Malayer lies on the Alvand Mountain margin, a junction point between the Zagros folds and the central Iranian plateau. It is a historical city in Hamadan Province and the second largest urban settlement after Hamadan (Ecbatana). Malayer is also famous for its high-quality grapes, walnuts, cultural monuments, and above all, the Maleyer rug!
Alvand’s rich pastures have been so vital for nomadic and semi-nomadic folks as well as settled villagers during the millennia. In central Zagros, there are thousands of villages as well as semi-settled tribes. Handy-crafts in the area is produced in significant numbers in the villages around Hamadan, located on mountainous routes. Rug weaving is a fundamental craft for mountain folks.
These villages gave their name to their rugs, such as Josan (Jozan), where the best rug weaving practice comes from.
Technical Aspects and the Structure of Malayer Rug
Villages of Malayer mostly follow the Hamadan area structure. That consists of woolen piled, single-weft, and woven with the symmetrical/Turkish knot on cotton warps and wefts. All follow this structure but Malayir itself, which is double-weft — a big exception in Hamadan.
The lustrous yarn of the area has a world reputation. The production is mainly in rug sizes. 120×180 is the most popular size.
Dyeing and Painting of Malayer Rug
The dark blue color is the most popular shade by the Malayer rug weavers. They also use red and cream accents in the background. Acid moderated madder brings shades of rose and vermillion. The dyed camel hair of this region brings a golden glow to the ground at midnight in the blue. The region’s brightest light makes all the rays shine.
Benefiting from Zagros’ environment, the local palette is not damaged by chemical dyes.
Designs and patterns of the Malayer rugs
Malayer lies on the pastoral route from Hamadan to Arak, alongside Farahan and Saruq. These cities have two schools of design. Antique ones enjoy classic versions of Herati patterns and medallion designs. However, semi-antiques (known as American Saruq or Ziegler) have central medallion designs executed with quality lines resembling graph-paper lines. These tend in some pieces to be shaped by geometric medallions.
Despite their difference in weaving structure, this one has been influenced by the American Saruqs style. The traditional school has its own influence as well as Hamadan and Borujerd. A relatively small medallion and big corners, and large floral patterns are characteristics of this.
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