fAMOUS CARPET WEAVERS AND DESIGNERS OF ISFAHAN

Written By Rami Ghazali

Isfahan has long stood as the soul of Persian carpet weaving—renowned for its exquisite craftsmanship, unmatched knot density, and the masterful blending of intricate floral and architectural motifs. Using the finest silk and kork wool (the soft fleece of lambs), Isfahani weavers elevated carpet making into a fine art. Once the capital of Safavid Iran, Isfahan was not merely a participant in Persia’s artistic legacy—it was the city that resurrected and redefined it. In the 16th and 17th centuries, under Shah Abbas the Great, Isfahan became the epicenter of Iran’s cultural renaissance, putting Persian carpets on the global map with a brilliance never before seen.

Though often overlooked in modern academic narratives, Isfahan’s role cannot—and must not—be diminished. By the 19th century, the city had once again become a crucible of artistic genius, producing some of Iran’s most influential carpet weavers, designers, and master dyers. Its dyeing tradition stood proudly beside that of Kerman—both cities pioneering the deep, vibrant palettes that defined Persian aesthetics. Yet it was Isfahan that rose above, leading with elegance, discipline, and artistic courage. In the golden revival of the early 20th century, Isfahan reasserted itself as the capital of refinement, where the loom became a canvas and every thread a stroke of genius.

Emami

One cannot speak of Isfahan’s artistic heritage without invoking the name of Mirza Agha Emami. Born in 1881, he emerges as a planetary-level figure in Persian art—his mastery across pyrography, miniature painting, lacquer, illumination, carpet design, and calligraphy is nothing short of astronomical. It often seems he transcended mere humanity, earning him the title of the “Da Vinci of 19th-century Isfahan.”

Emami didn’t merely revive traditional Persian techniques set to vanish—he reimagined them. Under the mentorship of Mirza Reza Sani’e Homayoun in Tehran, he mastered leather pyrography (sukht), then returned to Isfahan to fuse that ancient craft with painting, gilding, and illumination. His scenes—courtly gatherings, floral meditations, narrative tableaux—are meticulously composed, balanced, natural, and deeply atmospheric.

But his greatest legacy lies in influence: through students like Khata’i and Farshchian, and through carpets woven from his cartoons that stand as modern masterpieces, Emami set a new benchmark for Persian craftsmanship. Emami worked with many important people in isfahan mainly abdul rahim shoreeshi, haghighi, he also had his own carpet workshop, a few select pieces helps the viewer identify his work

In scale, skill, and spirit, Mirza Agha Emami towers above contemporaries. To behold his work is to witness genius.One cannot speak of Isfahan’s artistic heritage without invoking the name of Mirza Agha Emami. Born in 1881, he emerges as a planetary-level figure in Persian art—his mastery across pyrography, miniature painting, lacquer, illumination, carpet design, and calligraphy is nothing short of astronomical. It often seems he transcended mere humanity, earning him the title of the “Da Vinci of 19th-century Isfahan.”

Emami didn’t merely revive traditional Persian techniques set to vanish—he reimagined them. Under the mentorship of Mirza Reza Sani’e Homayoun in Tehran, he mastered leather pyrography (sukht), then returned to Isfahan to fuse that ancient craft with painting, gilding, and illumination. His scenes—courtly gatherings, floral meditations, narrative tableaux—are meticulously composed, balanced, natural, and deeply atmospheric.

But his greatest legacy lies in influence: through students like Khata’i and Farshchian, and through carpets woven from his cartoons that stand as modern masterpieces, Emami set a new benchmark for Persian craftsmanship.

In scale, skill, and spirit, Mirza Agha Emami towers above contemporaries. To behold his work is to witness genius.

Eissa Bahadori

Eisa Bahadori (1905–1986) was one of the most important figures in the artistic revival of 20th-century Isfahan—a true renaissance man whose legacy bridges classical Persian art and modern interpretation.

Born in Markazi province, Bahadori studied at the prestigious Sanaye Mostazrafeh School in Tehran under the legendary painter Kamal-ol-Molk, where he developed mastery in miniature painting, drawing, and traditional crafts. In 1936, he was appointed director of the Isfahan School of Fine Arts, a position he held for nearly three decades. During this time, he played a critical role in training future luminaries—including Mahmoud Farshchian and Rostam Shirazi—and laying the foundation for a new generation of Persian artists.

Bahadori’s genius extended across multiple disciplines. He was a master painter, calligrapher, carpet and tile designer, and even an innovator in Persian khātam (inlay) and furniture design. His creativity was not limited to traditional forms; he reimagined Persian motifs in bold, often unconventional ways.

Among his most groundbreaking contributions was the introduction of tableau and portrait carpets, which transformed rugs into mediums for figurative and narrative art. He pioneered the blending of Western realism with Persian ornamentation, producing pieces like the “Starfish Carpet,” where sea creatures and oceanic forms—starfish, jellyfish—interwove with the traditional structure of Persian carpet design.

His artistic influence also extended into architecture. Bahadori designed tiles for the Christian hospital of Isabn-e-Maryam in Isfahan, creating a dialogue between Islamic floral aesthetics and Christian symbolism—an emblem of his humanistic, cross-cultural outlook.

Later in life, he was involved in carpet design for Sarouq, tailoring motifs to appeal to Western tastes, further showing his ability to navigate and fuse different visual languages. He eventually settled in France, where he died in Paris in 1986.

Throughout his life, Bahadori received numerous honors, including official recognition from Iran’s Ministry of Education, international accolades from the Brussels World Fair, and even the French Legion of Honor. His paintings and designs continue to appear in top-tier auctions, with works such as The Sanctuary of the Charbagh School in Isfahan fetching over $36,000 at Bonhams.

Eisa Bahadori is remembered not just as an artist, but as a visionary educator, designer, and reformer. He stands as one of the rare figures who both preserved the soul of Persian tradition and fearlessly redefined its possibilities for the modern world.

Hossien khatai

Hossein Khata’i (also spelled Hussein Khatai) was a prominent student and close disciple of the legendary Mirza Agha Emami, one of Isfahan’s most influential masters of Persian decorative arts in the 19th and early 20th centuries. As confirmed by Zinat al-Sadat Emami, Mirza Agha Emami’s daughter and an accomplished artist herself, Khata’i was among her father’s foremost pupils, alongside other notable figures such as Mahmoud Farshchian and Hossein Islamian. Khata’i specialized in traditional Persian engraving and embossing techniques, particularly within the Safavid artistic style, mastering the complex fusion of miniature painting, calligraphy, illumination, and intricate frame decoration. He was instrumental in preserving and perpetuating these classical Persian art forms during a period when many traditional crafts were at risk of fading. Beyond his work as a craftsman, Khata’i served as a dedicated mentor, passing on Mirza Agha Emami’s rich artistic legacy to the next generation, including teaching Safavid-style metal engraving to Zinat al-Sadat Emami herself. Though not widely known outside specialist circles, Khata’i’s role as a custodian of Persian art and his commitment to maintaining its highest standards make him a vital figure in the continuation of Isfahan’s artistic heritage.

Mahmoud Farshchian: Master of Persian Miniature Revival

Mahmoud Farshchian (born 1930 in Isfahan, Iran) is widely regarded as the foremost master of modern Persian miniature painting, credited with revitalizing and transforming this centuries-old art form for the contemporary era. Coming from Isfahan—a historic center of Persian art and culture—Farshchian was immersed in the rich heritage of miniature painting from an early age.

Early Life and Training

Farshchian studied at the Isfahan School of Fine Arts, where he was mentored by some of the leading artists of the time, including Eisa Bahadori and other prominent figures who themselves were heirs to the traditional Persian artistic lineage. His education combined classical miniature techniques with influences from Western art, allowing him to create a unique, dynamic style.

Artistic Style and Innovations

Farshchian’s work is distinguished by:

  • Expressive Movement and Emotion: His miniatures break from the static tradition, introducing fluid, almost impressionistic brushwork that conveys deep emotion and energy.

  • Innovative Composition: While respecting the classical miniature format, he experiments with perspective, scale, and color, creating expansive, dramatic scenes filled with symbolic meaning.

  • Spiritual and Mystical Themes: His paintings often explore Sufi philosophy, Persian poetry, and themes of love, divine beauty, and the human soul.

  • Rich Use of Color and Detail: Farshchian’s pieces display meticulous detail, vibrant colors, and intricate patterns, blending traditional motifs with his own inventive flourishes.

Legacy and Recognition

  • Farshchian has been instrumental in popularizing Persian miniature art both inside Iran and internationally.

  • His artworks are housed in major museums worldwide and have been featured in numerous exhibitions.

  • Beyond painting, he has worked on calligraphy, tile designs, and other traditional Persian arts.

  • Farshchian’s influence extends through his many students and followers, who continue to develop and spread his innovative approach to Persian art.

  • He has received numerous honors for his contributions to art and culture, including national awards from Iran.

Rami Ghazali