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The Persian carpet (Pahlavi bōb Persian farš فرش, meaning “to spread” and qāli) is an essential part of Persian art and culture. Carpet-weaving is undoubtedly one of the most distinguished manifestations of Persian culture and art, and dates back to ancient Persia. In 2008, Iran’s exports of hand-woven carpets was $420 million. There is an estimated population of 1.2 million weavers in Iran producing carpets for domestic markets and international export. In recent times Iranian carpets have come under fierce competition from other countries producing fakes of the original Iranian designs as well as genuine cheaper substitutes.

Persian carpets can be divided into three groups; Farsh / 'Qālii' (sized anything greater than 6×4 feet), Qālicheh (meaning rug, sized 6×4 feet and smaller), and nomadic carpets known as Kilim, (including Zilu, meaning rough carpet).

History

The art of carpet weaving existed in Iran in ancient times, according to evidence such as the 2500-year-old Pazyryk carpet, dating back to 500 B.C., during the Achaemenid period.

The first documented evidence on the existence of Persian carpets came from Chinese texts dating back to the Sassanid period (224 - 641 CE).

This art underwent many changes in various eras of the Iranian history to an extent that it passed an upward trend before the Islamic era until the Mongols invasion of Iran. After the invasion, the art began to grow again during the reign of the Mongol dynasties of Timurid and Ilkhanid.

With the passage of time, the materials used in carpets, including wool, silk and cotton, decay. Therefore archaeologists are rarely able to make any particularly useful discoveries during archaeological excavations. What has remained from early times as evidence of carpet-weaving is nothing more than a few pieces of worn-out carpets. Such fragments do not help very much in recognizing the carpet-weaving characteristics of pre-Seljuk period (13th and 14th centuries AD) in Persia.

Pre-Islamic period

The Pazyryk Carpet, the oldest known surviving carpet in the world, 5th century BC.

In a unique archaeological excavation in 1949, the exceptional Pazyryk carpet was discovered among the ices of Pazyryk Valley, in Altai Mountains in Siberia. The carpet was found in the grave of a Scythian prince. Radiocarbon testing indicated that the Pazyryk carpet was woven in the 5th century BC. This carpet is 283 by 200 cm (approximately 9.3 by 6.5 ft) and has 36 symmetrical knots per cm² (232 per inch²).. The advanced weaving technique used in the Pazyryk carpet indicates a long history of evolution and experience in this art. Pazyryk carpet is considered as the oldest carpet in the world. Its central field is a deep red color and it has two wide borders, one depicting deer and the other Persian horseman.

However, it is believed that the carpet from Pazyryk is not likely a nomadic product, but a product of the Achaemenid period.

Historical records show that the Achaemenian court of Cyrus the Great at Pasargade was decked with magnificent carpets. This was over 2500 years ago. Alexander II of Macedonia is said to have been dazzled by the carpets in the tomb area of Cyrus the Great at Pasargade.

By the sixth century, Persian carpets of wool or silk were renowned in court circles throughout the region. The Bahârestân (spring) carpet of Khosrow I was made for the main audience hall of the Sasanians imperial Palace at Ctesiphon in Sasanian province of Khvârvarân (nowadays Iraq). It was 450 feet (140 m) long and 90 feet (27 m) wide and depicted a formal garden. In 7th century CE With occupation of the Sasanian capital, Tuspawn, the Baharestan carpet was taken by the Arabs, cut into small fragments and divided among the victorious soldiers as booty.

According to historians, the famous Tāqdis throne was covered with 30 special carpets representing 30 days of a month and four other carpets representing the four seasons of a year.

Islamic period

From the yarn fiber to the colors, every part of the Persian carpet is traditionally hand made from natural ingredients over the course of many months. This arduous process is shown in the Japanese/Iranian film The Wind Carpet.

In the 8th century A.D. Azarbaijan Province was among the largest centers of carpet and rough carpet (ziloo) weaving in Iran. The Province of Tabarestan, besides paying taxes, sent 600 carpets to the courts of caliphs in Baghdad every year. At that time, the main items exported from that region were carpets, and small carpets for saying prayers. Furthermore, the carpets of Khorassan, Sistan and Bukhara, because of their prominent designs and motifs were on high demands among purchasers.

During the reigns of the Seljuq and Ilkhanate dynasties, carpet weaving was still a booming business so much so that a mosque built by Ghazan Khan in Tabriz, northwestern Iran, was covered with superb Persian carpets. Sheep were specially bred to produce fine wool for weaving carpets. Carpet designs depicted by miniature paintings belonging to the Timurid era lend proof to the development of this industry at that time. There is also another miniature painting of that time available which depicts the process of carpet weaving.

During that era dyeing centers were set up next to carpet weaving looms. The industry began to thrive until the attack on Iran by the Mongol army.

The earliest surviving of the Persian carpets from this period is of a Safavid (1501-1736) carpet known as the Ardabil Carpet, currently in V&A Museum in London. This most famous of Persian carpets has been the subject of endless copies ranging in size from small carpets to full scale carpets. There is an 'Ardabil' at 10 Downing Street and even Hitler had an 'Ardabil' in his office in Berlin.

The carpets are woven in 1539-40 according to the dated inscriptions. The foundation is of silk and the pile of wool with a knot density at 300-350 knots per square inch ( 470-540.000 knots per square metres). The size of the carpets are 34 1/2 feet by 17 1/2 feet ( 10,5 metres x 5,3 metres). Los Angeles County Museum of Art See also Victoria & Albert Museum

There is much variety among classical Persian carpets of the 16th and 17th century. There are numerous sub-regions that contribute distinctive designs to Persian carpets of this period such as Tabriz and Lavar Kerman. Common motifs include scrolling vine networks, arabesques, palmettes, cloud bands, medallions, and overlapping geometric compartments rather than animals and humans. Figural designs are particularly popular in the Iranian market and are not nearly as common in carpets exported to the west.

Modern period

Although carpet production is now mostly mechanized, traditional hand woven carpets are still widely found all around the world, and usually have higher prices than their machine woven counterparts due to them being an artistic presentation. Iran exported $517 million worth of hand woven carpets in 2002. Iran's carpet exports amounted to US$635 million in 2005, according to the figures from the state-owned Iran Carpet Company. Most are top-notch hand-woven products. In October 2007, National Iranian Carpet Center revealed that hand-woven carpets have ranked first in country's non-oil exports and hold the third position among overall exports. Nearly five million workers are engaged in the Iranian carpet industry, making it one of the biggest enterprises in the country.

In recent times Iranian carpets have come under fierce competition from other countries producing fakes of the original Iranian designs as well as genuine cheaper substitutes. Most of the problems facing this traditional art is due to absence of patenting and branding the products as well as reduced quality of raw materials in the local market and the consistent loss of original design patterns. The absence of modern R&D, is causing rapid decline in the size as well as market value of this art.

To give one example, the “Carpet of Wonder” in the Grand Sultan Qaboos Mosque in Muscat in the Sultanate of Oman measures 4343 square metres. Its construction required four years of labor by 600 workers, resulting in 12 million man hours of work.

Materials

Wool is the most common material for carpets but cotton is frequently used for the foundation of city and workshop carpets. There are a wide variety in types of wool used for weaving. Those of which include Kork wool, Manchester wool, and in some cases even Camel Hair wool. Silk carpets date back to at least the sixteenth century in Sabzavar and the Seventeenth century in Kashan and Yezd.^{[citation needed]} Silk carpets are less common than wool carpets since silk is more expensive and less durable; they tend to increase in value with age. Due to their rarity, value and lack of durability, silk carpets are often displayed on the wall like tapestries rather than being used as floor coverings.

Designs, motifs, and patterns

Elements of the Persian carpet.

Persian rugs are made up of a layout and a design which in general included one or a number of motifs. The Iran Carpet Company, a specialist in the subject, has attempted to classify Persian carpet designs and has carried out studies of thousands of rugs. Their results show that there have been slight alterations and improvements to almost all original designs. In its classification the company has called the original designs as the 'main pattern' and the derivatives as the 'sub patterns'. They have identified 19 groups, including: historic monuments and Islamic buildings, Shah Abbassi patterns, spiral patterns, all-over patterns, derivative patterns, interconnected patterns, paisley patterns, tree patterns, Turkoman patterns, hunting ground patterns, panel patterns, European flower patterns, vase patterns, intertwined fish patterns, Mehrab patterns, striped patterns, geometric patterns, tribal patterns, and composites. For detailed classification of Iranian Carpets see also Caroun

Design

Design can be described in terms of the manner in which it organizes the field of the rug. One basic design may serve the entire field, or the surface may be covered by a pattern of repeating figures. In areas using long-established local designs, the weaver often works from memory, with the patterns passed on within the family. This is usually sufficient for simple rectilinear design. For the more elaborate curvilinear designs, the patterns are carefully drawn to scale in the proper colours on grahp paper. Each square thus becomes a knot, which allows for an accurate rendition of even the most complex design. Designs have changed little through centuries of weaving. Today computers are used in the production of scale drawings for the weavers.

Layout

Persian rugs are typically designed using one of three patterns: all-over, central medallion and one-sided. Some abstract unsymmetrical design can be found but most of these can be described as one-sided or unidirectional.

Motifs

There are a number of patterns which are found in Persian and Oriental rugs called 'motifs', these designs have different meanings and tend to be used depending on the area the rug was woven although it is not unusual to find more than one motif in a single rug.

Some of the more common motifs are:

Boteh Gul Herati Mina-Khani Rosette Shah Abbasi Techniques and structures The Long Weaving Process Wax figure of weaver of carpets in Fars History museum The weaving of pile rugs is a difficult and tedious process which, depending on the quality and size of the rug, may take anywhere from a few months to several years to complete. To begin making a rug, you need a foundation consisting of warps strong, thick threads of cotton, wool or silk which run the length of the rug and wefts similar threads which pass under and over the warps from one side to the other. The warps on either side of the rug are normally combined into one or more cables of varying thickness that are overcast to form the selvedge. Weaving normally begins by passing a number of wefts through the bottom warp to form a base to start from. Loosely piled knots of dyed wool or silk are then tied around consecutive sets of adjacent warps to create the intricate patterns in the rug. As more rows are tied to the foundation, these knots become the pile of the rug. Between each row of knots, one or more shots of weft are passed to tightly pack down and secure the rows. Depending on the fineness of the weave, the quality of the materials and the expertise of the weavers, the knot count of a hand made rug can vary anywhere from 16 to 550 knots per square inch. When the rug is completed, the warp ends form the fringes that may be weft-faced, braided, tasseled, or secured in some other manner. Looms Looms do not vary greatly in essential details, but they do vary in size and sophistication. The main technical requirement of the loom is to provide the correct tension and the means of dividing the warps into alternate sets of leaves. A shedding device allows the weaver to pass wefts through crossed and uncrossed warps, instead of laboriously threading the weft in and out of the warps. Horizontal Looms The simplest form of loom is a horizontal; one that can be staked to the ground or supported by sidepieces on the ground. The necessary tension can be obtained through the use of wedges. This style of loom is ideal for nomadic people as it can be assembled or dismantled and is easily transportable. Rugs produced on horizontal looms are generally fairly small and the weave quality is inferior to those rugs made on a professional standing loom. Vertical Looms Vertical looms are undoubtedly more comfortable to operate. These are found more in city weavers and sedentary peoples because they are hard to dismantle and transport. There is no limit to the length of the carpet that can be woven on a vertical loom and there is no restriction to its width. There are three broad groups of vertical looms, all of which can be modified in a number of ways: the fixed village loom, the Tabriz or Bunyan loom, and the roller beam loom. The fixed village loom is used mainly in Iran and consists of a fixed upper beam and a moveable lower or cloth beam which slots into two sidepieces. The correct tension is created by driving wedges into the slots. The weavers work on an adjustable plank which is raised as the work progresses. The Tabriz loom, named after the city of Tabriz, is used in North Western Iran. The warps are continuous and pass around behind the loom. Tension is obtained with wedges. The weavers sit on a fixed seat and when a portion of the carpet has been completed, the tension is released and the carpet is pulled down and rolled around the back of the loom. This process continues until the rug is completed, when the warps are severed and the carpet is taken off the loom. The roller beam loom is a traditional Turkish village loom, but is also found in Iran and India. It consists of two movable beams to which the warps are attached. Both beams are fitted with ratchets or similar locking devices and completed work is rolled on to the lower beam. It is possible to weave very long rugs by these means, and in some areas of Turkey rugs are woven in series. Tools In order to operate the loom, the weaver needs a number of essential tools: a knife for cutting the yarn as the knots are tied; a comb-like instrument for packing down the wefts; and a pair of shears for trimming the pile. In Tabriz the knife is combined with a hook to tie the knots which lets the weavers produce very fine rugs, as their fingers alone are too thick to do the job. Some traditional tools of the craft. A small steel comb is sometimes used to comb out the yarn after each row of knots is completed. This both tightens the weave and clarifies the design. A variety of instruments are used for packing the weft. Some weaving areas in Iran known for producing very fine pieces use additional tools. In Kerman, a saber like instrument is used horizontally inside the shed, and in Bidjar a heavy nail like tool is used. Bidjar is also famous for their wet loom technique, which consists of wetting the warp, weft, and yarn with water throughout the weaving process to make the elements thinner and finer. This allows for tighter weaving. When the rug is complete and dried, the wool and cotton expand to make the rug incredibly dense and strong. A number of different tools may be used to shear the wool depending on how the rug is trimmed as the rug progresses or when it is complete. Often in Chinese rugs the yarn is trimmed after completion and the trimming is slanted where the color changes, giving an embossed three-dimensional effect. The Knots Two basic knots are used in most Persian Carpets and Oriental rugs: the symmetrical Turkish or Ghiordes knot (used in Turkey, the Caucasus, East Turkmenistan, and some Turkish and Kurdish areas of Iran), and the asymmetrical Persian or Senneh knot (Iran, India, Turkey, Pakistan, China, and Egypt). To make a Turkish knot, the yarn is passed between two adjacent warps, brought back under one, wrapped around both forming a collar, then pulled through the center so that both ends emerge between the warps. The Persian knot is used for finer rugs. The yarn is wrapped around only one warp, then passed behind the adjacent warp so that it divides the two ends of the yarn. The Persian knot may open on the left or the right, and rugs woven with this knot are generally more accurate and symmetrical. Other knots include the Spanish knot looped around single alternate warps so the ends are brought out on either side and the Jufti knot which is tied around four warps instead. Knotted pile carpets Flat-woven carpets Flat woven carpets are given their colour and pattern from the weft which is tightly intertwined with the warp. Rather than an actual pile, the foundation of these rugs gives them their design. The weft is woven between the warp until a new colour is needed, it is then looped back and knotted before a new colour is implemented. The most popular of flat-weaves is called the Kilim. Kilim rugs (along with jewellery, clothing and animals) are important for the identity and wealth of nomadic tribes-people. In their traditional setting Kilims are used as floor and wall coverings, horse-saddles, storage bags, bedding and cushion covers. Various forms of flat-weaves exist including: Herati Jajim Kilim Maleki Sirjan Soumak Suzani Traditional centers of carpet production in Iran (Persia) The major classical centers of carpet production in Persia were in Tabriz (1500-1550), Kashan (1525-1650), Herat (1525-1650), and Kerman (1600-1650).[citation needed] The majority of carpets from Tabriz have a central medallion and quartered corner medallions superimposed over a field of scrolling vine ornament, sometimes punctuated with mounted hunters, single animals, or animal combat scenes. Perhaps the best-known of the Tabriz works are the twin Ardabil carpets most likely made for the shrine at Ardabil (today in the collections of the Victoria and Albert Museum in London and the Los Angeles County Museum). Kashan is known for its silk carpet production, most famously, for the three silk hunting carpet masterpieces depicting mounted hunters and animal prey (currently in the collections of the Vienna Museum of Applied Arts (aka the MAK), the Museum of Fine Arts, Boston, and the Stockholm Museum). The Kashan carpets are among the most valuable in existence. The Herat carpets, or ones of similar design created in Lahore (Pakistan) and Agra (India), are the most numerous in Western collections. They are characterized by a red field with scrolling vine ornament and palmettes with dark green or blue borders. The seven classes of Kerman carpet were defined by May Beattie. She identified their unique structure and named it the “vase technique.” Carpet types in this group include garden carpets (ornamented with formal gardens and water channels) and the ogival lattice carpets. A fine and well-known example of the latter was purchased by the Victoria and Albert Museum under the guidance of William Morris. The influence of Persian carpets is readily apparent in his carpet designs. The Seraband rug is produced in Arak. Anatolian and Persian carpets Farsbâf (Senneh) Turkbâf (Ghiordes) The difference between Anatolian (Turkish) and Persian carpets is today largely one of tradition. Typically, a traditional Persian carpet is tied with a single looping knot (Persian or Senneh Knot), while the traditional Anatolian carpet is tied with a double looping knot (Turkish or Ghiordes Knot). This means that for every 'vertical strand' of thread in a carpet, an Anatolian carpet has two loops as opposed to the one loop for the various Persian carpets that use a Persian 'single' knot. Ultimately, this process of 'double knotting' in traditional Anatolian carpets results in a slightly more block like image compared to the traditional 'single knotted' Persian carpet. The traditional Anatolian style also reduces the number of Knots per sq cm.[citation needed] Today, it is common to see carpets woven in both Turkey and Iran using either of the two knot styles. When comparing carpets the only way to definitively identify the knot used is to splay open the pile by bending the rug against itself and looking at the base of the knot. See also: Knots per sq cm Types of Persian carpets & rugs Carpet dealers have developed a classification for Persian carpets based on design, type of fabric, and weaving technique. The categories are named for cities and areas associated with each design, these can be located on a map to Persian rug weaving cities: Abadeh Afghan/Yomut (Turkmen) Ahar Afshar Arak Ardabil Ardestan Bakhtiari (see also Afghan carpet) Balouch Bidjar Birjand Brujerd Chelaberd Dorokhsh Farahan Ferdos Ghayen Gonabad Gonbad Ghaboos Gorgan Herat Heriz (Hariz) Isfahan Joshghan Jozan Kashan Kashmar Kerman Lilian Mahan Mahalat Maku Mamasani Marand Mashhad Mazlaghan Meshkin Shahr Moshk Abad Mood Nain Nishaboor Rafsanjan Ravar Saraband Sarab Saraband Sarukh Semnan Sha Savan Shahre Kord Shiraz Shahr Reza Qazvin Qom Tabriz Tehran Torghabeh Veramin Yalameh Yazd Zanjan Zabol Rugs for a specific purpose include: Hunting Scene Rugs References ^ a b c d Nouri-Zadeh, Sh., Persian Carpet; The Beautiful Picture of Art in History ^ a b Savory, R., Carptes,(Encyclopaedia Iranica); accessed January 30, 2007. ^ http://www.iran-daily.com/1387/3288/html/economy.htm#s349659 ^ http://www.presstv.com/Detail.aspx?id=74845&sectionid=351020102 ^ A brief history of Persian Carpet and its patterns ^ a b Haider, R., Carpet that Captive ^ Nouri-Zadeh, Sh., Persian Carpet; The Beautiful Picture of Art in History, ^ Rubinson, Karen S., “Animal Style” Art & the Image of the Horse and Rider ^ Lerner J., Some Achaemenid Objects from Pazyryk,Source, vol. X, no. 4:8-15 (1991), p. 12. ^ al-Tabri, The history of al-Tabari, vol. XIII(the conquest of Iraq, Southwestern Persia and Egypt), tran. G. H. A. Juynboll, New York (1989), pp.29-36 ^ ibid. ^ Hillyer, L., and Pretzel, B., The Ardabil Carpet - a new perspective, V&A Museum (LINK)accessed January 29, 2007. ^ Wearden, J., The Surprising Geometry of the Ardabil Carpet, Abstracts from the Ars Textrina Conference, Leeds 1995. ^ Hillyer, L., and Pretzel, B., The Ardabil Carpet - a new perspective, V&A Museum (LINK); accessed January 29, 2007 ^ The Ardabil Carpets, Exhibition at the Los Angeles County Museum of Art, (LINK); accessed January 29, 2007. ^ BBCPersian.com ^ http://www.persiancarpetguide.com/sw-asia/Rugs/Rug990.htm ^ Oriental Rugs: A Complete Guide, by Murray L. Eiland Jr. & Murray Eiland III, London 2008, page 66 ^ Persian & Oriental rug layout & design Persian Rug Layout: Little-Persia ^ Persian & Oriental rug layout & design Persian Rug Motifs: Little-Persia ^ Persian Rug Guide, Tutorial > Techniques and Construction from Persian Rug Guide See also A Persian rug in a household setting Tabriz rug Heriz rug Kashan rug Kashmir rug Oriental rug Afghan carpet Chinese Silk Rug Baharestan Carpet Iran's National Rug Gallery Persian Architecture Persian arts Rugs and carpets in general Oriental rug Gelim (Also Kilim or Kelim) Gabbeh War rugs Flying Carpet Mashad Carpet Company

“Where the spirit does not work with the hand there is no art.”

Tied by hand, one knot at a time, a Persian rug can take months or even years to create. Whether knotted from a precise design plate or 'cartoon' in a city workshop or inspired by the imagination of its tribal weaver, the Persian or Oriental rug is an object of skill and beauty… but is it truly art?

The expertise and elegance involved in the creation of a handmade carpet is a team process, the wool is sheared and spun before the dying process (often using natural plant and vegetable extracts), in a city setting the design is then drawn by hand, a painstaking process where the artist paints one dot at a time. The rug is then knotted, a process which takes many months, a form of paint by numbers on a grand scale. In a tribal dwelling the weaver often uses their own designs and inspiration. Ryan Malone of Little-Persia believes Persian rugs are art, art in its most natural and pure form:  

“Pablo Picasso believed that 'Painting is just another way of keeping a diary'. For many of our tribal rugs this could be taken in a literal sense. Nomadic weavers initially knotted rugs as a means of earning money for food and whatever clothing and shelter they could not produce themselves. Today many tribal rugs act as a diary of the weavers' life, a representation of their possessions, wealth or lifestyle - whatever is most important to them. War rugs act as a historic reference to key moments in history, for better or worse. Abstract expressionist, Jackson Pollock stated: 'every good painter paints what he is' in tribal rugs a small piece of the weaver's soul is attached to each rug.  

“With city rugs, intricate designs are often borrowed from nature and architecture or religious and cultural symbols. From simple elephant and camel prints to the extravagant mogul gardens and the detailed carvings on the domes of ancient mosques and palaces, inspiration comes from the life and surroundings of the rug artists. City rugs demonstrate the weavers' aptitude in the use of symmetry, detail and colour.

“Similar to the various ideologies that exist in painting rugs can differ in purpose and appeal. However, no matter if the rug is tribal or city woven, the end goal is the same, to paraphrase Banksy: 'the holy grail is to spend less time making the rug than it takes people to look at it.' A tough ask when a Persian rug can takes months or years to make.”

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is this about the republic of azerbaijan carpets?Khosrow II 19:21, 25 July 2006 (UTC)

Its about the entire Azerbaijan's carpets including South and Northern Azerbaijan. Tabriz is part of the Southern Azerbaijan and therefore part of the Azerbaijan carpets. Stop vandalizing this web site. Your persian chavinism does not know limits. –Rembranth 20:51, 28 July 2006 (UTC)

No, Tabriz is part of Iran, not R. of Azerbaijan. This article is about the rugs of the Republic of Azerbaijan.Khosrow II 20:52, 28 July 2006 (UTC)

you might want to see it in that way. But Azerbaijni carpets are all Azerbainis carpets, this includes Tabriz carpets as well.

not when there is a seperate nation. things get confused that way. tabriz is not in the republic of azerbaijan, and has nothing to do with carpets made in the r. of azerbaijan.Khosrow II 21:54, 28 July 2006 (UTC)

Not my friend. Tabriz is Azerbaijani city and carptets made by Tabriz need to be classified as Azerbaijani carpets. Tabriz and everything made there are part of the Azerbaijan civilization.–Rembranth 16:36, 31 July 2006 (UTC)

Tabriz rug is categorized as Persian Rug in all the rug stores of the word.Gol 00:58, 2 August 2006 (UTC)

Protection

I have fully-protected the article due to revert-warring between the editors. Please discuss changes on the talk page & reach a consensus rather than engaging in edit-warring. Request unprotection once a compromise has been reached. –Srikeit ^{(Talk | Email)} 03:29, 2 August 2006 (UTC)

Time to unblock and see what happens? It's been unblocked for over a week. If not could the link to Persian be disambiguated to Persian peoples. — Jeff3000 03:28, 10 August 2006 (UTC)

Edited out, mistake.Khosrow II 14:32, 10 August 2006 (UTC)

Then the link to Persian must be removed. It is a disambiguation page, and nothing should be linked to it. Protection is not supposed to be foreever. I'm going to contact the protecting administrator. — Jeff3000 13:30, 10 August 2006 (UTC)

The only link to “persian” I see in the article refers to Nezami. The link should then refer to “persian litterature”. Arash the Bowman 14:00, 10 August 2006 (UTC)

The phrase from the article is

“Azerbaijani carpet depicting Nizami Gandjavi, the famous Persian poet of Azerbaijan“

Notice the that the adjective Persian relates to the ethnicity of the poet, and not the literature. If there was a phrase such as the “the Persian poem“, then the link should go to “Persian literature”. Now back to the ethnicity. Usually such a link would be disambiguated to Iran, but given that the phrase includes “of Azerbaijan” it makes it tricky; Azerbaijan is not only a country, but also a region of Iran, and so Iran can't be linked directly. Instead the Persian people link is more wide and makes it clear the the poem is of Persian descent, but doesn't make it necessarily of Iran. — Jeff3000 14:31, 10 August 2006 (UTC)

Oh Jeff I am so sorry, Im in the wrong article! I thought this was the Tabriz Rug page! Sorry about it, disregard my above statment!Khosrow II 14:32, 10 August 2006 (UTC)

No problem :) — Jeff3000 14:36, 10 August 2006 (UTC)

Nizami is of kurdish heritage, the link of Persian should take the person to the Persian literature page.Khosrow II 16:33, 10 August 2006 (UTC)

If he's Kurdish, then it should be written “Azerbaijani carpet depicting Nizami Gandjavi, the famous Kurdish poet of Azerbaijan” Persian in that part of the sentence means ethnicity. — Jeff3000 16:50, 10 August 2006 (UTC)

well, he is half kurdish, that is for sure but he is a persian (as in language) poet as in he wrote in Persian. We can change it to Kurdish Persian Poet , with Persian linking to Persian literature.Khosrow II 17:40, 10 August 2006 (UTC)

Speaking a language is very different than an ethnicity. In English when someone writes in the style

• British football player
• Canadian politician
• Chinese professor

The adjective means ethnicity, and given that Nizami is Kurdish, the adjective should be Kurdish. The fact that he wrote in Persian does not change his enthnicity. You can have a Chinese persian living in the US and writing in English, but he does not become American just for the sake that he is writing in English.

Either Nizami is Kurdish, and the link should be changed to Kurdish people, or he's of Persian ancestry living in Azerbaijan, and then the link should be changed to Persian people. Regardless, this article is not about the poet, and thus every detail about him should not be in here. That he wrote in the Persian language and he is reknown in Persian literature is of little importance in this article. — Jeff3000 17:48, 10 August 2006 (UTC)

I have changed it to Kurdish. As noted above, in the English language, the adjective represents ethnicity, and a link to Persian literature is not applicable regardless of what language he wrote in. — Jeff3000 18:11, 10 August 2006 (UTC)

I have now unprotected the page. Also due to the lack of any kind of dispute resolution dialogue here, I recommend that the editors of this article restrict themselves to the one revert rule (1RR) especially Khosrow II & Rembranth (who were involved in the previous edit war). Any further edit-warring will lead to immediate blocking of the involved parties and re-protection of the article. –Srikeit ^{(Talk | Email)} 18:10, 10 August 2006 (UTC)

Everything here indicating that Nizami Ganjevi is a Persian or Kurdish is total nonsense. There has never been any Kurdish presence in Gandja, a city of Azerbaijan. And if he was a persian he wouldn't write a humilating story about Persian and he wouldn't praise Alexander the Great, the person who destroyed persians. This implies that he is of original pure Azerbaijani Turkish poet and it needs to be known like this.

I will also add Tabriz carpets as Tabriz and everything made there belong to the Azerbaijani civilzation and made by Azerbaiajnis, not by persians and kurdish, but by Azerbaijanis. I woudl request the facilitators to stop Persian fascists and chuavinists from vandalizing this page. Rembrandth

move

I do not see much scholarly support for the term “Azerbaijani rug” (either you know it or see this). According to the handy reference page 1 the classification of “oriental carpets” is the famous one that everybody has heard (Persian, Caucasian, Turkic, Greek, ..). I propose a move to “Carpets of Azerbaijan”.–Xashaiar (talk) 10:26, 3 August 2009 (UTC)