Domed dovecotes of Najafabad have a world reputation as well as its rugs. Following Isfahan’s workshops, Najafabad’s rug production benefited from good structure and well-ordered designs. This article will take you through the mystery and delightful features of the Najafabad rug.

Where is Najafabad?

According to legend, Shah Abbas sent a caravan of camels with loads of gold and silver in Isfahan to Najaf. That’s where Imam Ali’s shrine is, where the caravan was to spend a night in the holy city. But not far from Isfahan’s gates, the camels refused to go further.

Meanwhile, Sheikh Bahaei, Shah Abbas’ wise counselor, saw Imam Ali in his dream. Imam Ali told him to spend the gold and silver on the spot the camels were standing in that dream. By accepting that dream, Shah Abbas built a city on the spot and called it Najaf-Abad.

Technical Aspects and the Structure of The Najafabad Rug

These rugs are double-weft, piled with wool on a cotton foundation, and the knots are asymmetrical (Persian).

The market categorizes the Najafabad as city-woven rugs that means professional weavers have woven them in workshops with loom drawing. Looms are mostly vertical in such rug workshops.

Dyeing and painting of The Najafabad Rug

Red is the dominant color in these rugs. Furthermore, the weavers use dark blue or beige for margins and beige for the background. If so, the margin would be red. You’ll find charming indigo or light lazuli is in this charming Persian rug, mainly for corners.

For patterns, Najafabadi weavers use light tones to moderate the total appearance. Shades of cream, beige, ivory, buff, and khaki are predominant. The artisans also use light and dark blue, yellow, and green as secondary tones.

Designs and patterns of The Najafabad Rugs

Najafabad is the source for central medallion designs. Najafabad medallions are usually eight-pointed stars. These are rather small in comparison to surrounding patterns, shining in the middle of oval-shaped grounds limited by bow-shaped corners. Curvilinear patterns fill the grounds, including some large ones such as Shah Abbasis and some tiny florets. 

Najafabad margins enjoy accurate division, and their edge-markings are well-ordered. The main pattern used in Najafabad’s wide margins consisted of two flowers. These are mostly Shah Abbasis, chained together by rotating Eslimi (Arabesque) and Xitai bands.

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