KILIM
Introduction
From the peaks of towering mountains and vast plains, through centuries of nomadic life, from Azerbaijan to Shiraz, from Shiraz to Sirjan, passed down from mothers to daughters and from one generation to the next, it has traversed the alleys of history without fading, and will live on in the minds of today’s daughters, the mothers of tomorrow.
Its name is Shiriki Pich kilim, a beautiful handwoven piece by the rural and nomadic women of Sirjan. The story of its weaving is a captivating tale of the lives of the kilim tribe people. From the efforts of the man of the house in collecting sheep’s wool, which serves as a playmate for the tribe’s children, to the calloused hands of elderly women spinning the wool patiently with a spindle, transforming it into yarn. Threads that are soon dyed with the colors of plants and trees, so that the tribe’s daughter can imagine and weave the kilim’s flowers, row by row, in a stable and lasting pattern.
Kilims share similarities with hand-woven carpets in terms of weaving techniques. However, they exhibit significant differences from hand-woven carpets in terms of structure, weaving type, and characteristics. Kilims are much thinner than hand-woven carpets and can even be used as wall coverings. Kilims are primarily without pile and have a flat, delicate structure. Therefore, hand-woven carpets have a stronger consistency than kilims. The weaving speed and the amount of raw materials required for their weaving are much less than those of hand-woven carpets.
An interesting aspect of these kilims is that their designs are often improvised and created spontaneously. Given the lower number of rows in kilims compared to hand-woven carpets, these improvised designs can significantly speed up the weaving process. Kilims woven using this spontaneous method tend to be more creative and abstract.
A loom is being set up, ready for the women and girls of the tribe to weave a tapestry of love, knot by knot and row by row. The warp threads showcase the delicacy and beauty of the kilim, while the weft threads give it strength and durability. The melodies on the loom are a song that echoes in the ears of the kilim, lest the flowers of this unique handmade piece lose their color. As the patterns intertwine, a sweet story takes shape, like a vivid image depicting all the weaver’s desires.
Designs such as Gholi Shool, Boteh Shahi, Gol Mosi Khani, Se Kelleh and Toranj, come alive one by one under the artistic fingers of the weavers, gaining an authenticity that has given Iranian kilims their reputation in global markets. Years have passed, and the story of the weaver and the kilim continues. Now, the fame of the art of these hardened kilim-weaving women has reached the ears of the world more than ever before. Grandmother was right; the hand-woven kilim never dies.
Since ancient times, Kerman has been renowned as one of the regions whose textiles were exported to all corners of the world. Perhaps for this reason, the etymology of “Kerman” reflects this fact. Kerman is derived from “Karman”. One of the meanings of “kar” is weaving. Even today, Kermanis refer to those who weave carpets as “kar baf”.
Kilims are among the most popular handicrafts of Iranians. Unlike what some people think, kilims differ greatly from carpets and rugs in terms of weaving, structure, and design. These handicrafts are very famous due to their delicacy, affordability, and unique beauty. Kilims are spread across Iran in various types, qualities, and origins, each with its own unique characteristics.
The oldest kilim found in the Anatolian peninsula dates back 6,000 years BC. In Iran, the oldest discovered kilim is located in western Iran and dates back to 3,000 BC.Handwoven textiles, especially kilims, have been an essential part of life for families in the Eastern world, particularly Iranians, adorning their floors. In fact, the history of kilims predates that of carpet weaving and was more prevalent before carpets became popular.
Weaving has been one of the primary and fundamental arts of Kerman throughout history. Sirjan is the cradle of the Shiriki Pich kilim in the world. It can be confidently said that its knot, weave, and design are unparalleled worldwide. One of the most beautiful, authentic, and historic, yet economical weaves in Iran is this very Shiriki Pich kilim. Its weave is very strong, fine, and delicate, which is why people appreciate its qualities and characteristics.
The antiquity of Shiriki Pich kilim
The history of Shirki Pich kilim of Sirjan dates back to the Afsharid era. Even today, the designs of this kilim are known as Afshar and are often mentally woven, meaning that nomadic women are inspired by their surroundings and the living space around them, and repeat the designs of a motif throughout the entire kilim. Among all hand-woven kilim, from Turkmen to Azerbaijani, Afshar, Qashqai, Bakhtiari, and Baloch tribes, these kilims rank at the top.
A very important and fundamental point is that this kilim is extremely lightweight, meaning it doesn’t weigh as much as a carpet. The reason nomadic tribes wove these is that they couldn’t carry heavy loads while migrating, so they always tried to travel light.
This kilim has multiple uses. It can be used as both a floor covering and a bedspread. Available in various sizes and patterns, it serves as a decorative item, from tablecloths to wall hangings, and has recently been incorporated into furniture design.
The nomadic tribes that weave these kilims in Kerman are: Afshar tribe, Shoul tribe, and Rayini tribe. Importantly, although the essence of these weaves is the same Shiriki Pich technique, sometimes subtle differences can be observed in the weave of each, which experts can use to determine whether the weave of this Shiriki Pich is by the Shoul, Afshar, or Rayini tribe. Because nomads have a direct relationship with nature and their minds are limited to the nature in which they live, we see that what is in their field of vision is manifested in the weave of the kilim. One of the reasons why European society is eager to buy this type of kilim is its emotional and sentimental nature. Otherwise, we have carpets with very beautiful designs, but Shiriki Pich is something else entirely.
Design and pattern of Shiriki Pich kilim
Shirki Pich kilims are among the finest handwoven rugs in Iran and the world, renowned for their rich symbols, designs, and colors. These rugs are structured with two main parts: a border and a central field. The borders of these rugs are typically composed of abstract and geometric, symmetrical, and finely woven patterns. These patterns are usually arranged in parallel lines across the rug to divide the design. These borders are created using a soaked knotting technique.
The designs and patterns of these kilims are incredibly diverse and incorporate a variety of ancient symbols and shapes. Among these motifs, you’ll find boteh (a teardrop-shaped motif), Musa Khani flowers, tulip, heshmati, and samovar designs, all intricately woven into the fabric of the kilim.
One of the most famous patterns in these kilims is the “kheshti” design. In this pattern, the aforementioned motifs are structured within square compartments.
Due to the intricate details and diverse designs, weaving these kilims takes significantly longer compared to other handmade kilims.
The original designs of Shirki Pich kilims are mental and intuitive. Weavers drew inspiration from their surroundings and nature, incorporating these inspirations into the designs and textures of the kilims. Even today, the best-selling designs for these kilims are the old patterns, with only minor modifications.
By carefully examining the patterns in Shiriki Pich rugs, one can conduct a psychological analysis of the weaver. This is because the weaver’s emotions are manifested in the woven rug. For instance, hormonal changes during PMS, pregnancy, or lactation, as well as metabolic changes due to seasonal variations, can influence a female weaver’s emotions. These emotions are then conveyed into the patterns of the rug being woven.
The most original design of Shirki Pich kilims is the striped pattern, also known as the linear kilim. The designs and motifs of Shirki Pich kilims can be categorized into four groups: human, plant, animal, and abstract.
The most original design of Shirki Pich kilims is the striped pattern, also known as the linear kilim. The designs and motifs of Shirki Pich kilims can be categorized into four groups: human, plant, animal, and abstract.
Many of the designs found in Shiriki Pich kilims are inspired by Iranian architecture, such as doorways, as seen in the Palace of Darius. Additionally, numerous motifs are derived from the hopes and aspirations of the women who weave them. Given that many of these women live in desert and arid regions, rain and rainbows often represent their deepest desires. As a result, the seven colors of the rainbow are frequently depicted in the rugs’ patterns.
The yarn and colors used in Shiriki Pich kilim
The primary material used in producing Shiriki Pich kilims is sheep’s wool. Currently, the highest quality wool produced in the country comes from the Kerman region, specifically the city of Baft. Today, no cotton yarn is used in the weaving of these rugs; both the warp and weft are made entirely of wool. Furthermore, the woven wool yarns are dyed using natural dyes.
The color palette used in these beautiful and delicate kilims generally falls within a balanced range, combining both warm and cool tones. These colors are primarily derived from natural, plant-based sources. Some of the dyes used on the fibers include:
Red: Madder and cherry
Blue: Eggplant skin and indigo from Isfahan
Yellow: Saffron, turmeric, and pomegranate peel
Orange: A combination of red and yellow
Green: Walnut leaves
Brown: Walnut husk and pistachio leaves
In the past, after shearing sheep, the wool was spun using spinning wheels and then the yarn was dyed. However, nowadays, the spinning process is carried out in factories. Sirjan sheep wool is considered the best and highest quality wool in terms of dyeing, and after that, it is transferred to dyeing workshops and then used in weaving. Natural and plant-based dyes have a much higher quality in terms of penetration, washing, and color fastness compared to chemical dyes.
The weaving technique of a Shiriki Pich kilim is very similar to a carpet, as it consists of warp and weft threads. Shiriki Pich kilims are knotted using two types of knots: the text knot and the water knot.
- Text Knot: In this knot, the yarn is first wrapped around two warp threads from the back, then passed to the back and under the main thread on the front. This process forms the text knot. These knots are primarily used to create the structure of the designs and main patterns.
- Water Knot: In the water knot method, the knot is wrapped around the warp thread twice. This method creates wider lines in the Shiriki Pich kilim. This knot is used to create geometric patterns and borders in these rugs.
Last word
The color palette used in these beautiful and delicate kilims generally falls within a balanced range, combining both warm and cool tones. These colors are primarily derived from natural, plant-based sources. Some of the dyes used on the fibers include:
Red: Madder and cherry
Blue: Eggplant skin and indigo from Isfahan
Yellow: Saffron, turmeric, and pomegranate peel
Orange: A combination of red and yellow
Green: Walnut leaves
Brown: Walnut husk and pistachio leaves
