Masis Cleaners & Oriental Rug Repairs

Central of Iran
	The ancient production area of Kashan remains one of the most appreciated. These rugs draw inspiration from classical design and decoration. They often employ the central-medallion layout on a field dense with arabesques and studded with palmettes, leaves and other plant elements, often interspersed with small birds or animals. In the 19th century, figural scenes depicting Persian legends appeared.
Central
	Another ancient production area is that of Joshaghan where rugs typically employ a stylized vase design. A vase design is characterized by an ascending directional layout. From the bottom, along one of the short sides, pairs of long stems, often emerge from elegant vases, develop toward the opposite side. Intersecting at regular intervals, the stems create a sort of latticework that modulates and organizes the thick distribution of leaves, palmettes and other floral elements.
East
	Carpets from the vast area of Khorasan use a knotting technique in which four or more rows of weft are passed for every six to seven rows of knot. This produces a grooved effect on the back of the carpet. The most common layouts are the central medallion, concentric medallions or full-field decoration with herati or small flowers.
	Made using the asymmetrical knot, Meshed rugs often employ round or elongated medallion design that is embellished with pendants and floral elements. Frequently, the field is adorned with swirling coils of the islimi motif (an arabesque motif of a stem twisted around itself in a spiral). The jufti or false knot, in which the pile yarn is wrapped around four warp strands instead of two, originated in this area. Although this system has been used in modern times to speed up weaving process, it was first used to achieve particular effects of emphasis.
South East
	Baluch rugs can be identified by their softness an their dark ground colors of red, brown or blue which are lightened by the white, pale green and yellow designs. These rugs also use a shade of aubergine purple. Baluch prayer rugs are distinguished by long, rigid niches with squared archers and typically include a tree of life against a camel-colored background
NorthWest
	Rugs from the Tabriz area are typified by outstanding and detailed workmanship, particularly evident in the examples made of silk. Decorative schemes derive from antique classical layouts, with the central medallion layout used most often. Vase and animal designs also are common.
	The Heriz area is famous for its 19th-century production of wool carpets with symmetrical knotting and squarish shapes. Classical Persian floral motifs are translated into geometric forms outlined in different colors.
	Rugs from the Karadagh area are characterized by their long formats and symmetrical knotting. Geometric decoration usually is based on medallions, polygons and stylized plant elements. Dark blues and browns are used for ground colors with livelier colors for the medallions and principal designs.
Southern Persia
	Afshar rugs include both those made following tribal traditions and those influenced by the floral motifs of nearby city workshops. From tribal traditions come medallion layouts on fields spread with small floral elements and stylized animals. From city influences come small floral medallions and boteh repeated in rows across the field.
	One of today's most popular carpet provinces, Kerman is known for its vase technique, as well as vase design. These carpets are characterized by elaborate and complicated curvilinear style and by their numerous borders.
Southwest Persia
	Rugs from the nomadic peoples of the Luri area are varied. Many are decorated by grids and contain stylized plant elements. Full-field decorations often are composed of tiny geometric motifs arranged in regular rows.
	In the Bakhtiari area, rugs are distinguished by fields regularly divided in rows of squares, octagons or diamonds -- each one of which contains stylized plant motifs like trees, bushes and flowering branches.
Western Persia
	With their high-density knotting and meticulous full-field designs, Senneh carpets have long been attractive to Western markets. Frequent motifs are the herati (a complex play of floral elements located at the points of a diamond element) or the boteh (a shape vaguely similar to a teardrop with the point bent at one side) in repeating rows.
	Bidjar carpets are characterized by their rigid and rectilinear translations of classical decorations from the Safavid dynasty, particularly the vase layout, arabesques and floral vines. The lively colors of the decoration stand out against the dark backgrounds.
	Rugs of the Hamadan area are geometric and linear. The most common layouts use a medallion or superimposed medallions. Often the medallions are rhomboidal or hexagonal in shape with interiors decorated with geometric herati.
	In the area of Malayer, rugs tend to the geometric in design. Floral motifs often are used, either full field or alternating with rhomboidal medallions. Typical colors are reds and blues.
	Rugs from the area of Ferahan can be divided into two groups. Full-field decoration with floral motifs characterize the first group, while the second group uses a medallion layout that often is surrounded by jagged rays.
	The rugs of Sarouk or Sarough are easily recognized by their linear versions of traditional Persian floral decorations like vines, leaves and buds. In the 19th century, this linear style slowly was transformed into more curvilinear, naturalistic forms. The Sarouk area is known for its use of an intense salmon-pink color called dughi.
	Serabend rugs can be distinguished by their full-field layouts, composed exclusively of regular rows of tiny boteh. The background is always red, and the boteh usually are white, blue, black or yellow.