Handicrafts and Souvenirs of Isfahan Province

With the testimony of the remaining artifacts and the rich history of this ancient land, the people of Isfahan are counted among the most artistic in Iran. Their ancient and rich culture has graciously bestowed upon humanity some of the most exquisite and meaningful artistic and spiritual treasures. By honoring and preserving Iranian art, albeit briefly, let’s delve into some of these arts:

:Painting

Iranian painting dates back to pre-Islamic times and encompasses various schools of art, including the Tabriz school, Baghdad school, Shiraz school, Herat school (under the Timurids), Mongol school, and more. Iranian painting traditions were often centered around the ruling power of the country, where artists either migrated to the centers of power or were called upon to those places. Examples of various painting schools are preserved in museums outside of Iran. Iranians showed a strong interest in adorning pottery, fabrics, books, building walls, and palaces based on Sassanid painting art. During the Ghaznavid and Seljuk periods, many valuable and beautiful works of painters were created, and countless artists stepped into the field of art. After the Qajar period, Isfahan once again became a center for painting in Iran, with its artists returning to the Safavid-era painting styles. This art is now presented in the form of painting on paper, camel bone, and in some cases, the highest level of craftsmanship involves the use of elephant ivory. Artists use chicken feather pens for writing and the hair from the back of domestic cats for pen nibs.

:Calligraphy

The history of writing in Iran dates back to the fourth millennium BCE when this script was first invented by the Elamites and served as a means of expression. Archaeologists and historians of Iranian calligraphy have identified six types of scripts (after Islam), all derived from the Naskh script, which has earned the title of the mother of Eastern scripts. The main scripts include Mohaqqiq, Reyhan, Thuluth, Naskh, Taliq, and Reqaa. Historical monuments in Isfahan, such as the Atiq Mosque, Abbasid Mosque, Sheikh Lotfollah Mosque, etc., showcase the art of calligraphy.

:Carpet Weaving and Textile Art

Iranian carpets, as a form of artistic expression, draw upon the perceptions and interpretations of nature by artists within the cultural framework of various arts and sciences such as mathematics, geometry, painting, architecture, poetry, literature, religious beliefs, nature, stories, and history. To trace the origins of the first carpets, one must delve into the dawn of history of this ancient land, although archaeological knowledge has only been able to trace its footprint back to the Achaemenid period.

The oldest known carpet today is a carpet called “Pazirik,” which was excavated by archaeologists from the ice in Siberia. Carpet weaving flourished during the Sassanid period, and a prominent example is the “Spring of Khosrow” carpet, which was plundered by the Arabs after the conquest of Ctesiphon, although its legacy still remains in the minds of art lovers and enthusiasts. When Iran was on the Silk Road, the largest supplier of silk, and Rome was the largest consumer of this commodity, Iran became a gateway for raw silk and silk products. Iranian artists showed more interest in weaving silk fabrics, and the buyers of these fabrics were mostly Christian merchants who took these fabrics to the West and Rome.

To weave a city carpet, an artist needs an initial design, which is the task of the carpet designer. The design on paper can represent one-quarter, half, or the entire desired area of the design, but in a tribal carpet, the design comes to the mind of the weaver simultaneously with weaving and is applied to the carpet in hand. The handloom for carpet weaving is a simple four-sided frame (made of wood or iron) that horizontally or vertically holds the warp or fibers, which are then interwoven. The warp and weft themselves have various options, which can be made of cotton thread, sheep wool, camel hair, or silk. The colors used in dyeing are mainly derived from natural materials, especially plants, and rarely from minerals and chemicals (in recent years). Major natural sources include pomegranate peel, walnut peel, madder, indigo, henna, woad, and a type of worm that produces red.

:Tile Art

Tile work, which is related to pottery in terms of raw materials and construction method, is attributed to the city of Kashan and its oldest known example is the glazed brick of the Chogha Zanbil ziggurat from the Middle Elamite period, located in the ancient Shush plain. By the end of the sixth century BCE, in the Apadana Palace of Darius in Shush, glazed bricks were used in the palace decorations, displaying immortal guards and other common motifs in Achaemenid courts with great elegance and beauty. This industry declined during the Parthian period, and sometimes glazed bricks were used in the covers of coffins. During the Sassanid period, glazed mosaic tiles of superior quality became prevalent and were used in buildings of this era, especially in Bishapur and Ctesiphon palaces. The patterns of these tiles include women playing harp, weavers, flower holders, and old men, which are made of small pieces of tiles in various colors such as orange, brown, yellow, red, blue, turquoise, milky, and gray, indicating precise work and the variety of colors prevalent during the Sassanid period.

:Metalworking and Engraving

Metalworking has a long history in the art industry in Iran and the artifacts obtained indicate a history dating back to the third millennium BCE. During this period, this art had a ritualistic aspect, and the beliefs of the people of that time manifested in this art. Prominent examples of this art are found in the Luristan bronze and objects obtained in Khuzestan from the Elamite civilization. Metalworking during the Achaemenid period was mostly ornamental and ceremonial, and various types of ritons, cups, and vessels of bronze, steel, gold, and silver were produced. During the Parthian period, it declined, but from the Sassanid period, numerous metal vessels such as plates, cups, bowls, vases, etc., have remained, most of which are made of silver and sometimes gold, and were produced with unparalleled skill and artistry.

:Enamelwork

Enamelwork can be considered one of the most beautiful and authentic handicrafts of Isfahan, which has fortunately experienced significant expansion in the city. This art can be seen as a harmonious combination of metalworking and painting. The emergence of this art and its exact period are not clear, but some examples of this art have been found from the Seljuk period, and its flourishing period took shape during the Safavid era. Initially, the desired object (such as a plate, vase, etc.) is given a shape on a copper piece. The object is then covered with a layer of enamel in the kiln, and the artist begins to paint the designs on the enameled object. Soon, desired colors such as turquoise, lapis lazuli, and green are applied to the object. The prepared object is then sent to the kiln to fix the colors on the metal at a temperature of 800 degrees Celsius. In enamelwork, both the enamel and colors are derived from mineral materials. Metal oxides provide the desired colors to the artist: chromium oxide for yellow, lead oxide for white, cobalt oxide for blue, manganese oxide for purple, and other colors are obtained similarly from the oxides of the desired metals. In most enameled objects, the dominant color is blue, which is adorned with flower and bush patterns, bird and flower motifs, and sometimes famous historical landmarks of the country.

:Qalamkar Fabric

The history of Qalamkar fabric production dates back to ancient times, although the exact starting point of this art is still unknown. However, this art flourished during the Safavid era in the city of Isfahan and is now considered the most prominent point of production of this (handmade) industry in the world. This art has evolved some differences from the past, which are mainly in its production method. In the past, the designs were painted on cotton fabrics with a paintbrush, whereas due to excessive time consumption, artists now use wooden molds made from pear wood and patterns such as Eslimi, Khatayi, geometric patterns, hunting scenes, chogan game, Persepolis motifs, and more. After selecting the fabric, it is first cut into various sizes (tablecloth, bedspread, curtain, napkin, etc.) and sent to homes to be rooted by women. Then, they are washed to shrink and then taken to the workshop where artistic work on the fabric begins. The first color is black, made from walnut husks and catechu, which forms the background color. The second color is red, which is made from alum stone and madder, and then boiled with catechu to produce the red color. In this way, the third color is blue, made from lapis lazuli, grape syrup, and catechu; the fourth color is yellow, made from pomegranate peel and catechu; the green color is obtained from sweet pomegranate peel, lapis lazuli, grape syrup, and catechu. Some of the important and ancient patterns of Qalamkar fabric include: Boteh Jegheh, Boteh Termeh, Dalbareh, Darham Rizah, Band Eslimi, Pahlavi Border, Vase, Ceramic, Hakei, Sultanate, Four Boteh Amir, Sarvi, and some animal motifs such as peacock, lion, and bird.