Malayer Rugs & Carpets

Malayer town and the surrounding weaving area of about 120 villages in northwest Persia constitutes its own district distinct from both Hamadan to the north and Sarouk/Arak to the south. Malayer is a prosperous market town and administrative center in one of the most fertile agricultural areas in northwest Iran. Carpet weaving has been carried on since at least the early 19th century; a carpet dated 1816 and inscribed to a local mosque is in the Toronto Museum. This and several other kellegi format pieces (gallery rugs) are in Indo-Isfahan palmette patterns on red grounds. The weaves are characteristic of Malayer town weaving.

Most of the 3000 carpet looms are in the villages, with only a few hundred in the town. About one-third weave carpets, the others weave scatter rugs. There are really two-halves to the district. The area north of the town, in the direction of Hamadan weaves rugs whose structure approximates its influential northern neighbor. Symmetric knots, single wefts, all cotton foundations, flat backs, medium-low knot density, low pile, flexible handle are all [...]

Malayer town and the surrounding weaving area of about 120 villages in northwest Persia constitutes its own district distinct from both Hamadan to the north and Sarouk/Arak to the south. Malayer is a prosperous market town and administrative center in one of the most fertile agricultural areas in northwest Iran. Carpet weaving has been carried on since at least the early 19th century; a carpet dated 1816 and inscribed to a local mosque is in the Toronto Museum. This and several other kellegi format pieces (gallery rugs) are in Indo-Isfahan palmette patterns on red grounds. The weaves are characteristic of Malayer town weaving.

Most of the 3000 carpet looms are in the villages, with only a few hundred in the town. About one-third weave carpets, the others weave scatter rugs. There are really two-halves to the district. The area north of the town, in the direction of Hamadan weaves rugs whose structure approximates its influential northern neighbor. Symmetric knots, single wefts, all cotton foundations, flat backs, medium-low knot density, low pile, flexible handle are all Hamadan features prevalent in this group. The patterns range from nearly geometric to quasi-floral. These could be considered as fine Hamadan rugs. Antique rugs from the town of Malayer adheres to this basic convention, but the weave is a little finer and the carpets less folky. The knot count runs seven horizontally by eight vertically. Gallery rugs were a Malayer specialty and the six feet by fifteen feet size is frequently encountered in antique rugs from Malayer.

The allover Herati pattern is particularly popular in this Malayer group. Often it densely covers the entire dark blue field with small scale leaves, lozenges and rosettes in the Farahan manner. At other times it appears in triangles coming in from the borders to frame a plain field centered by a pole medallion. On village pieces, the pattern may be larger and less delicate, more summarily rendered, but it is very striking nonetheless.

A special subgroup of these single wefted pieces are those called "Mishan" which take their medallion and corners styles from the antique Persian Fereghan Sarouk rugs of the 1890-1910 period. They are finely woven with the same flat backs, symmetric knots and all cotton foundations. Ivory or dark blue fields are common in these antique Persian rugs. The drawing is angular befitting a village product executed without scale paper cartoons. No samplers are used in the Malayer district. The village of Bikash was a source of the rare Mishan-quality Malayers in large carpet sizes. Grape vine and cabbage leaf patterns are also among the Mishan group patterns. This interesting genre requires further study and the rugs are eminently collectible. The dyes are generally excellent although some examples display synthetic red or orange, dating them before 1908 when synthetics were banned or at least restricted in Persia. Mishan production seems to track Fereghan Sarouks in period and was probably a slightly down market imitation of them.

South of Malayer, the situation changes. Here the Sarouk influence is stronger. The rugs retain their Turkish knots, but the wefts are doubled, the weave is finer with 100-130 knots per square inch, the pile is longer and much more compact. The designs on these antique rugs are mostly rustic, with angular medallion and corner patterns on navy fields. There seems to be no ivory ground medallion rugs. The borders often display an interesting three dimensional looping strap work design seen nowhere else in Persia. These are called "Jozans" in the trade and are in scatter sizes, sometimes as small as two feet by three feet. Some are even tinier. There are a few Jozan weave small picture rugs with a portrait of the dervish Nur-Ali Shah. Jozan and Manizan villages weave many of the best examples including few in elaborate niche designs with vases and asymmetrical palmette patterns. Jozan-type antique rugs have a firm, solid texture, unlike Sarouks. Rather than resembling "American" style Sarouks, they follow more the Heriz aesthetic. The dyes are excellent and rose, again following antique Fereghan Sarouk rugs, is an important secondary tone. Indigo is used for the blue, madder for the reds, natural undyed wool for the ivory.

Malayers are among the most attractive and authentic of antique Persian rugs from villages and definitely call for more attention from designers and collectors alike.