




































American International Journal of Social Science Research 

Vol. 7, No. 1; 2021 

ISSN 2576-103X   E-ISSN 2576-1048 

Published by CRIBFB, USA 

15 

 

ANTHROPOLOGICAL STUDY OF KERMAN CARPET 

SYMBOLS, SHAPES, AND DESIGNS 
 

 

Dr. Yaghoub Sharbatian 

Assistant Professor of Anthropology 

Islamic Azad University, Garmsar Branch, Garmsar, Iran 

E-mail: dy_sharbatian@yahoo.com 

 

Roya Bagheri 

PhD Student of Anthropology 

Islamic Azad University, Central Tehran Branch, Iran 

E-mail: RoyaBagheri1989@yahoo.com 

 

 

ABSTRACT 

Different traditional Iranian art forms can be known as a single semantic recreation in different 

forms. All of them imply some shared concepts which are a mix of Persian and Islamic beliefs. 

These arts have a symbolic tone and the artist speaks through their art using the appropriate 

allegorical tools. In this field, the Kerman carpet should be known as an excellent manifestation 

of symbols and mysterious designs that are eloquently implemented on the carpet. The purpose of 

this study is the anthropological analysis of the symbols, designs, and patterns used in the Kerman 

carpet as well as the analysis of the Kermanian people's beliefs based on those designs and 

symbols. The research method used here is the Qualitative type and in the form of ethnographic, 

and also the information are collected using interview-participation and documents. The 

theoretical framework of this study is based on Clifford Geertz’s Symbolic-Interpretive 

Anthropology Approach theory. The findings of this study show that the Kerman carpet alongside 

its beauty and charm includes meaningful designs and patterns and these designs and symbols are 

derived from the geographical-cultural and social area and are connected with the everyday life, 

traditions, and beliefs of the people of their area.  
 

Keywords: Anthropology, Design, Kerman Carpet, Shape, Symbol. 

 

INTRODUCTION 

Introduce the Problem 

Iran, the cradle of carpets in the world, has had the universal fame of being the land of carpets for 

a long time and there are still thousands upon thousands of exquisite rugs and carpets available 

from Iran's carpet viewing poles to its enthusiasts. Carpet creation in different regions of Iran is 

dependent on beliefs and traditions or in other words culture, the wavers' mental states, and also 

geographic location. Weavers of each area weave carpets with inspiration from their history and 

traditions. Iranian carpets are a two-dimensional commodity, with one dimension of it being art 

and the other industry. The existence of these two dimensions has helped this industry to retain its 

magnificence and beauty.  

mailto:dy_sharbatian@yahoo.com


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The carpet is a live and telling art which shows the heart and spiritual purity of the weaver. 

Is it an art whose pattern talks to the human soul? All these hand-woven creations are 

representations of a greater and more valuable subject and show us the paths of the old, which can 

elaborate on the weaver's emotion in different situations. Also, it clears many symbols and signs 

for us. Also, other symbols and patterns of them can be a representation of tradition and civilization 

of any ethnicity. When we look at the themes of these hand-woven carpets we see that they 

represent the history of Iranian art and culture. These carpets are mirror-like displays and retell all 

aspects of the life of any people. Because carpets have applied as well as aesthetic aspects, they 

can be analyzed in terms of external and internal form as well as their decorative motifs and colors. 

Based on this, in this study researchers are looking to answer the question that from the perspective 

of anthropology which symbols and designs are available in the Kerman carpet that based on 

analysis can lead to their people's culture and customs.  

 

Explore Importance of the Problem 

Carpets have always been one of the fundamental furniture pieces of each Persian household and 

skill in Carpet-weaving is almost one of Iranian's national characteristics. The art of Carpet-

weaving is rooted in society because it has had risen from the heart of society and people. Then 

it's completely clear that this kind of art has a relationship with people's everyday life and is a kind 

of reflection from social life, culture, and thought type of people of different ages; If we want to 

analyze the behavior, beliefs, thoughts, and insights of the people of a society we should look no 

further than this art form and it is only then that we could find some hidden truths. Based on this, 

the pictures, designs, and signs available on each carpet can help us to identify and recognize the 

people of each period. These hand woven carpets are firm ancient traditions that carry many beliefs 

with their warp and woof which were respected among people from the old times and some of 

those traditions were preserved and were transferred generation by generation. Of course in recent 

years, having a connection to the past and ancient traditions are rarer because of cultural 

interactions. Based on this introduction, people can be more connected to their past and traditions 

by knowing and preserving this form of art and also preserve these traditions and customs in the 

process.   

So such studies are necessary for recording and identifying ancient Iranian culture and 

customs, and identifying contemporary works. 

 

Aims and Objectives of the Study 

 Kerman carpet characteristic analysis; 

 Analysis of symbols, designs, and patterns used in the Kerman carpet and their meaning; 

 Analysis of the Kerman's people beliefs based on the symbols and designs used in their 

carpets. 

 

Method 

The methodology used for this Research is qualitative which mainly includes Ethnography 

fieldwork. Accordingly, the Tools and Techniques used for Data collection are: 

 Informal, In-Depth, and Open-Ended Interviews with the help of a partially structured 

interview guide. 

 Participants' Empirical Observations. 

 

 



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Research Theories 

The current study is quantitative and is not concerned with approving or disproving theories.  The 

final results are gathered by the researchers' analysis of other texts, documents as well as field 

research. 

 

Research Questions 

 What are the characteristics of the Kerman carpet? 

 What are the symbols, designs, and patterns used in the Kerman carpet and what do they 

mean? 

 What are the beliefs of Kerman's people based on their carpet designs and symbols? 

 

LITERATURE REVIEW 

Hedayat (2008) completed research titled "Mirrors of Nature, Exploring the woven products from 

the tribes of Kohgiluyeh and Boyer Ahmad" and published this in the "Avai Dena" Journal of 

Cultural Research issues 13 and 14. He analyzes the ingredients, tools, and methods used for 

weaving such products by providing some examples (Hedayat, 2008). 

"Each region's woven products as a symbol of each province's small culture expresses the 

spiritual qualities, as well as the embodiment of the material culture of their land", Says he while 

analyzing the symbols of these products.  

Nasiri (2010) in the book Ancient Iranian Crafts talks about the evolution of the Iranian 

carpet weaving craft, their role in carpet evolution, and their motifs (Wolf, 2005) 

Nasiri (2010) in the book "Immortal Legends of the Persian Carpet" points out the carpet's 

role in each family and this feminine art. And also considers the environment as an important 

factor in each carpets symbol and motif (Nasiri, 2010). 

Razavi (2008) talks about the history of carpet weaving in the book "Carpet History - The 

evolution of the Iranian carpet weaving" which was published in 2014. This book consists of 10 

chapters. He talks about Iranian carpet designs, motifs, and symbols in the 6th chapter (Razavi, 

2014). 

Arbabi (2013) wrote the book "Handiwork Workshop" in 2013, this book is consisted of 3 

parts and includes 26 chapters. 

He analyzes some carpet designs, personally designs some carpet motifs, and then analyzes the 

used symbols in these examples (Arbabi, 2013). 

Yavari (2005) wrote the book "Basics of Iranian Carpet Recognition" in 2005. This book 

consists of 8 chapters. He talks about the position of colors and dyeing in the Iranian Carpet in the 

5th chapter of this book. Subjects such as conflicts of colors, color harmonies, color associations 

with emotions, and varieties of colors (natural, artificial), etc. Then in the 6th chapter, he talks 

about the common designs and motifs of Iranian carpets. Based on his opinion Arabesque, Paisley, 

Stripped, "Gol Farang" (Rose), Herati (Fish, Jumble Fish), Garden, Medallion and Prayer-Nich 

designs are the dominant Iranian carpet designs (Yavari, 2005).  

 

AREA DESCRIPTIONS 

Geographic Location of the Kerman Province: The Kerman province is located in the southeast 

side of the Iranian Plateau between the 54 degrees and 21 minutes till 59 degrees and 34 minutes 

of Eastern Longitude and 26 degree and 29 minutes till 31 degrees 58 minutes of Northern Latitude 

of the Prime meridian (Kalantari, 2008). 



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The maximum width of the province is 280 kilometers in the north and the minimum is 80 

kilometers in the south. The medium width of the province is 250 kilometers and the distance 

between its northern and southern limits (The province's length) is estimated at around 660 square 

kilometers (Iranpor, 2012).  

The Kerman province by occupying around 11 percent of Iran's soil after Khorasan's divide 

is the biggest province of Iran (Nasiri, 2010). Kerman city as the capital of this province with the 

coordinates of 50 minutes and 57 degrees of Eastern Longitude and 17 minutes and 30 degrees of 

Northern Latitude is placed in the heart of the Kerman plain which has an expanse of 1100 square 

kilometers. Based on the latest Country divisions the Kerman province has 16 counties, 45 

sections, 57 cities, and 142 villages. The population of this province in 2016 based on statistics 

from the Statistical Center of Iran was equal to 3,164,718 people. 

This province has more than 660 registered national monuments and is one of Iran's 

historical provinces. The Kerman province has 6 registered monuments in the UNESCO World 

Heritage Site which makes them Iran's leading province in this respect. This province also has 

claimed first place in the non-oil exports of the country for several consecutive years (Zang, 1991). 

Geographic Location and Political Divisions: Kerman province is located in the 

southeastern part of the Iranian Plateau. This province leads to southern Khorasan from the north, 

Yazd and Fars provinces from the west, Hormozgan from the south, and Sistan and Baluchestan 

province from the east. The area of this province is equal to 180726 square kilometers. This 

province in the old country divisions was Iran's 8th province and also included the Hormozgan and 

Yazd provinces. The highest population of Iran's Zoroastrians lived in this province and this area's 

Sadeh celebration is recorded in the List of National Rites (Por, 1991). 

The Climate of Kerman: The Kerman province has a climate variety of hot, humid, dry, 

and temperate mountainous. The long periods of hot weather in Kerman are notable. The 

maximum heat in the Kerman which surpasses 50 degrees Celsius happens in the Shahdad area 

(Kalantari, 2008). 

Economy: The Kerman region because of its high mineral potential has many possibilities 

in creating industries dependent on mineral productions which some of these mines are among the 

richest mines around the whole country. Until this point, more than 150 mines have been 

recognized in this province. These mines, in creating small and big industries dependent on them, 

can have an important role in industrial planning and provincial improvement (Vaziri, 1997). This 

province based on geology and mineral resources has a special place in a way that large parts of 

different geological formations have happened in this place and that's why most mines of this 

province belong to the old times. 

Industries and Mines: The Kerman province's Industries are divided into handmade and 

mechanized industries. The handmade or manual industries include shawls, Pate, and cashmere. 

The mechanized industries are divided into the three categories of the small, medium, and large 

workshop from which you can name cement, housing, food and dairy, beverages, sugar, coal, and 

copper that has worldwide fame. The province's mines play an important role in providing the 

countries needed raw materials. Iron-filled mines in Sirjan, coal, copper and other metals spin 

Kerman and Iran's wheels of industry. The coal mines provide a part of Esfahan Steel Company's 

needs. The Rafsanjan's Sarcheshmeh copper resources which are based on expert certification are 

among the riches and purest copper mines in the world, are among Kerman's special economic 

characteristics.  



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Babak city's Midock copper mines, Baft County's Jiroft and Kahnuj Chromite mines are 

also among Iran's important chromite mines, and Kahnuj's Titanium mine is the only mine of this 

metal in Iran. Faryab mines in the Manoojan country are also of great importance (Bastani, 1993). 

Farming: The Kerman province is the largest producer of pistachio in Iran. The Anar, 

Sirjan, Rafsanjan, Zarand, and Ravar counties are among the largest production centers of 

pistachio in the world. Akbari pistachio as the highest quality pistachio is a production of the Anar 

County. Bam County has the highest quality of dates in the world and is also the biggest producer 

of dates in Iran. The highest cultivation area of walnut in the country is in the Baft County which 

based on production this county is placed second in the country, Kerman's Caraway also has 

international fame (Golab & Sir, 2011). But overall the most important crops of this province are 

Wheat, Barley, Potato, Pistachio, Henna, Woad, Caraway, Cotton, and Sugar Beet. In this province 

alongside Citrus and beat cold products such as Walnut, Almonds, Pears, Peaches, Cherries, 

Plums, and Apple Trees are produced (Zende, 1998). 

Antiquities: Analysis shows that until now 449 antiquities have been registered in this 

province. The aforementioned antiquities include chambers, passes, religious buildings, 

tombstones, public showers, enclosures and pathways, mosques, water cisterns, and old houses 

and mansions (Vaziri, 1997).  

 

METHODS AND TECHNIQUES 
Clifford Geertz’s Symbolic-Interpretive Anthropology Approach: Symbolic and Interpretive 

Anthropology is the study of symbols in their social and cultural context, which was brought about 

in the 1960s and progressed through the 1970s. These symbols are generally publically shared, 

recognized by many, and could be words, customs, or rituals. Symbolic Anthropologists describe 

and interpret symbolic meaning in emic terms, meaning that they interpret the symbols in the 

context of the culture that they are studying. A symbolic anthropologist believes that culture can 

be found in the public performance of symbolic systems and that there is generally a response to 

these symbols. Symbolic Anthropology was created in contrast to structuralism. Symbolic and 

Interpretive Anthropology states that symbols are learned and shared. This means that most 

symbols can be recognized by the people in that culture and often by people in other cultures. It 

also states that symbols are vehicles of culture, meaning they hold cultural meaning and 

significance. Symbols also transmit meaning and communicate ways about how people should 

view the world and feel about the world. Clifford Geertz (1926-2006) the main key figure of 

Interpretive Anthropology was considered to be the world’s most influential anthropologist of the 

second half of the 21stcentury. Geertz argues in Symbolic and Interpretive Anthropology that 

"culture is not a model inside of people's heads but rather is embodied in public symbols and 

actions". Geertz also focuses on the meaning of the symbols: "Believing, with Max Weber, that 

man is an animal suspended in webs of significance he has spun, I take cultures to be those webs, 

the analysis of it to be therefore not an experimental science in search of law but an interpretive 

one in search of meaning" (Geertz, 1973). 

 

Kerman Carpet 

Kerman carpets are one of the traditional classifications of Persian carpets though the term 

sometimes describes a type of carpet that may have been made elsewhere. Kerman rugs are prized 

for a wide range of designs, a broad palette, the use of natural dyes and fibers, great tensile strength 

and abrasion resistance, and expert color combinations. Typical manufacturing used an 

asymmetrical knot on cotton foundation, but rare examples may include silk or part silk piles, or 



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silk foundations with the wool piles. Designs and motifs of the Kerman region: Because of the 

tremendous demand for rugs produced in Kerman and the complex demographics of this demand, 

a surprising variety of styles and designs were produced. Some Kerman rugs were woven explicitly 

for monies buyers from the West, some for local consumers with very different tastes. 

Damask Rose is the most popular motif in Kerman rug designs, particularly in "Sabzikar 

Ravar" and "Gol Sorkhi" (Red Rose) rugs. Other well-known motifs are "Ghab Ghora'ani", 

"Setooni", "Ghabi", "Kheshti", "Saraam Atiyeh", "Jangali", "Shekargah" and "Lachak-Toranj". 

Kerman antique carpets often use the Toranj motif border of margins and narrow lines. Floral 

patterns woven into Kerman carpets in the 19th century are derived from the patterns of Kerman 

shawls, also made in Kerman at this time. A distinct variation of Kerman carpets is the Lavar or 

Ravar Kerman. These carpets were produced in Ravar village next to Kerman city in the northern 

region and are known particularly for their fine weave and elegant, classically derived design of 

allover and central medallion formats. Most Ravar or Lavar Kerman carpets include a signature, 

either that of the weaver or the person for whom the carpet was woven. 

 

RESULTS AND DISCUSSION 

The hand-woven Kerman carpets are filled with designs of philosophical worldviews and the 

spirituality of their creators alongside their simplicity. The artists alongside using natural or 

imaginary elements pictured effective phenomena in human life including historic events, natural 

accidents, architecture, etc. with a unique skill and expertise. Sometimes the designs and patterns 

of the Kerman Carpet are spiritual and inspired by the supernatural and sometimes are natural and 

earthly. No matter what each of their designs' reflects a message. For example, the Arabesque 

Design (A.K.A The Eslimi Design) is inspired by the movement and maze-like nature of plants, 

animals, trees, and overall natural designs. The Overall flower design is inspired by flowers, plants, 

tree branches, and leaves, and animals. The Bush design is a representation of the Cypress tree. In 

places without trees such as the desert and arid climates, people used to represent such climates in 

their handiwork and hand-woven crafts. The Hunting design includes different animals such as 

gazelle, wolf, lion, deer, leopard, and many types of birds. Also in this designs tree branches and 

flowers are used which give the Hunting design a beautiful and sweet look. And sometimes in 

there are designs of humans hunting the said wild animals.  

Overall many different symbols, designs, and patterns can be seen on the Kerman carpet in the 

forms of Herbal, Geometric, Mythical, Animalistic, Visual, Natural, and Religious, and Colorful 

elements. 

 

Herbal Symbols 

Plants and trees in Iran have always been in the center of respect and attention and have had a 

special place for themselves and even in times became holy.  

In the meantime, some plants and trees have turned into symbols based on characteristics such as 

beauty, lushness, fruitfulness or fruitlessness and or some mixed specific concepts and with the 

Persian culture. From which the Plane, Weeping Willow, Cypress, etc. can be mentioned.  

Plane tree 

The Plane is one of the greatest and longest-living trees of Iran. The Plane tree is so tall 

and upright that it can be seen from a long distance. The Iranian shepherds knew the Plane tree as 

the King of trees. But the Plane's greatness is not its only reason for holiness. The Plane sheds its 

skin every year and its strong branches take on a bright green color. This yearly rejuvenation of 

the Plane gave it unique holiness. Because maintaining youth is one of the main conditions of 



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fertility and fruitfulness and as a result, the Plane is a representation of eternal blessings. Since 

people usually give ancient beliefs a new coat of paint to preserve and maintain them, the same 

has happened to the Plane tree, and based on the belief of some people there is an Imamzadeh 

(Shrine of the sacred person) buried beneath each holy and old Plane tree. The existence of any 

truth behind this belief is not known, but the important fact is that the holiness of a Plane is 

preserved using such methods and its design shows off itself on the Kerman Carpet.  

 

Willow tree 

The Willow tree in the Persian culture is a symbol of joyless love and even sometimes is a 

representation of grief. This tree is an automatic reminder of a heartbroken lover and shows their 

pain and grief. In some beliefs, the Willow tree is known as a humble tree and as a representation 

of a humble human. 

 

Cypress 

This tree is the symbol for immortality or life after death and that's why it's usually found beside 

graves. Because the top of this tree is bent and is obedient towards the wind, among some Muslims 

it's a symbol of the obedience of Muslims towards Sharia (Tashakori, 2001). 

Sometimes the Cypress is known as a symbol of Iranian perseverance and pride. After the 

entrance of Islam to Iran, the Cypress tree is depicted with a broken top in paintings. It is said that 

this depiction of the Cypress tree in the paintings of time where a method from the Arab's to show 

the destruction of the Iranian strength after their attack. Also sometimes this tree is a symbol for 

the Garden of Eden. Overall in most Iranian art and also the Kerman Carpet, the symbol of a 

Cypress tree is used.  

 

Geometric Symbols 

A collection of regular geometric shapes such as circles, squares, and triangles and or mixed shapes 

such as checkered, six-pointed stars, Chalipa (cross), etc. are the main geometric symbols of the 

Kerman carpet.  

 

Square 

Square is a symbol for earth against the sky and also is a symbol of the whole world. The square 

is a reminder of the number four which is the representation of divine perfection. A square base 

on its shape is a representation of posture and firmness, stillness, and stability and as a result, can 

be a symbol of laws and justice that look at all under one, and also it can be a symbol for the place. 

The same way that circle is a symbol of time. Square is a symbol for the four main directions. 

Square is not a shape confided to symbols and this mysterious and stability-oriented shape 

alongside the rectangle from which it has been born has been the source of inspiration for many 

artists throughout the years which is also a fact in the Iranian carpets. Because most Iranian houses 

are four square, the Iranian carpet is woven the same way. 

 

Circle 

Circle alongside the meaning of perfection is a symbol for the creation of the world and also the 

concept of time. Moments are represented after each other and are continuous and circular. In 

Persian mythology circle, sphere and hemisphere are all symbols of Mitra (Religion before 

Zoroastrianism in Iran) and have a great share in symbolism. Sometimes in a more direct meaning 



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circle is a representation of the cosmic sky epically when it's in confluence with earth and they are 

harmonious. 

 

Triangle 

The Equilateral triangle is a symbol of coordination and proportion and also sometimes can 

represent the meaning of the earth. If the vertex of the triangle is upwards then it's a symbol of fire 

and the male sex and if it's downwards a symbol of water and the female sex. The triangle shows 

the meaning of fertility. Also in Persian Mythology, the triangle is the symbol of Anahita.  

 

Chalipa (cross-Swastika) 

This geometric symbol which is solid atop a square system has many different meanings and 

overall is the symbol for the sun. "Chalipa in any form and shape is a symbol of the infinite passage 

of time and its procedure of birth and death, existence and naught joint and break and this is the 

wheel of time that spins and breaks everything with no beginning and no end. This symbol in the 

Aryan culture stands for good luck and rebirth" (Bakhtor, 2001). 

 

Arabesque (Eslimi) 

The name Eslimi is taken from the term Islamic, this design is one of the Parthian and Sassanian 

artist's creations. The Arabesque design which has a fundamental role in decorative motifs of Iran 

includes circular duplicate maze rotations that are often symmetrical which can be a reminder for 

the twists of a plant's stem. 

In other words, the Arabesque design is a kind of pattern which includes complex lines, different 

curves, and arcs that are depicted in decorations, inscriptions, and other artistic works. In Carpet 

weaving, the Arabesque design is sometimes used as the main design and sometimes alongside 

other designs. Different types of Arabesque design which are used in the Kerman Carpet include 

Serpent Arabesque or Dragon's Mouth, Scroll Arabesque, and Elephant Trunk Arabesque.  

 

Mythological Symbols 

Mythologies are present among all nations and folks and are a part of ethnic, native, and national 

culture. Mythological beliefs whether in urbanized nations and communities and or scattered tribes 

can be seen in the form of traditions. Mythologies retell the ideologies of the nation that they 

originally belong to, such as the perspectives towards good and evil, the Gods, and the bravery of 

heroes and mythical creatures. 

Mythology is the creation of human thought and belief and is one the main creating factors 

of the ethnic culture of early societies and is counted as a part of the folks' identity that satisfies 

the spiritual and material needs of man; based on this mythology can be the determiner of the 

social life of a nation and folk. Mythologies manifest in symbols. There are also many 

mythological symbols in the Kerman Carpet which we will describe some of them right here.  

 

Tree of Life 

The tree of life is the secret of "The Axis of the World" and is an evergreen tree with fruits that 

bear eternity and immortality and the existence of all trees. Usually, this tree is shown as a tree 

with many branches, representing the idea that all of earth life is connected. In another 

interpretation, the tree of life is a symbol of resurrection and immortality. This tree is probably the 

Haoma tree of Zoroastrianism. This symbol is used very frequently in carpet weaving.  

 



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Living Rock 

In some carpets of Kerman, we see a rock-like design that usually is mixed with human or 

animalistic faces. It seems that the human and animalistic designs available in these rocks are a 

symbol of the live and dynamic psyche of rocks which cannot be presented directly and so the 

combination of what is living and current and what is hard and inflexible was used as a solution.   

 

Winged Humans 

The role of winged humans in Iranian arts has a long history. "Angels are winged messengers that 

create a connection between God and humankind." (Hall, 2004). 

The combination of the Human body with enormous wings can be a symbol for "Human-

God". The presence of angels as a mediator between the divine court and men who uses the tool 

of words as a mean of transition and the presence of humans, the greatest of creations, who are 

ornamented with the power of words has caused the role of angels to be created as a mixture of 

the human body and bird-like wings.  

 

Demon 

In Persian mythology, demons are imaginary and fictional creatures with unnaturally strong, ugly, 

and terrible but human-like bodies. It is presumed that demons have tails and horns. The picture 

of demons are sometimes used in the Kerman carpet designs and sometimes these patterns and 

pictures are created by a combination of other elements such as the combination of a human body 

with the legs, hands, and or head of other animals like dogs, monkeys, wolfs, etc. that overall they 

are a symbol of the predatory traits of this hybrid or demon creature, as such it can be said that 

demons are symbols of the ugly temperament of men depicted in a human-animal manner.  

 

Dragons 

In ancient Iran, just like other ancient countries (Egypt, Babylon, China, and India), there were 

many legends about dragons. Although dragons in lands such as India and Babylon were symbols 

of droughts, darkness, and destructive floods, in Iran there were symbols of moral evil and vices. 

In Avesta (The holy Book of Zoroastrians there are many myths about dragons that easily 

compared them with a notorious historical character that had a name like AjiDahak (dragon) 

(Coyaji, 1974). 

In Iranian culture to fight with a dragon is to overcome your problems, killing dragons means 

the struggle between light and dark and the human domination over the inciting self and self-

control. Although nowadays many people believe that there is a connection between dragons and 

fire but based on the belief of some people the main element of dragons of water. This water-like 

bond fundamentally distinguished the dragon from other multi-shaped mythical creatures. Even 

the desert-based folk emphasize this point and their dragons are usually at the bottom of wells (It's 

important to say that a vast part of the Kerman province and dry and desert). The bottom of a well 

was usually seen as a dragon's eye (Warner, 2007). 

Phoenix 

Phoenix is the most famous Iranian legendary-mythical figure. It has an important role in 

many stories of the Shahnameh (Ferdowsi Poetry Book). And it is well known and used in Iranian 

arts. Its living place is the mythical mountain of Qaf. In Ferdowsi's Shahnameh book the Phoenix 

has a God-like and an Evil visage because all supernatural creatures in the eyes of the followers of 

Dualistic Cosmology are opposite twins. But based on Iranian fictional and cultural literature such 

as Attar's The Conference of the Birds, the Phoenix is a symbol for thirty birds who to discover 



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the answers to their mystical questions take a long journey in the path of knowing the truth and as 

they reach the holy phoenix, they find out that the seeker and the sought are the same, because 

they were thirty seeking birds and their sough was the phoenix. 

 

Animalistic Symbols 

The designs of some Kerman carpets are taken from Iranian culture and literature, designs that 

depicted texts some of which included stories from animals and advice from their lives. These 

versions introduce animals as ethical symbols. Sometimes animals are used as symbols of 

superiority and power (Yahaghi, 2011). 

These Symbolic animalistic symbols in the Kerman carpet include Lions, Cows, Goats, 

and many types of Birds. 

 

Cow 

The cow is a symbol of earth and the force of nature and is associated with the moon and rain 

clouds. The cow in Iranian mythology is a symbol of the battle between light and dark, good and 

bad.  

In the after Islam Iran, sacrificing a cow based on the belief of philosophers of ethics is for 

killing the self-cow and ridding yourself from reconstructed lust and sensuality. Even after Islam 

the mythical meaning of a cow has still conserved itself in the people's folk culture. 

 

Rooster 

The rooster had a special place in ancient Iran and we can repeatedly see this position and role of 

the rooster in everyday life in the writings and beliefs of the authors of ancient Iran whether before 

or during the Islamic era. The rooster has always been introduced as a holy bird. The rooster is the 

representative of Sraosha (a guardian angel from ancient Iranian belief) in the world. He sees the 

dawn from the far and informs others. Based on this it is believed that the Rooster is the enemy of 

the sleep demon "Boshasia" and Boshasia is a demon that prevents people from getting up in the 

dawn and saying their praying towards the dawn and before the sun is fully up. The rooster sings 

by seeing the dawn, the arrival of the day, and following that the rise of the sun. The demon 

Boshasb (Boshasia) is the demon of sleep and excessive laziness and based on ancient Iranian 

belief, the rooster is the watchman of the night and with the arrival of dawn fights Boshasia. 

 

Lion 

In Iranian thought, the Lion has always been a symbol of pride and valor. The symbol of monarchy 

and the sign of bravery. In works of art, he stands tall alongside kinds, and his statue is installed 

alongside the graves of champions and heroes. Throne of Goddesses is on his shoulders and the 

Throne of Kings on his paws. The lion is a guardian of temples and his looks carved on the stone 

is a protection force worn as a necklace. The lion is one of the most important fundaments of 

Mithraism. The heavenly lion is the symbol of summer and has a fiery nature. 

The lion is present in many Iranian carpet designs including the Kerman carpets and most 

of these shapes, the lion is a symbol of the glory and majesty of monarchy, Iranian power and 

greatness, Symbol of bravery, and sometimes symbol of power, greatness, and bravery of the first 

Shias Muslim Imam because the Shias know Imam Ali as the lion of God and God's Sultan on 

earth and because the majority of Kerman's people are Shias this symbol is used on many Kermani 

carpets. 

  



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Peacock 

The peacock has a special place in Iranian culture and because of all the vast meanings hidden in 

it has become a divine and religious symbol with a place higher than apparent beauty. The peacock 

is sometimes the symbol of beauty, sometimes the symbol of shame, sometimes the symbol of the 

monarchy, and sometimes the symbol of boasting. Some people believe that the peacock knows 

the devil and can prevent it from entering the house or place. So based on this many people have 

drawn the shape of a peacock atop the doorway of houses and mansions.  

 

Gazelle 

The gazelle is a symbol of the lover and shows oppression, innocence, and spiritual love. In other 

words, the gazelle is an allegory for a human that has passed virtual love and has reached true and 

divine love. 

 

Visual Symbols 

In recent visual carpets of Kerman, you can find pictures of kings, great Iranian and foreign 

characters, and religious leaders. The most used pictures are of Imam Ali (The leader of the Shia 

Muslims), Khayyam (Iranian Famous poet) and his lover (symbol of love), Hafez (famous 14th-

century poem - a symbol of love and mysticism), King Abbas, King of the Safavid era, etc.  

 

Natural Symbols 

Nature and our outlook towards it have always been integral in the framework of the special 

aesthetic of Iranian art. Flowers, Gardens, Trees, Water, Fountains, Hills, Mountains, the Moon, 

and the Sun have been integral parts of the Kerman carpet designs. In this way one of the natural 

elements of the Kerman carpet is the sun which is famous as the Sun corner design or Ms. Sunshine 

and has an ancient history, this design is very common in carpets and is used in broken and curved 

and is used by rural, nomad and urban weavers of Kerman.  

One of the other important natural designs of the Kerman carpet is water. Water is the 

fundamental element of life and is a symbol of life, death, the secret of creation, purity, and 

redemption, fertility and growth, resurrection, and metamorphosis. Water is the element that 

creates the relationship between humans and nature. In Iranian arts water is shown with silver color 

and using the silver metal itself, and the purpose of using actual silver is to create light, the 

reflection of light, and more realistic rays of light that create ad mystical trade with the observer's 

soul. Generally, water is the symbol of prosperity and where there is water there is greenness and 

freshness. 

  

Religious Symbols 

"In Iranian painting, humans don't have a shadow the same way that angels don't have one. 

Everything is light, the role of humans is separate and heavenly without a base and free of the 

Wight and volume of real everyday life. This allegory of humans, angels that were known as 

Amesha Spenta (Iranian angels) in the thoughts of Mazdayasna and Yasht hymns, is one of the 

clearest facets of the Iranian soul in literature and paintings." (Agdashlo, 2005) 

In human designs what sometimes catches our eyes is the usage of the holy aura. This aura 

(God the Zoroastrians) is seen upon the human bodies and also birds and animals that by 

considering the effects of the Islamic thought system could show the holiness of all creatures and 

their equal position in front of God. But over time, this aura only surrounded the head of the saints 

and became a symbol of the shining of the divine light from the divine character. Pictures 



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Infallibles especially Imam Ali, Imam Hussein, Imam Reza, etc. with their holy aura are the main 

designs of many Kerman carpets. 

 

Symbol of Color in Kerman Carpet 

Human society is filled with symbols that have been formed over time and found a special place 

in human life. Symbols are formed based on habits and geographical beliefs and without a doubt 

are rooted in the thoughts of the people of an area. In the meantime color as a symbolic attribute 

has found a very special place in the culture and art of each civilization. The selection of color is 

dependent on factors such as geographical location, cultural background, religion, etc. In the past 

colors were representatives of welfare and evil; sometimes as a reminder of the Devil and evil and 

impurity and sometimes as a sign of holiness and purity and good. Also, colors in combination 

with different forms were used to protect humanity from the forces of evil. 

Color in the Art of Islam is an important and effective element. In    Iranian and Islamic 

mysticism even the levels of the mystic's Soluk and or his mystical mood each have a specific 

color. In Mithraism, Mazdayasna and Manichaeism lightness have Great value and auspiciousness. 

After them in Islam, God is called the light of Skies and Earth, and the value of this phenomenon 

is once more revealed.  

Based on this in Iranian art, color is not just one simple attribute (quality) and each color 

is a symbol. Colors are symbols of love and the placement of the sun in the sky and ancient Iranians 

believed that colors of the world have a Mino (heavenly) origin and have descended from another 

realm. This subject is also true about the colors used in the Kerman carpet and each of these colors 

have their unique meaning, of course nowadays the main drive behind choosing the color of a 

Carpet is the color of the other furniture inside the buyers' house and people believe that there 

should be a connection between the carpet and the other furniture, for example having white-pink 

furniture and a navy blue carpet is wrong. Generally, the Kerman carpet is the most color carpet 

in Iran and the meaning of the most used colors in these carpets are: 

 

Red 

In Iran red is a symbol of fire but among Shias Muslims and in the religious ceremony of Ashura 

(The day of the martyrdom of Imam Hussein) is the symbol of martyrdom. In the Iranian-Islamic 

culture, the red rose is also a symbol of martyrdom. 

 

Yellow 

Overall the color yellow is one of the bright colors. This color is a metaphor for the sun, the color 

of eternity and immortality. This color is partially the symbol of holiness and usually, the aura 

surrounding the heads of saints is shown with this color. Sometimes this color is converted into 

gold.  

 

Blue 

In Iranian thought, the color blue is the symbol of purity and spirituality and sometimes the symbol 

of wisdom. This color accompanies intelligence, discovery, and Intuition. It makes sense of 

Insight, illumination, and thought. Blue is an insight color that creates a transcendental mood in 

humans. In the architecture of Islamic mosques blue and cyan colors are frequently used. 

  

 

 



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Brown 

Generally, the color brown is the symbol of earth, being healthy, support, safety, comfort, 

trustworthiness, senility, quality, and honesty. Milky, beige, ivory, light brown, smoky brown, 

chocolate brown, dark brown, and burnt brown are the spectrum of brown which are used in the 

Kerman carpet.  

 

Green 

Green is the symbol of freshness, balance, and rebirth and just like spring, it refreshes the body 

and the soul. 

Based on culture the color green has many and sometimes contradicting meanings. In some 

cultures, green is the symbol of hope and progress meanwhile in others it's a symbol of death, 

diseases, and the devil. But generally, in most cultures, it's a reminder of nature. In Islam, it's 

believed that paradise is a lush and green place which is one of the reasons for the usage of green 

in the Islamic culture. This color especially among Shias Muslims is a symbol of being a Sayyid 

(grandchildren of the Imams and the Prophet of Islam) and obedience to Imamate and Province. 

In the past Sayyids were specifies by green hats and shawls.  

  

Navy Blue 

Navy blue is a very cold color. Using such colors as navy blue and black creates a sense of pride 

and self-confidence as a result of that. 

 

Cream 

Although this color those not have as many meanings and symbolic values as the other colors but 

based on its joyfulness and aliveness, the cream is used by Kerman carpet weavers and is highly 

adaptable with the house decoration of the people of Kerman.  

 

Cyan 

Cyan is a collection of colors between the spectrums of green and blue with characteristics like 

bringing good luck and refrain from bad comments, etc. Cyan is known as a color with positive 

values among the people of Kerman.  

 

CONCLUSION 
The Kerman carpet is a symbol of the Iranian carpet and a part of this country's cultural identity to 

the world.  

Kerman carpets have had many different symbols and patterns in each different era. 

Therefore, analyzing carpets from different eras can lead to a deep understanding of the traditions 

of the people of that time and also can help transfer their cultures.   

The patterns and designs of the Kerman carpet have been subject to many changes in 

history just like the other traditions and cultures of this land. In some periods, pages of history 

were woven into the Kerman carpets which were an illustration of the Iranian people's art in the 

form of carpets and rugs. Each pattern and design found on the different Kerman carpets can be 

representatives of different and unique characteristics, for example: 

Sometimes the designs of the Kerman carpet are messengers of the climate and 

geographical environment of the region. From this point of view, the designs of the Kerman carpet 

are the artist's look towards his surrounding climate and nature. And sometimes their designs are 



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filled with philosophical and mystical worldview and a show of its owner's spirituality that shows 

itself with ultimate simplicity. 

And sometimes they talk about the beliefs of their people and the Kerman carpet is a 

reflection of the old beliefs and traditions of the people of that region which have evolved in the 

coming ages. This form of art is created according to the spiritual and mental needs of people. 

And sometimes the Kerman carpet's designs and symbols have historical roots and its arrays date 

back to before Islam.  

In conclusion, the Kerman carpet designers illustrated natural and or imaginary elements 

with the language of symbolism and unique skill alongside impactful events in human life 

including historical events, natural incidents, architecture, etc. Therefore this form of art is just 

like a mirror that reflects the culture of the Iranian society and specially Kerman.  

  

 Suggestions 

 Creating an Anthropology Museum in the field of carpets and carpet weaving based on 

traditional culture for tourists visiting Kerman; 

 Using the designing and carpet weaving masters as the faculty to transfer their knowledge 

to the next academic generation; 

 Setting up cultural exhibitions and conferences, and inviting the residents and tourists to 

take part in such conferences to revitalize, preserve and transfer the Native culture, 

especially the carpet weaving industry; 

 Methods of expanding tourism to sell handicrafts especially carpets to tourists; to liven up 

the arts and industry; 

 Financial and emotional support for designers and weavers of Kerman carpet for 

engorgement;  

 Doing more research in the field of Kerman carpet patterns and designs.  

 

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Copyright for this article is retained by the author(s), with first publication rights granted to the 

journal. This is an open-access article distributed under the terms and conditions of the Creative 

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