How to Interpret Persian Carpet Patterns — From Medallions to the Tree of Life

When I visited Kum's workshop, a young weaver once showed me the designs he was working on and explained, "This is a Mehrab, this is a Garden, and that large one over there is a Medallion." Even with the same silk rug, the meaning and atmosphere change significantly just by having a different pattern. I felt that for the local artisans, the names of these patterns were like words they had grown up with since birth.

Persian rug patterns are imbued with many symbols nurtured over a long history and daily life. Since simply listing the original language's kana might be confusing, here we will mainly use Japanese names, with the local appellations added in parentheses. You can view them with photos and videos, starting with the most representative patterns.

Medallion Pattern (Toranj/Lachak Toranj)

This is the most popular composition in Persian rugs, featuring a large circular or oval crest in the center, with symmetrical decorations in the four corners. The classic medallion pattern is a complete form combining the central crest with triangular corner ornaments called "Lachak Toranj."

There is a theory that the background is a representation of the dome ceiling decoration of a mosque transferred onto the rug. Looking at the decorations spreading outwards from the center creates an upward gaze, giving grandeur to the space. This pattern is suitable for various uses, whether it's your first rug, a gift, or the centerpiece of a reception room.

Tree of Life (Derakhti)

A large tree stands in the center, with branches, leaves, flowers, and birds intertwined. It symbolizes eternal life, prosperity, and gratitude for nature, and in nomadic culture, it has also been considered a symbol of an oasis.

The Tree of Life from the Mirmehdi workshop is known for its complex composition featuring small birds on the tree branches, a vase at the base, and "paradise" elements surrounding it. Since your gaze moves up and down when looking at the central tree, this pattern is often displayed vertically on walls.

Vase Pattern (Goldan)

This composition features flowers arranged in a vase, rising upwards. The decoration of the vase itself is also intricate. Woven since ancient times as a symbol of abundance and peace, it is said to be intended to bring Persian garden culture (Paradise Garden) indoors.

The vase compositions, especially when combined with Mirmehdi workshop designs or mihrab patterns, are a design that Japanese customers often specifically request. The type of flowers and the flow of the leaves reveal the individuality of each workshop.

Hunting Pattern (Shekargah)

This pictorial composition depicts royalty and nobles hunting on horseback, and scenes of animals like deer fleeing. It is a traditional motif dating back to the Achaemenid dynasty, representing the aristocratic hunting culture.

In Europe, there is a belief that a hunter woven into a rug protects the home, so it also has the meaning of an amulet against evil. It is not widely available in Japan and is known as a rare design.

Dome Pattern (Gonbadi/Sun Burst)

This composition features circular geometry spreading radially, a design reminiscent of sunlight. Inspired by mosque dome decorations and tile patterns, it combines sacredness with mathematical order.

In Qom, the Arbabar workshop is known as a master of dome patterns. The color gradations and continuous intricate patterns create a visually enjoyable pattern that appears to move depending on the viewing angle.

Garden Pattern (Heshti/Panel Pattern)

This composition combines panels (small sections) divided into a grid, with different flowers, trees, birds, and motifs drawn in each panel. It is said to reflect the sectional beauty of Islamic gardens onto a rug, achieving both a structured composition and intricate details.

It feels as if many small gardens are arranged on the rug, offering new discoveries each time you look. While similar compositions exist in Bakhtiari rugs, when woven in Qom silk, they become even more exquisite.

Paisley (Boteh)

Teardrop or pinecone-shaped curved motifs are woven in a continuous pattern. It symbolizes prosperity and eternal life and is a very popular design in Persian culture.

Originating in the Islamic world, it traveled through India to Europe, and is now widely used in fashion and textiles as the "paisley pattern." Even if the name "Boteh" isn't familiar, you've probably seen the silhouette at some point.

Peacock Pattern (Tavus)

This is a pictorial rug centered around a peacock motif. It is a highly pictorial pattern, featuring elaborate depictions of flamboyant tail feathers, surrounding flowers, and sometimes contrasts with other birds.

Taji workshop's peacock pattern is known for its rich color palette and powerful composition. It is often used as a wall hanging and makes a striking centerpiece in a living room or entrance.

Flower and Bird Pattern

This composition combines flowers and birds, representing a natural paradise within the rug. It aims to bring the arrival of spring and beautiful natural scenery indoors, creating a soothing design.

Flower and bird patterns woven with Qom silk allow for greater freedom of expression due to the fine threads, sometimes enabling the depiction of the texture of each individual bird feather.

Arabesque Pattern (Karakusa)

This pattern features intertwined plant tendrils as its main theme, creating a rhythmic and fluid design. It is characterized by having no central composition, with plant motifs continuously repeated across the entire surface, and its appearance changes depending on the viewing angle.

It is a traditional design in Islamic art, interpreted as a symbol of endless life. When woven in subdued colors, this pattern easily blends into Japanese-style spaces.

All-Over Pattern

This is a general term for patterns that do not have a central composition, but instead feature the same motif continuously repeated across the entire surface. The patterns vary widely, including geometric star motifs, repeating flowers, and continuous paisley designs.

When furniture partially covers a rug, the central medallion will not be hidden. This pattern is suitable for use with furniture, such as in front of a sofa in the living room or under a dining table.

Other Patterns

Here are some other patterns that could not be covered in detail:

• Prayer Niche Pattern (Mihrab/Mehrab) — An arch-shaped composition that reflects the mihrab (prayer niche) of a mosque onto a rug, indicating the direction of prayer. It is one of the representative designs of the Mirmehdi workshop, resulting in a piece imbued with religious tranquility.
• Fish Pattern (Mahi) — A pattern often seen in rugs from the northeast, featuring a continuous small pattern reminiscent of fish bones. It has a rustic feel and is suitable for everyday rugs.
• Western-Style Pattern (Naghshe Frangi) — A composition influenced by Western paintings and botanical illustrations. It has also been woven in Qom since the 19th century.

Guidelines for Choosing

When choosing a pattern, imagining the placement and traffic flow will help you visualize it better.

If you want it to be the centerpiece of a reception room or guest room, choose a medallion or Tree of Life. If you prioritize flexibility in furniture arrangement, opt for an all-over or arabesque pattern. For a pictorial piece with a story, choose a hunting scene, peacock pattern, or flower and bird design. If you want to enjoy a well-arranged garden-like composition, a garden pattern is ideal. These are starting points for choosing.

At Golestan, the pattern classification is clearly stated on the product page. Choosing a rug based on where it will be placed, such as in the family living room, bedroom, or entrance, will help you find a piece you can cherish for a long time.