*This carpet is hand-knotted. Differences in shape, thickness, pattern and sizes can occur.
|Name||Qum - Tree of Life|
|Size in feet ||12'4" x 9'|
|Size in meters||3.76 x 2.74|
|Pile (Fiber & Yarns Used)||100% Silk|
|Type of fabrication||Hand-knotted with Persian knots (Senneh)|
|Country Made In||Pakistan (South Asia)|
|Condition||Excellent (Brand New)|
|Available In Other Sizes||Yes, upon special request|
**Each carpet is of the highest quality in its category & is carefully handpicked overseas by a member of the Bashir family. A Brief History of Qum Carpets
Qum rugs, also known as Ghoum, Gom, Qom, Qoum, Kum or Koum, are woven in workshops of Qom, a city located in northwest central Iran. Since rug production did not begin in Qom until the 1930s, Qom doesn't have any traditional designs of its own. Qom weavers prefer to weave the most favorable designs of other Persian weaving groups and sometimes Caucasian weaving groups and adjusting these designs to their own taste. It is possible for Qom rugs to be mistaken with Kashan or Esfahan rugs. However, they will not be mistaken with Tabriz rugs because Qum, Kashan and Esfahan rugs are woven with the asymmetric (Persian) knot and Tabriz rugs are woven with the symmetric (Turkish) knot. All silk, part silk/part wool, and kork (fine wool taken from the belly of sheep) Qom rugs are very well-known in Iran and abroad. The foundation of Qum rugs could be either cotton or silk. Most Qum rugs have curvilinear patterns, and very elaborate floral motifs with intricate leaves and vines. As mentioned above the designs are varied, taken from different weaving groups. Some designs used in Qum rugs consist of vase, moharramaat, mir-i-boteh, zell-i sultan, panelled garden, hunting, tree-of-life, pictorial, Shah Abbassi melallion-and-corner with usually a circular medallion, all-over Shah Abbasi, medallion with open field, medallions resembling the famous Esfahan Sheikh Lotfollah medallion, prayer and all-over gul farangi (roses). The gul farangi motif seems to be a popular motif also used in vase, tree-of-life, and zell-i sultan designs. A panelled design containing very different motifs in each compartment is also common; the motifs inside the compartments can consist of pictorials, vases, hunting scenes, and botehs all in one rug. The colors used in Qum rugs are as diverse as the designs. The overall appearance could either be pale with background and border colors such as ivory, champagne, turquoise and light green, or it could be dark with background colors such as dark blue and even sometimes red. Red, blue and green are also used as motif colors. Other commonly used colors in Qum rugs are mushroom, rose, gold, yellow ocher and orange orcher.A Brief History of Tree of Life Carpets
The concept of a tree of life as a many-branched tree illustrating the idea that all life on earth is related has been used in science, religion, philosophy, mythology, and other fields including the art of carpet weaving for centuries. There has always been a great classical tradition of carpets depicting the Tree of Life. Since ancient times, this symbol in oriental carpets has represented the direct path from earth to heaven. It distinguishes itself from other carpet patterns in that it is based on one of the oldest and most universal of all religious and mythological symbols in human history. Reference to a “Tree of Life” as the connecting link between the human and heavenly worlds are found in ancient cultures spanning throughout Europe, Asia Minor and the Orient.
In fact, trees have always been important symbols in the religion of Jews, Christians, and Muslims. The Tree of Life is a mystical symbol used in the Kabbalah of esoteric Judaism to describe the path to God and the manner in which he created the world out of nothing. Kabbalists believe it to be a diagrammatic representation of the process by which the Universe came into being. It symbolises that point beyond which our comprehension of the origins of being cannot go. Kabbalists do not envision time and space as pre-existing, and place them at the next three stages on the Tree of Life. The Tree of Life in the Book of Genesis is a tree planted by God in midst of the Garden of Eden, whose fruit gives everlasting life, i.e. immortality. Together with the Tree of Life, God planted the tree of the knowledge of good and evil (Genesis 2:9). In Islam, the Tree of Life symbolizes the bridge between Paradise, the world of men and the world below. It is usually used in conjunction with a garden, vase or prayer rug design. In Baha'i Faith, it can refer to the Manifestation of God, a great teacher who appears to humanity from age to age. The concept can be broken down still further, with the Manifestation as the roots and trunk of the tree and his followers as the branches and leaves. The fruit produced by the tree nourishes an ever-advancing civilization. A distinction has been made between the Tree of Life and the Tree of Knowledge of Good and Evil. The latter represents the physical world with its opposites, such as good and evil and light and dark. In a different context from the one above, the Tree of Life represents the spiritual realm, where this duality does not exist. This symbol is also found in the Norse saga of the ash tree Yggdrasil, where the tree provides a magical spring water of knowledge. There is a similar mythology in China, where a carving of a Tree of Life depicts a bird and a dragon- in Chinese mythology, the dragon often represents immortality.
Several workshop groups in Persia, Anatolia, India and Pakistan produce extremely intricate and naturalistic interpretations of the Tree of Life scheme. More stylized and geometric versions are found on a number of village and nomadic rugs from Persia, Anatolia and Afghanistan. It is also a popular field decoration on Belouch prayer rugs. Today, the traditional Tree of Life design can be found blended with traditional Persian carpets such as Isfahans, Kirmans (Kermans), Qums, Semnans and Veramins.