافی

Additional pattern wefts complement a ground weave. Termeh includes different weave structures and should not automatically be identified as supplementary-weft brocade.

Technique

Weft-faced flatweavingگلیم‌بافی

Weft-faced flatweaving is a working process used in kilim, zilu. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Warp-faced strip weavingجاجیم‌بافی

Warp-faced strip weaving is a working process used in jajim. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Textile block printingقلمکارسازی

Textile block printing is a working process used in qalamkar. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Surface embroideryسوزن‌دوزی سطحی

Surface embroidery is a working process used in pateh. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Metal-thread couchingسرمه‌دوزی

Metal-thread couching is a working process used in sermeh-duzi. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Wet feltingنمدمالی

Wet felting is a working process used in namad. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Giveh upper stitchingگیوه‌بافی

Giveh upper stitching is a working process used in giveh. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Enamelling on metalمیناکاری

Enamelling on metal is a working process used in minakari. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Wire filigreeملیله‌کاری

Wire filigree is a working process used in malileh. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Cut-tile mosaicکاشی معرق

Cut-tile mosaic is a working process used in moarraq-tile. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Ceramic overglaze enamellingلعاب رویی

Ceramic overglaze enamelling is a working process used in minai-ware. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Wheel throwingچرخ سفالگری

Wheel throwing is a working process used in lalejin-pottery. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Geometric lattice joineryگره‌چینی

Geometric lattice joinery is a working process used in gereh-chini. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Wood relief carvingمنبت‌کاری

Wood relief carving is a working process used in monabbat. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Paper marblingابر و باد

Paper marbling is a working process used in abr-o-bad. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Painted lacquer finishingنقاشی لاکی

Painted lacquer finishing is a working process used in lacquer-painting. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Turquoise fragment inlayفیروزه‌کوبی

Turquoise fragment inlay is a working process used in firuzeh-kubi. Sequence and materials vary between workshops; this entry is an educational overview, not an authentication method.

Technique

Asymmetric (Persian) knotگره فارسی

A pile knot wrapped around one warp and passed under the next, giving fine, sloping pile.

Technique

Symmetric (Turkish) knotگره ترکی

A pile knot wrapped around two warps, common in north-western Iran such as Tabriz and Heriz.

Technique

Natural dyeingرنگرزی طبیعی

Colouring fibre with natural-source colourants; vat and mordant systems require different preparation.

Technique

Drawloom weavingنقشه‌بندی دستگاه

A loom with a pattern harness that lets a helper lift warps for complex repeats such as termeh and zari.

Technique

Cut-pile velvetمخمل‌بافی

Weaving a pile over rods and cutting it to make velvet; Kashan velvets were famous.

Technique

Chain stitchزنجیره‌دوزی

A looped stitch used for outline and fill in Rasht work and other embroidery.

Technique

Felt appliqué and inlayوصله‌دوزی

Setting pieces of coloured felt into or onto a ground; used in Rasht work.

Technique

Repoussé and chasingبرجسته‌کاری

Raising metal from the back and refining it from the front with punches.

Technique

Metal inlay (koftgari)کوفتگری

Hammering gold or silver wire into a cross-hatched steel or brass surface.

Technique

Pierced steelworkمشبک‌کاری فولاد

Cutting, chiselling and piercing steel into plaques, standards and finials.

Technique

Lustre firingزرین‌فام

A metallic sheen made by painting metal compounds over glaze and firing in a smoky kiln.

Technique

Glass blowingشیشه‌گری فوتی

Gathering molten glass on a pipe and inflating it into vessels.

Technique

Carved plaster (gach-bori)گچ‌بری

Carving wet gypsum plaster into relief panels, niches and muqarnas.

Technique

Stone turning and carvingسنگ‌تراشی

Shaping soapstone and other stones on lathes and by hand into pots and vessels.

Technique

Instrument bowl carvingکاسه‌تراشی ساز

Carving a hollow wooden instrument body; a tar is commonly carved, while setar bowls may also be assembled from shaped ribs.

Technique

Leather case bindingجلدسازی چرمی

Sewing gatherings and covering them in tooled and gilded leather with a flap (lesan).

Motif

Botehبته

A teardrop form with a curled tip, the ancestor of the European paisley pattern, found across weaving, printing and metal.

Motif

Shah Abbasi palmetteشاه عباسی

A large composite palmette named after Shah Abbas I, usually set on a scrolling vine system.

Motif

Heratiهراتی

A small repeating field pattern: a rosette inside a diamond, flanked by four curved leaves often called fish.

Motif

Gol-o-morghگل و مرغ

The flower-and-bird pairing, widespread in painting, lacquer, enamel and tile from the Qajar period onward.

Motif

Eslimi arabesqueاسلیمی

Continuous scrolling vine work, split-leaf and rhythmic, used as the connective tissue of Persian ornament.

Motif

Gereh (geometric knot)گره

Strapwork star-and-polygon systems generated from a compass grid, shared between tile, inlay and lattice woodwork.

Motif

Mina khaniمیناخانی

An all-over lattice of small rosettes linked by vines and larger flower heads, common on village and city carpets.

Motif

Afshanافشان

A scattered, all-over floral field with no dominant medallion, meaning 'scattered' or 'strewn'.

Motif

Lachak-toranjلچک ترنج

The classic layout of a central medallion (toranj) with quarter-medallion corners (lachak).

Motif

Garden (bagh)باغ

Fields divided into compartments with water channels, trees and flowers, echoing the chahar-bagh garden plan.

Motif

Panel (khesti)خشتی

Rows of square or diamond panels, each holding a tree, vase or flower; strongly linked to Bakhtiari weaving.

Motif

Tree of lifeدرخت زندگی

A single tree or cypress rising through the field, sometimes with birds or a vase at its base.

Motif

Cypress (sarv)سرو

A tall, pointed tree form, often in rows, and one of the images most often linked to the boteh.

Motif

Prayer niche (mehrabi)محرابی

An arched niche at one end of a rug or panel, echoing a mihrab; also used on non-religious pieces.

Motif

Vase design (goldani)گلدانی

Flowering vases repeated or stacked in the field, a layout seen on carpets, tiles and textiles.

Motif

Hunting scene (shekargah)شکارگاه

Mounted hunters, animals and trees across the field; a court subject taken up by carpets, miniature painting and tiles.

Motif

Simorghسیمرغ

The mythical bird of the Shahnameh, drawn with long plumed tail feathers.

Motif

Lion and sunشیر و خورشید

A lion with a rising sun behind its back, used on coins, tiles, metalwork and textiles over several centuries.

Motif

Peacock (tavus)طاووس

A peacock with a fanned tail, seen on tiles, metalwork, carpets and enamel.

Motif

Fish (mahi)ماهی

Paired leaf forms read as fish, usually flanking a rosette in a lattice; closely tied to the herati repeat.

Motif

Sarband bouquetسربند

Small repeated bouquets set in rows; the name comes from a district near Arak.

Motif

Joshaghan latticeجوشقان

Diamond lattices of stylised flowers named after the weaving town of Joshaghan.

Motif

Gol-farang roseگل فرنگ

Naturalistic cabbage roses and bouquets, a 19th-century taste that shows European influence.

Motif

Cloud band (chi)ابر چینی

Twisting ribbon-like cloud forms that entered Iranian design from Chinese art.

Motif

Khatai flowerختایی

Stylised palmettes, lotus-like blossoms and buds that run along scrolling stems.

Motif

Shamsehشمسه

A sunburst rosette with radiating points, used on illuminated pages, book covers and ceilings.

Motif

Medallion (toranj)ترنج

A lobed central medallion, usually lozenge-shaped or oval, found on book covers, carpets and ceilings.

Motif

Eight-pointed starستاره هشت‌پر

Two overlapping squares forming an eight-pointed star; a key unit in tile, wood and inlay geometry.

Motif

Ten-point rosetteشمسه ده‌پر

A ten-pointed star rosette that sits at the heart of many girih patterns.

Motif

Brick script (banna'i)بنایی

Square Kufic lettering built from glazed and plain bricks, so that words form geometric blocks.

Motif

Kufic borderحاشیه کوفی

Angular script or script-like bands used on ceramics, metalwork and carpet borders.

Motif

Running dog borderموج

A wave-like hooked border, also called a 'wave' in Persian.

Motif

Gabbeh animal figuresنقوش حیوانی گبه

Simple goats, deer, lions and birds scattered across plain gabbeh fields.

Motif

Stepped lozengeلوزی پله‌ای

Stepped diamonds and hooks typical of flatwoven kilim, jajim and rug borders.

Motif

Kerman boteh clusterبته کرمانی

Rich clusters of boteh and floral sprays worked in dense wool embroidery on pateh.

Motif

Birds and fishمرغ و ماهی

Birds and fish placed together, often on metal, ceramics and wedding textiles.

Motif

Court scene (majlesi)مجلسی

Figures seated in garden or palace settings, shown with music, poetry or feasting.

Motif

Khayyam sceneمجلس خیامی

A poet and a companion with wine and a garden, drawn from popular illustrations of the Rubaiyat.

Motif

Shahnameh sceneمجلس شاهنامه

Episodes from Ferdowsi's Book of Kings, such as Rostam's battles, on paintings, tiles and coffee-house art.

Motif

Bird on a branchمرغ بر شاخه

A single songbird on a flowering branch, a close relative of gol-o-morgh used on lacquer and enamel.

Motif

Pen-box stripeقلمدانی

Narrow vertical stripes filled with small boteh and floral motifs, used on termeh.

Motif

Honeycomb (lane-zanbori)لانه زنبوری

A tight hexagon repeat used in inlay, lattice and tile work.

Period

Achaemenidهخامنشی

Imperial workshops draw craftspeople from across the empire, producing goldwork, stone relief and glazed brick of exceptional finish.

Period

Sasanianساسانی

Silver vessels, silk weaving and stucco ornament establish a visual vocabulary — roundels, confronted animals, winged motifs — carried far beyond Iran.

Period

Seljukسلجوقی

Inlaid metalwork and lustre ceramics flourish; brickwork and tile begin their long partnership with Persian architecture.

Period

Ilkhanidایلخانی

Contact across Asia introduces new pigments and painting conventions; Lajvardina ware and large-scale tile schemes appear.

Period

Timuridتیموری

Court ateliers in Herat refine manuscript painting, illumination and bookbinding into a coherent, highly disciplined school.

Period

Safavidصفوی

The high point of organised Persian craft: royal carpet workshops, haft-rang tile, inlay, silk and velvet production on a commercial scale.

Period

Qajarقاجار

Workshops adapt to export markets and to photography; enamel, lacquer and large commercial carpet production expand.

Period

Pahlaviپهلوی

State institutions begin documenting and classifying handicrafts; some village traditions decline as industry expands.

Period

Contemporaryمعاصر

Master artisans work alongside designers and conservators; several techniques survive with only a handful of documented practitioners.