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Indian
Indian designs were strongly influenced by those of Iran, mainly by the curvilinear styles
such as Esfahan. Popular designs of the 18th and 19th century, which Indo-mir is still a
remaining example of, were mainly in the all-over layout with very small floral motifs such as
plants, palmettes, rosettes and leaves. Often the same motif was repeated through the entire
rug. Borders were very similar to the motifs in the field. There was not much color contrast
in the rugs; the colors were mostly well coordinated to suit the Western taste. Brownish red
was the dominant color. In addition to this color, light and dark green and burnt orange
were also popular. Indian rugs missed the period of Aniline dyes which faded rapidly with
exposure to light and water. Colorfast Chrome dyes directly replaced natural dyes.
In addition to the Indian designs derived from Persian styles, many rugs of this period were
direct copies of Persian styles.
In the present day, in addition to Persian styles, European (Aubusson and Savonnerie
designs), Chinese, and Turkoman styles are also copied by Indian weavers, especially since
the middle of the 20th century. Indian rugs are mostly made in workshops; occasionally
they are made in villages.
Some names associated with Indian rugs are Jaipur, Agra, Kashmir, Dhurries and Indo-mir.
The first three refer to places in India where traditional Indian styles, Persian, European,
Chinese and Turkoman styles are made. Dhurries are Indian flat-weaves with designs
similar to those of Native American Navajos, which were very popular in the West about
fifteen years ago, and Indo-mirs are Indian rugs with an all-over design called mir-i-boteh,
which has multiple rows of horizontal, vertical, and diagonal small botehs.
Indian designs were strongly influenced by those of Iran, mainly by the curvilinear styles
such as Esfahan. Popular designs of the 18th and 19th century, which Indo-mir is still a
remaining example of, were mainly in the all-over layout with very small floral motifs such as
plants, palmettes, rosettes and leaves. Often the same motif was repeated through the entire
rug. Borders were very similar to the motifs in the field. There was not much color contrast
in the rugs; the colors were mostly well coordinated to suit the Western taste. Brownish red
was the dominant color. In addition to this color, light and dark green and burnt orange
were also popular. Indian rugs missed the period of Aniline dyes which faded rapidly with
exposure to light and water. Colorfast Chrome dyes directly replaced natural dyes.
In addition to the Indian designs derived from Persian styles, many rugs of this period were
direct copies of Persian styles.
In the present day, in addition to Persian styles, European (Aubusson and Savonnerie
designs), Chinese, and Turkoman styles are also copied by Indian weavers, especially since
the middle of the 20th century. Indian rugs are mostly made in workshops; occasionally
they are made in villages.
Some names associated with Indian rugs are Jaipur, Agra, Kashmir, Dhurries and Indo-mir.
The first three refer to places in India where traditional Indian styles, Persian, European,
Chinese and Turkoman styles are made. Dhurries are Indian flat-weaves with designs
similar to those of Native American Navajos, which were very popular in the West about
fifteen years ago, and Indo-mirs are Indian rugs with an all-over design called mir-i-boteh,
which has multiple rows of horizontal, vertical, and diagonal small botehs.