Document Type : Original Article
Authors
1
M.A. in Carpet Studies, Lecturer at Department of Carpet, Faculty of Art, Arak University, Arak. iran.
2
Instructor , Department of Carpet, Faculty of . Arak. IranArt, Arak University
Abstract
This study aims to identify and analyze the technical and structural components, as well as the dominant design patterns, in the handwoven carpets of the Dargazin region—encompassing the towns of Dargazin, Famenin, and Razan—in the northeast of Hamedan Province. Renowned as one of the oldest and most authentic centers of carpet weaving in Iran, this region offers a rich case for examining the continuity, adaptation, and technical characteristics of traditional weaving practices in a local context. Adopting a descriptive-analytical approach, this research is grounded in qualitative fieldwork and direct observation of 18 selected carpet samples attributed to the region. The study applies a systematic method of observation and visual coding to classify and interpret technical structures, weaving practices, and design schemas. The central research questions are: (1) What are the principal technical and structural features of carpets from the Dargazin region? and (2) What are the recurring design patterns and visual frameworks that define the structural composition of their motifs? Findings reveal a consistent set of technical characteristics across most samples, indicating a relatively stable and coherent regional weaving identity. These characteristics can be grouped into three main categories: tools and equipment, raw materials, and structural techniques. The dominant weaving tool today is the vertical metal loom, which has gradually replaced the traditional fixed wooden loom. While several older tools, such as the traditional beating combs (kerkit) and wool trimming knives (kork-gir), are now rare, they still exist in the collective memory and oral traditions of local weavers. Regarding materials and weaving techniques, the warp is typically made from S-twisted white cotton yarn, generally 15 to 24 plies. It is warped using a Turkish-style method conducted by the weavers themselves. Some recent examples incorporate a cotton-acrylic blend. The weft, also cotton or cotton-acrylic, varies between 12 and 18 plies. Symmetrical (Turkish) knots using hand-spun or machine-spun wool are standard. Most carpets are single-wefted—an important technical hallmark of the region's output—and the side bindings (shirazeh) are integrated wool cords dyed to match the borders. The lower ends of the carpets feature a kilim section, approximately 2–3 cm wide, woven in a tabby structure using cotton or cotton-acrylic threads. While the upper fringes are mostly unornamented, occasional examples display decorative knots. Finishing processes such as clipping, combing, and trimming are generally performed by the weaver. Dyeing is primarily chemical and is carried out in household settings or small-scale local workshops. Knot density ranges from 12 to 20 raj (rows per 7 cm), with 15–20 being the most frequent. Higher densities (30–35 raj) appear in a few commissioned pieces produced for merchants, which do not represent the common rural practice. Carpet sizes follow standard Iranian formats—e.g., pushti (70×104 cm), zar-o-nim (160×104 cm), panj-charki (70×130 cm), do-zar'i (208×120 cm), and six-meter rugs (200×300 cm). Qualitative assessment of the samples shows variation: 13 are of average quality, three are good, and two are relatively poor. These differences reflect socioeconomic contexts, weavers' skill levels, and production objectives. The study identifies four key axes of structural change in recent decades: (1) the introduction of cotton-acrylic yarns for warp and weft; (2) the replacement of natural dyes with chemical ones; (3) increased knot densities in response to market demands; and (4) the substitution of portable metal looms for traditional fixed wooden ones. Despite such adaptations, the region's technical identity remains largely intact, reflecting a nuanced form of modernization within the boundaries of local tradition. In parallel with technical elements, the research investigates design structures and recurring visual patterns. Dargazin carpets exhibit established compositional schemas, particularly in the arrangement of corner medallion (lachak-toranj) designs, borders, and field layouts. These recurring patterns demonstrate both traditional continuity and regional distinctiveness. Several designs—such as the "Sozan" motif—resemble the Pich-e Jowzan carpets of Malayer but are differentiated by their distinct placement of serrated leaf motifs and variations in density and symmetry. Further analysis reveals selective borrowing from neighboring carpet centers such as Lilihan and Farahan, particularly in more recent samples. These influences are not imitative but have been reinterpreted within the aesthetic and technical parameters of local weaving. Structural differences—such as lower knot counts and single-wefted construction—alter the visual expression of motifs, producing a course, more geometric aesthetic compared to the finer curvature of Lilihan carpets. The study also identifies instances of complex and multi-layered compositions inspired by Borchelu carpets, as in Sample No. 9. Despite appearing dense and continuous at first glance, a closer examination reveals a structured layout with a central medallion, paired floral vases along the vertical axis, and harmonized Khatai-style ornaments.
In conclusion, the carpets of Dargazin reflect a hybrid weaving culture marked by structural stability, localized innovation, and adaptive interaction with regional influences. The technical and design features identified in this study may serve as a foundation for developing region-specific quality standards and contribute to the preservation and revitalization of the area's rich carpet-weaving heritage.
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