Afghan War Rugs offer a striking lens into how prolonged conflict reshapes artistic traditions. For over four decades, Afghanistan has experienced relentless turmoil—from the Soviet invasion in 1979 to civil strife and the rise of the Taliban. Despite these trials, Afghan War Rugs have persisted as a prominent form of artistic expression, intertwining historic weaving practices with vivid depictions of warfare and resilience. 

 

Afghan War Rug (1979–1985) with beige background, vibrant decorative borders, and beige tassels featuring Russian block houses on the mountain tops, tanks, and helicopters in reference to the Soviet-Afghan conflict. The British Museum.

 

What Are War Rugs?

War-influenced weavings appear in many regions, including Chile, Peru, Vietnam, Thailand, Palestine, and Egypt. However, the long and widespread nature of the Afghan conflict, along with the large output of war-themed rugs over decades, sets these pieces apart.

The term War Rugs usually refers to weavings crafted since the early 1980s, when Afghanistan’s wars escalated. These rugs incorporate themes of personal experience, shock, and cultural upheaval, becoming both a means of coping and a political statement. Art historian Nigel Lendon, from the Australian National University, describes these works as “the highest tradition of war art in the twentieth century,” noting that their impact is broader than many other artistic responses to conflict.

 

Carpet weaving is a cherished art form in Afghanistan. After decades of Soviet invasion, internal strife, and oppressive regimes, weavers began adding new images—tanks, helicopters, rifles, and political leaders—that documented national crises. While early pieces subtly blended war motifs with age-old designs, later rugs contained bolder statements and more apparent references. 

 

Soviet soldiers directing tank traffic near Kabul in 1980, a historical backdrop for the themes depicted in many Afghan War Rugs. AP Photo

 

 

Afghan War Rugs: A Historical Overview 

 

First Generation: The Soviet-Afghan War (1979–1989)

 

Emergence and Characteristics

The first generation of Afghan War Rugs emerged in response to the Soviet invasion. Many pieces retained traditional Baluch patterns, with delicate war motifs discreetly woven into the design. Early war rugs often included weapons and aircraft hidden among customary elements. They appeared primarily in northwest Afghanistan, near Herat, and catered partly to a new market of Soviet troops stationed in the region.

 

These rugs retained symmetry and balance while incorporating subtle symbols of conflict. Some inscriptions resembled the Cyrillic alphabet, hinting at their intended Soviet buyers. Meanwhile, other rugs showed minimal military themes, reflecting the historical weaving influences from neighboring Iran.

 

Influence and Production

As the conflict intensified, many Afghan refugees settled in Pakistan. Camps like Faisal in the North-West Frontier Province became focal points for war rug production. Peshawar, a significant hub for Afghan rug dealers, hosted small weaving workshops that tailored their patterns for international consumers. Over time, commercial demand began guiding the rugs’ imagery.

 

Key Design Groups of First-Generation Rugs:

Key Design Groups of First-Generation Rugs:

1. Mix of Traditional and War Motifs: Tanks and weapons joined symbols of hospitality, local products, and family life.
2. Cities with Military Equipment: Helicopters, fighter planes, and repeated armored vehicles surrounded cityscapes.
3. Kalashnikov as a Dominant Motif: The rifle symbolized Mujahideen resistance.
4. Heavy Soviet Weaponry: Tanks and helicopters appeared in organized columns and rows.

 

Tip: The commercialization of these rugs became evident by the mid-1980s, as European and American buyers sought unique souvenirs of the conflict.

 

Sayed Ahmad Gailani, leader of the National Islamic Front of Afghanistan, commented on this transformation: “Until ten years ago, people wove these rugs with patterns of deer and camels, but now only tanks, military planes, and bombers are seen” (Bonyhady et al., 2003).

 

Afghan War Rug (1980–1989) with a brown background showing Afghan and Russian soldiers, horned demon imagery, tanks, camels, and Farsi inscriptions. The Russians are depicted as horned demon (‘divs’ in Persian) in the style of traditional Persian miniature paintings of scenes from the Shahnameh (Book of Kings) depicting the hero, Rustam, slaying the evil White Div. The British Museum.

 

 

Second Generation: Civil War and Taliban Era (1989–2001)

 

Shift in Design and Purpose

After Soviet forces withdrew, Afghanistan spiraled into civil war. During this time, war rugs were either produced in refugee camps in Pakistan or within Afghanistan. Men also joined women in weaving.

English inscriptions—often misspelled—started appearing, emphasizing the growing commercialization aimed at Western markets. The traditional balance of earlier rugs gave way to asymmetrical layouts, mirroring the country’s instability.

 

Themes and Political Statements

Rugs of this period can be divided into four groups:

1. Celebration of Moscow’s Defeat: Tanks exiting Afghan territory illustrated the Soviet retreat. Inscriptions announced the “final defeat of Russian invaders.”
2. Portraits of Leaders: Pictorial rugs showcased figures like Ahmad Shah Massoud or Amanullah Khan, reflecting local historical reverence.
3. Critique of the Najibullah Regime: Strong political satire emerged, often portraying President Najibullah as a puppet placed in Afghanistan by foreign powers.
4. Allegorical and Epic Designs: Woven allusions to Persian literature offered commentary on contemporary events.

 

As global interest waned after the Soviet defeat, many weavers returned to purely traditional patterns. Media coverage declined, and the United States ceased major aid. Afghanistan’s struggles re-entered international headlines only when the Taliban rose to power and al-Qaeda became a visible threat.

 

Afghan War Rug (1989–2000) with a cream background and map of Afghanistan, featuring Kalashnikov motifs, anti-aircraft guns, and poppy imagery. The British Museum.

 

 

Third Generation: Post-9/11 Era and Global Attention (2001 onwards)

 

Global Events Reflected in Art

The September 11, 2001 attacks, followed by the U.S. invasion of Afghanistan, drew worldwide attention back to the region. War rugs began depicting the Twin Towers, U.S. military hardware, and slogans praising foreign intervention. These pieces reflect a new wave of globalized conflict woven into each thread.

 

Commercialization and Decline in Quality

Heightened demand from soldiers, journalists, and aid workers in Kabul triggered more mass production. Weavers repeated similar designs with minor changes, lowering the rugs’ craftsmanship and materials. The text on these rugs often echoed Western perspectives, such as “Afghans liberated from terrorists,” diverging from the earlier emphasis on Afghan sentiments.

 

Common Motifs in Third-Generation Rugs:

• Flags and Peace Doves: Afghan and U.S. flags joined by a dove, suggesting hope for peace.
• “War Against Terror” References: Maps of Afghanistan featuring Tora Bora and military bases.
• American Military Hardware: M16 rifles, spy planes, and slogans emphasizing U.S. might.

 

Afghan War Rug (2003–2004) depicting the 9/11 attacks on the Twin Towers, featuring American and Afghan flags, a dove symbol, and English inscriptions. The British Museum.

 

 

The Cultural Impact of War Rugs 

These rugs serve as tangible records of Afghanistan’s continuous upheaval. They document resistance to Soviet forces, internal power struggles, and the far-reaching impact of global terrorism.

Each generation highlights shifts in society, from hidden resistance motifs to overt political messages. Moreover, the transition from deeply personal forms of expression to mass-produced, commercially driven designs reflects how external forces and market demands shape cultural artifacts.

Afghan War Rug (1980–1990) with a peach ground, multiple cobalt blue borders, and subtle war motifs, including four corner helicopters A small inscription in Farsi has been incorporated on one corner of the rug (possibly the weaver's signature). connected to war. The British Museum.

Conclusion

Afghan War Rugs illuminate the resilience and creativity of a people under relentless strain. Weavers initially created these rugs as emotional outlets and symbolic protests. Yet, foreign markets soon influenced production, steering designs to suit buyers’ tastes. Today, these rugs remain more than commodities; they are woven narratives that tell stories of survival, identity, and change.

By studying their evolving motifs—from Kalashnikov rifles to 9/11 iconography—we gain a deeper understanding of how conflict shapes art and, ultimately, how art can chronicle conflict for generations to come.