Document Type : Original Article
Authors
1
Associate Professor, Department of Painting, Faculty of Art, Al-Zahra University, Tehran, Iran
2
Ma in Painting, Faculty of Art, Alzahra University, Tehran, Iran.
Abstract
Carpet weaving in Iran is a long-standing traditional art that has always been intertwined with the culture, myths, and beliefs of local communities. Among the various historical periods, the Qajar era stands out as a pivotal moment in the flourishing of this art, marked by a significant expansion of carpet weaving across urban and rural areas. This growth provided fertile ground for the emergence of diverse designs and motifs. One of the notable centers of carpet production during this era was the Sanneh region (present-day Sanandaj) in Kurdistan, whose carpets have consistently drawn the attention of weavers and collectors due to their distinctive technical and aesthetic characteristics. This study aims to examine the structure, symbolism, and aesthetics of one of the rare and lesser-known examples of Sanneh carpets—namely, the Alvan Comb Carpet. Preserved in the Iran Carpet Museum, this exquisite piece stands out for its visual complexity, unique composition of motifs, and rich semantic layers. Employing a descriptive-historical method and a qualitative approach, the research draws on library resources, historical documents, and interviews with local experts for data collection and analysis. The main research questions address the shared characteristics of Sanneh carpets housed in the Iran Carpet Museum, the historical background of the symbols used in the Alvan Comb Carpet, and the potential meanings of the prominently repeated comb motif. The findings reveal that Sanneh carpets typically feature single-weft construction with thick wefts, a knot density ranging from 50 to 80 knots per row, natural plant-based dyes, and dimensions varying from approximately six meters. These carpets are generally woven using wool from Kurdish sheep, lending them a distinctive luster and high quality. The motifs of the Alvan Comb Carpet include lachak-toranj (corner-and-medallion patterns), intertwined fish (mahi dar ham) in both the central medallion and corners, sixteen rows of colorful combs on the large medallion, doost-kami motifs in the main border, and tasbih-like (prayer bead) patterns across three inner and one outer border. Among these, the comb emerges as the dominant recurring motif with significant symbolic weight. Comparative analysis with single-sided combs engraved on male gravestones in Kurdish cemeteries, along with iconographic parallels in religious imagery associated with Saint Blaise (a revered Armenian bishop), suggests a potential reference to this saint, whose symbol is the comb and who is traditionally regarded as the patron of wool workers. This interpretation gains further support when considering the prominence of Armenian Christianity during the Naseri period in Sanneh, the carpet’s discovery in the Golestan Palace, and the high artistic value of this particular piece. It is therefore plausible to conclude that the carpet was commissioned by a prominent Armenian figure and later gifted to the Qajar court.
Additionally, the doost-kami motif in the main border and the tasbih-like elements in the secondary borders function as protective symbols encircling the central combs. In contrast, the intertwined fish motifs in the main field carry connotations of fertility, vitality, and movement. These decorative features—commonly found in traditional Kurdish carpets—often serve protective, ritualistic, or even mythological purposes. For instance, the intertwined fish motif is associated with themes of fecundity, life, and dynamism, while the tasbih patterns may reflect religious or mystical beliefs. From an aesthetic perspective, Sanneh carpets present a harmonious blend of authenticity, simplicity, and chromatic diversity. The use of natural dyes, such as red, blue, and cream, extracted from plants and applied to local wool, yields vibrant color combinations that enhance the visual allure and artistic distinction of the carpet.
In reviewing the scholarly literature, the works of A.Cecil Edwards, Shirin Sure-Esrafil, Leyla Dadgar, and an article by Mahtab Mobini & Farzam Ebrahimzadeh are cited. While these studies offer valuable general insights into Kurdish carpet weaving, they fall short of providing an in-depth structural and symbolic analysis of specific examples. The distinctive contribution of this research lies precisely in its focused and detailed examination of a single carpet, which enables the uncovering of hidden meanings embedded in its motifs. Ultimately, by simultaneously analyzing the historical, aesthetic, and symbolic dimensions of this carpet, the study takes a significant step toward a deeper understanding of the carpet-weaving art of the Sanneh region during the Qajar period. It demonstrates that Kurdish carpets—especially those from Sanneh—are not only technically and visually exceptional but also embody profound narratives, beliefs, and socio-cultural symbols, whose full appreciation requires meticulous attention and interdisciplinary research.
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