Persian Mohtasham Kashan Pictorial Rug – Leila and Majnun

At the end of the nineteenth century the Persian Kashan weavers began to produce high quality rugs and carpets, as part of the ‘revival’ in the Persian handmade carpet craft, which re-established the high standards of design and technique established in the 17th century classical era. They often incorporate medallion designs, but all over repeat patterns are frequently seen. Pictorial rugs of varying subject matter also feature highly in their design repertoire. The colour palette can be deep and rich in the classical tradition, with shades of red and blue predominant with ivory detailing. Softer colour hues appropriate and in tune with modern décor styles are also prevalent. Master craftsmen began to appear in Kashan and set up workshops pursuing excellence in their woven products. The most famous of these was ‘Mohtashem’, and Persian Kashan rugs are attributed to his work based on certain consistent characteristics.

This is a superb example of Kashan weaving displaying a scene from Persian poetry, depicting a scene from the narrative poem of ‘Leila and Majnun’ composed by the 12^th century Persian poet, Nizami Ganjavi as the third part of his Khamsa. It is a tragic love story of which the theme passed from Arabic to Persian, Turkish and Indian language. The story has many versions and imitations contrived from Nizami’s work.

As is often the case with pictorial scenes woven in the ‘revivalist’ period at the turn of the 20^th century the rug is of prayer rug format, defined by the central area, (mihrab) forming an asymmetric orientation with an arch at one end. In this case the arch is supported by columns. The presence of columns also seems to feature highly in pictorial prayer rug formats of this time.

The scene is arranged in three distinct registers. This is a frequently used device in pictorial rugs and is used to define events, or to make the composition easy to read without overcrowding the subject matter presented. The central and most significant register depicts an emaciated Majnun, probably close to death, as he laments the fact that he cannot be with Leila, the girl he loves, as her father denies their contact and Leila is betrothed to another. Their love for each other is mutual, as is their fate. Majnun sets off into the wilderness continuously writes poetry expressing his love of Leila, but he eventually dies of starvation and a broken heart. The ailing figure is shown with other figures assisting him. A variety of simplistically drawn animals look on in support of Majnun. The Lower register shows two rows of similar animals, some display intriguing facial expressions. The inclusion of animals serves to confirm the link between nature and its relationship to mankind. The upper register with two female characters may well represent Leila and a companion, reminding the viewer that the story is simply not just about one character.

The composition is brought to life by the consummate use of jewel colours with contrasting tones of light and dark juxtaposed by the weaver to ensure the design has depth and meaning, thereby maximising the visual impact. The highly detailed floral pattern as seen in the spandrels and in the pattern infill of the inscribed border act as a magnificent ornate contrast to the larger scale subject matter enhancing the visual impact of this woven work of Kashan art. As is frequently seen in the pictorial rug genre, the story is supported by explanatory text which is detailed in the many inscription cartouches.

This is a remarkable work of Kashan woven art, clearly woven by an accomplished educated weaver, fully conversant with Persian tradition and highly skilled in the art of weaving.

For further information please contact us and our team will be pleased to assist you. All pieces in the collection are under the auspices of Essie Sakhai, one of the world’s foremost experts and collectors of fine handmade Persian rugs and carpets.