Kashmar rugs weave together myth, migration, and market savvy. Born in northeastern Iran’s Razavi Khorasan, they’re loved for storytelling fields (think “unearthed treasures”), generous room sizes, and a confident red-and-navy palette.

This guide traces their roots, shows what makes them distinct, and gives you quick ways to spot one at a glance.

 

 

Cultural Symbols in Kashmar Rugs: The Sacred Cypress and the Simurgh

 

An old Zoroastrian legend speaks of a sacred cypress tree—“Sarv-e Kashmar”—that the prophet Zoroaster brought from paradise and planted in Kashmar, symbolizing endurance and eternal life.

That legend isn’t just lore; it shows up in the work. Kashmar weavers often feature tall cypress trees or tree-of-life compositions in pictorial pieces. You’ll also meet the Simurgh—a benevolent, mythical bird from Persian literature—along with peacocks, deer, and garden fauna. Together, these motifs fold Kashmar’s local identity and Iran’s epic imagination into the pile.

Stylized cypress motif in an Achaemenid relief; an early echo of Iran’s sacred-tree symbolism linked in lore to the Kashmar cypress.

 

 

A Brief History of Kashmar Rug Weaving (1880s–Present)

 

The city’s earlier name, Turshiz, appears in medieval chronicles. However, it’s in the late 19th century that we can trace the modern era of rug weaving in Kashmar. Between roughly 1881 and 1901, Kashmar saw the establishment of organized carpet production.

The first master weaver credited in the region is Mohammad Kermani—the surname suggests he hailed from Kerman and migrated to Kashmar. It was not uncommon for master weavers or entrepreneurs from one city to relocate and kickstart the craft in another area, carrying techniques and styles with them.

Kashmar’s rise in the rug world really picked up around the mid-20th century. A turning point came in 1961, remembered as a time of transformation and innovation for Kashmar carpets.

This change is largely attributed to Master Alipour, who arrived in Kashmar from Tabriz and revolutionized local weaving. Under Master Alipour’s guidance, Kashmar weavers began increasing their knot density and introduced new design concepts. 

One of Alipour’s famed contributions was the introduction of the “Zir Khaki” design, known in Khorasan as the “Bowl and Vase” pattern.

Zir Khaki design Kashmar Rug, from Rug the Rock collection

 

 

Zir Khaki, which literally means “under the soil” or “underground treasure”, is an archaeological-inspired motif that became a signature of Kashmar. These rugs depict vases, urns, goblets, and sometimes other relics scattered across the field, as if one is looking at treasures freshly unearthed from the earth. 

Imagine a rug where the background might be a rich red or navy, and on it are artfully arranged ornaments—ancient bowls, Simurghs, Persian ceremonial vessels, even coins or ancient ruins—intermixed with floral vinery. 

This style was novel and quickly popular, as it in effect told a historical story within the rug. Because it often included vase motifs, some referred to it simply as the bowl-and-vase design.

Master Alipour also brought new techniques for drawing patterns: instead of fully coloring the cartoon (design blueprint) by hand, he labeled areas with numbers to indicate colors (a system used by Tabriz workshops). This saved time and allowed more complex designs to be mapped without confusion.

 

 

From the late 1960s onward, Kashmar rugs went through phases reflecting market trends:

 

Early 1970s – The Kashan Influence:

 

Around 1971, Kashmar weavers experimented with emulating the popular Kashan rug designs from central Iran. Kashan rugs (not to be confused with Kashmar) were in vogue for their intricate floral medallions and high quality.

Kashmar producers copied Kashan patterns—perhaps hoping to capture some of that market. They produced rugs with the curvilinear medallion-and-corner designs typical of Kashan.

However, since Kashmar rugs were generally of slightly lower knot count and different wool quality compared to authentic Kashan, these imitations didn’t perform well in the market. Buyers could tell the difference, and the “Kashmar-made Kashans” were considered inferior to the real thing. Thus, this venture met limited success and was somewhat short-lived.

 

 

1980s – A Return to Roots (and a Nod to Naeen):

 

By 1981, after the Kashan-style episode, Kashmar workshops refocused on their regional identity. They revived authentic Khorasan designs, such as various Afshan patterns (all-over floral designs) and Lachak-Toranj Shah Abbasi layouts with the large Shah Abbas flowers typical of Mashhad rugs.

They went back to what made Khorasan rugs distinctive: large palmettes, sweeping arabesques, and a robust elegance. The beloved Zir Khaki designs were also rejuvenated and continued to be woven, since they were unique to Kashmar and had found a niche market.

During the same period, however, another external influence arrived: Naeen rugs (from Naein, near Isfahan) were experiencing a boom in popularity both in Iran and abroad. Naeen rugs are characterized by their very high knot counts, fine silky wool, and pale color palettes (often ivory and light blues). Starting in the late 1980s, many Kashmar weavers, enticed by this market demand, adapted some of their production to mimic Naeen-style rugs. They began using finer wool (even adding silk highlights), tighter weaves, and adopting Naeen’s designs.

By the late ’80s, one could find four categories of rugs being woven in Kashmar: (1) those with Naeen designs, (2) those with Kashan designs, (3) pictorial/story rugs (like Zir Khaki and other scenes), and (4) new adaptations of classic Gol Farang (European flower) designs or other inventive motifs.

Nain-inspired Kashmar rug, from the Rug the Rock collection

 

 

To summarize Kashmar’s design evolution:

• Pre-1960: Largely traditional Khorasan motifs (which might have been somewhat simpler and bolder, given lower knot counts and local tastes). Examples include Hassan Ghazi and Zarrin Kolk designs—two well-known older patterns in Kashmar.

• 1960s: Introduction of Zir Khaki (unique archaeological theme) and finer weaving techniques.

• Early 1970s: Flirtation with Kashan-style rugs (floral medallions ala central Iran).

• Late 1970s–1980s: Reassertion of Khorasan identity (Afshan, Shah Abbasi motifs) plus accommodating trends by weaving Naeen-inspired pieces.

• 1990s to present: A mix of all the above continues to some extent, but with a decline in overall output (as we’ll discuss in features, many weavers moved or stopped, and production decreased).

 

 

Weaving Anatomy

 

Knots, Looms, Foundations, Pile Height, and Finish:

 

Knots & density.

Kashmar predominantly uses the asymmetrical (Persian) knot, with occasional symmetrical examples. Earlier workshop pieces often sat around 25–30 knots per 7 cm, which converts (approximately) to ~80–120 kpsi. After the 1961 reforms, finer pieces reach ~35–40 knots per 7 cm (about ~160–210+ kpsi). These conversions are estimates, since horizontal and vertical counts can differ.

Loom & foundation.

Rugs are hand-knotted on vertical looms. Foundations are typically cotton warps and wefts, capable of holding higher tension for denser knots. Historically, many Kashmar carpets are single-wefted (one weft shot between rows of knots), lending a slightly more supple handle than two-weft structures found elsewhere.

Pile and clipping.

Pile is wool (with occasional silk highlights). After weaving, specialized finishers clip the pile to a low-to-medium height for crisp drawing. This disciplined finish is part of why Zir Khaki objects read so clearly against their fields.

Edges, ends, and finishing.

Selvages are often reinforced after the rug is removed from the loom—sometimes wrapped in strong yarns (historically even goat hair) for durability. Ends may carry a flat-woven kilim strip before the fringes; since Persian knots produce different fringe behaviors at top and bottom, you’ll often see one continuous end and one where warps are cut into separate tassels.

 

 

Materials & Scale: Wool, Silk Highlights, and Kashmar’s Love for Room-Size

 

Pile & highlighting.

Wool is the main pile fiber; higher-end pieces sometimes use silk to outline flowers and leaves (gol-e abrisham), increasing contrast and sparkle without overwhelming the texture.

Preferred formats.

Kashmar’s vocabulary reads best on a generous canvas, so the region historically favored room-size carpets: ~2×3 m (6.6×9.8 ft), 2.5×3.5 m (8×11.5 ft), and 3×4 m (9.8×13.1 ft) are common. Smaller mats and narrow runners exist but are much less typical.

 

 

Recognizable Kashmar Rug Patterns and Motifs

 

To recap some distinguishing design elements of Kashmar rugs:

 

Zir Khaki (Underground Treasure) Design:

Unique to Kashmar, this pattern is like an artistic inventory of ancient Persian artifacts scattered across the rug. Often, it lacks the typical border; the design might run edge to edge, depicting columns, vases, urns, and sometimes even architectural elements. It’s as if you’re looking at an archaeological site drawn on a carpet. This design often comes in rich red or navy backgrounds to simulate the earth, with the artifacts in contrasting lighter colors.

 

Cypress/Tree of Life:

Kashmar rugs often prominently feature the Sarv (cypress) motif, sometimes as the central element in pictorial rugs. A huge cypress might rise in the field, flanked by other trees or creatures. This not only nods to the Kashmar cypress legend but also to the Zoroastrian symbolism of the tree of life and eternity.

 

Pictorial & Simurgh scenes:

In animal-themed Kashmar designs, you might encounter the Simurgh (a large winged creature often depicted in Persian art) or other animals like peacocks, deer, and lions. The Simurgh motif in particular is said to be exclusive to Kashmar rugs in its style; other regions don’t commonly weave this mythical bird into their designs. So a Simurgh carpet is almost certainly from Kashmar or nearby.

Afshan and Shah Abbasi:

Kashmar adopted these classical Persian patterns especially after 1980. Afshan means scattered – these are all-over floral designs without a central medallion, where Shah Abbasi lotus flowers, peonies, and vines cover the field uniformly. Lachak Toranj Shah Abbasi refers to the medallion-and-corner with Shah Abbasi flowers (those famous split-palmette lotus motifs) – basically a Kashmar take on a Mashhad or Isfahan style, but often drawn larger and more sparsely.

 

Panel (Compartment) Designs:

Kashmar weavers occasionally created “pictorial panel” carpets – rugs divided into rectangular or square compartments, each containing a different scene or motif (like poetry cartouches, mini hunting scenes, floral sprays, etc.). These are reminiscent of certain Kerman “Garden of Paradise” designs or Qum pictorial rugs, but Kashmar made its versions, sometimes including inscriptions or verses in the panels.

 

 

Palette & Dyes:

 

Signature colors.

Expect confident contrasts: laaki (crimson) fields, deep navy borders or grounds, ivory/cream reserves, with controlled greens, light blues, and warm tans. A particular Kashmar red, sometimes colloquially called Laaki Gol-e Khāri, became a regional hallmark—slightly different from the reds of Mashhad or Kerman.

Dye practice over time.

Earlier work leans vegetal; from the mid-20th century onward, synthetic dyes join the palette for cost and consistency. That shift often means cleaner, more uniform hues and less abrash in newer rugs; some late-20th-century reds and violets can read brighter or “sharper” than older vegetable palettes. High-quality modern synthetics are chemically stable, but collectors still prize the mellow glow of all-vegetal color where found.

 

A Kashmar rug with a rare color palette, from the Rug the Rock collection

 

 

Conclusion: The Legacy of Kashmar Carpets

 

The rich history and distinctive features of Kashmar carpets highlight their unique place in the world of Persian rugs. From mythical beginnings with Zoroaster’s cypress to modern adaptations of designs, Kashmar’s weavers have shown both innovation and deep respect for tradition. These carpets are truly works of art—each knot tied is part of a narrative connecting the weaver’s hand to Iran’s cultural heritage.

Whether it’s a large rug adorned with historical “Zir Khaki” imagery, or a beautifully drawn medallion with lush floral sprays, a Kashmar carpet offers a glimpse into the history, art, and soul of its makers. Owning one is like owning a Persian story you can walk on and admire every day.

In a world where many things are mass-produced, a hand-knotted Kashmar rug stands out as something crafted with care, patience, and artistic flair. Weavers poured their life experiences—be it the memory of a legendary tree, the pride of an ancient empire’s relics, or the joy of a flourishing garden—into these carpets.

If you’re someone who appreciates fine arts, a Kashmar rug can be a centerpiece of your decor and a conversation starter about Persian culture.

The next time you see those intricate vase designs or the tall cypress in a carpet, you’ll know the story behind it.

By choosing an authentic Kashmar, you’re not just buying a rug, you’re preserving a tradition and celebrating the delightful taste of Persian art.