With the invasion of the Seljuk Empire (of Turkish origin) in the 11th century, Persian carpets began to be influenced by Turkish culture, leading to the development of technical fusion techniques such as Turkish-style symmetrical knotting. The Mongol invasion in the 13th century led to a decline in Persian art and a stagnation in carpet production. However, a partial revival began under the Ilkhanate under Mongol rule, and the conqueror Timur (late 14th century) protected local artisans rather than killing them, and relocated them to his capital, Samarkand. As a result, skilled Persian weavers were taken to Central Asia, where they used their skills in palace decorations, spreading their techniques and designs widely. During the Timurid period, Chinese culture was incorporated into carpet patterns, and unique designs such as arabesque-like plant motifs, dragons, and sacred birds were woven into them. Furthermore, in the 16th century, the Mughal court (India) invited Persian artisans to produce carpets, and early Mughal carpets adopted Persian designs. Movements of people due to wars and invasions also played a role in spreading the techniques and aesthetic sense of Persian carpets far and wide.
The Safavid dynasty, established in 1501, was the heyday of carpet art in Persia. Supported by a strong centralized government and a relatively stable and peaceful period, carpets reached their peak under the patronage of the royal court. In particular, the fifth sultan, Shah Abbas I (Shah Abbas the Great), gathered skilled artisans and designers in Isfahan and commissioned the creation of numerous masterpieces at the royal workshops. This period is known as the "Renaissance of Persian Culture," and many elegant designs, including intricate medallion patterns, were established and remain to this day. Late Safavid carpets featured ornate designs featuring flora and fauna, as well as those depicting scenes from literature and epics. For example, pictorial carpets were created that incorporated battle tales, such as the hero Rostam slaying a dragon, based on the Persian national epic, the Shahnameh (Book of Kings). Hunting scenes (royal hunting scenes) were also popular themes, symbolizing the heroism of war and the peacefulness of nature. Under peaceful reigns, Persian carpets improved in quality to the point that they were even used as diplomatic gifts, and they became famous around the world as "art on the floor."
In the early 18th century, amidst ongoing internal conflicts in the final years of the Safavid dynasty, Afghan forces invaded Persia and captured its capital, Isfahan, in 1722. This invasion destroyed the royal workshops, bringing an end to the "royal era" of Persian carpets. The carpet industry came to a near halt as the country became a battlefield, and carpet culture languished for the next half to a century. After the short-lived Afsharid dynasty and civil war, the Qajar dynasty, established in the early 19th century, successfully reunified the country and restored order. Relatively peaceful rule provided an opportunity for the carpet industry to recover. Successive Qajar monarchs worked to revive traditional crafts, and the modern carpet industry was revived in the late 19th century, led in particular by weavers in Tabriz. Driven by increased demand from Europe and the United States, new workshops were established throughout the country, and new designs incorporating Western tastes were born. At one time, there was a decline in quality due to mass production, but efforts were made to improve quality by traditional production areas such as the ancient capitals of Kashan and Isfahan, who provided designs, and Persian carpets were revived as an industry.
Persian carpets continued to be passed down through the 20th century, weathering the storms of war and political upheaval. After World War II, Reza Shah of the Pahlavi dynasty established the Iranian Carpet Company in 1935 to promote national prestige and traditional craftsmanship, encouraging carpet production under government control. This also provided a source of employment for those who lost their jobs during the interwar recession and war, leading to the expansion of carpet production in urban areas. Carpet production continued even during the 1979 Islamic Revolution and subsequent political unrest, and many weavers maintained their traditions even during the Iran-Iraq War (1980–1988). Some craftsmen moved within the country to escape the fighting, resulting in some changes in design. For example, carpets made in Saneh, western Kermanshah Province, developed after residents living near the Iraqi border fled inland to the Bijar area during the war. These carpets subsequently adopted a thicker, more durable weave similar to those from Bijar. This is an example of the unexpected diffusion of techniques and styles through the tragedies of war. Furthermore, during the post-war reconstruction period, the government led the establishment of branches of carpet workshops in disaster-stricken areas in an effort to revive the local industry and pass on traditional crafts. Despite the many hardships that continue to this day, Persian carpets have maintained their narrative and artistic value. Woven with the history of war and peace, Persian carpets are a testament to cross-cultural exchange and a symbol of the perseverance of the Persian people in the face of hardship.
