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Persian Carpet: The legend of the North West
One of the historical and artistically issues about in carpets is the Harati carpets. The main idea out that case is in Taymouri's era. There were carpets which were woven in Harat and would carp he exported to India. With the Safavid's era, some inventions occurred in those carpets which have been diminished by the Safavid's termination. These carpets had non-broken edges motifs that apparently had no record before and originally was the Haratian painter’s art work. According to the writer's opinion, this issue is considerable and north west carpets should figure out as Haratian carpets.

A noticeable number of carpets in various size and marginal remained from the 16 century distinguished by the symmetric knots, two woofs as like as Kurdish carpets. The variation of designing and Haratian motifs for the carpets are outstanding. In my opinion, it would make an issue that was not pointed so far. The writer is not faced with a script that notices the carpets from this point of view. The north west carpets is like a precious merchandise with no Identity. This importance of these woven is that their Haratian design and this motif that the oldest sample of them is also the oldest Haratian and Khorasanian samples or at least the Safavid samples at the same time.

weaving carpet, One of the most important Iranian crafts

So, all the claims about the issue that Arthur Pope had been made needs to be revisited historically and geographically. Another issue the variety of the maps of the north west that reveals the idea that there is an artistic and historical background for these carpets of the north west of Iran that is to say there are three issue that we encounter: 1. Historical issue 2. Geographical issue 3. Artistic issue. They are 2 lines of criticism leveled against the Harati theory. The first is that the Harati motif and forms are not exclusive to Harat and were used to other arts of Iran as seen on carpets from the north west. The other line of criticism is that the plot of Harati form and the form itself are much older than the Taymouri era. These forms are also found on Egyptian carpets of the mamálik era, about 15 century A.D. As for the criticism, one should not that there is a kind of fish-vs-fish Harati motif that has never been found in Harat; This form has been prevalently used in the west of Iran (Farahan) were it was called Harati. The base of the fish-vs-fish motif is a large flower between two fish or two leaves. So several western researchers such as pope use the same name to introduce the motif.

One of the main and most important factors in  Iran's home decoration

As for the second criticism Harati carpet motives are also seen in the west of Iran. It is obvious that fish’s-fish Harati or the older motif of Harati would be a misnomer. So, it can be noted that basically the pope theory which is the basis for evaluating the north west carpets, would undergo sever criticisms. The history of carpets weaving in Iran after the pope has a witness and evolutionary state with the advent of metal instruments, discovering Paziric carpet, old Harati motives which changes the uncertain pope theory. Unfortunately, these remarks are only seen as marginal notes in the pope's writing and do not affect the original article. One of the marginal Harati form known as a teapot, or samovar has a surprising history which shows Harati forms in an evolutionary process. To grasp this point, we should explain the motif and margin. In the motif on the margin of the teapot two Harati forms are used together repeatedly: i.e., Two fish with a flower or teapots in a cyclic form. This collection has ornamental and collective elements. This kind of teapot is very old and used in north west carpets. Other motives fish-vs-fish in Ghafghaz. Azerbaijan, Zanjan, Bijar, Farahan, Kurdistan and other places. In the picture, there are two forms that transformed fish to leaves still keeping the eyes in the next stage the leaf is branched into two twigs but the combination of this form with the flower (known as fish-semiflower) remains in the same shape and when combined with another leaf or twig it gives shape to dragon mouth. Then a Shah Abbasi is a water-lily or a fan-shade leaf is placed in the center, and the motif is become complete by adding intricate ornamental elements. The pictures below depict simple and complicated types of motives based on dragon mouth and water-lily that led to the form of teapot.