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A Glimpse into Grandmaster Karim Seirafian's Rug Workshop, March 2024

Hamed Sanei, Aarhus, Denmark, 2024

I visited Grandmaster Karim Seirafian in his Isfahan home in late March 2024 to discuss his latest works and the overall landscape of artisan Persian rug production. The main topic we discussed was in relation to my previous article: the direction of the Seirafian workshop as a whole and what constitutes art given the reality of new technologies that can infringe on the creative aspect of this work. Master Karim continues to lead the art of Persian rug weaving in Iran. His rugs, if one can ever find them in the market, fetch the highest value among all recently produced rugs in Iran, and even among most antique masterpieces, with exceptions, of course. The question might be why. It is not difficult to see why, because of his incredible obsession with excellence. There are several factors that he focuses on. One is the uniqueness of his creations. He only produces a handful of each, sometimes even just two, keeping one in his own archive and one for sale. Given the multi-year time needed to make his masterpieces, it is hard to imagine these rugs will ever be reproduced under his mastership. Aside from the uniqueness of his rugs, his strict adherence to traditional means of rug making—the methods he employs from beginning to end—are not much different from the time these masterpieces were produced in the royal workshops of the Safavid kings in the 16th and 17th centuries in Isfahan. This is perhaps the most important factor for the value of Karim Seirafian rugs. The next time you visit the great rugs of Safavid in the Victoria and Albert Museum or the Metropolitan Museum, you will have a better appreciation for the masterpieces coming from Karim Seirafian's workshop.

Another aspect of Karim’s rugs is his unbelievable obsession with the geometry of his rugs. They are executed in such a way that one cannot see millimeters of deviation from the planned symmetry. This is why Karim’s rugs are often referred to as the Patek Philippe of rug weaving. Combinations of spectacular designs, organic/artisan materials and production processes, and breathtaking execution make his rugs both an artistic masterpiece and an engineering marvel.

I was fortunate to see some of his latest masterpieces. Among those, a spectacular pair of paisley designs that were the result of years of restoration of lost designs of both the border and the center field by Grandmaster Ahmad Archang. The restoration painstakingly follows the exact pen of the master Archang, faithfully keeping the greatness of the design by Isfahan’s finest designer of all time. While a different and smaller version of this pair has been made before, this pair was larger and quite different in details. And in Karim’s rugs, the devil is always in the details. The colors are numerous but elegant so they don’t detract from the elegance of the design. This pair was my favorite of all the rugs I saw. It always amazes me how the classic Seirafian red and beige colors could bring so much beauty and elegance into the room.

The other rug from his private collection was a breathtaking flower and bird (gol-o-bolbol) classic. This is Karim’s interpretation of Haj Mosvar’s classic design with the same color composition that was once made by his late father and possibly grandfather. There are only a couple of examples of this composition existing in private collections. This rug, if ever becomes available for sale, is for the hardcore fans of gol-o-bolbol design and Haj Mosvar’s classic Seirafian with breathtaking execution by Master Karim.

The third rug was the scene of Safavid Royal Court celebration, which is designed by the grandmaster Haj Mosvar, inspired by a mural from the Safavid Chehel Sotoun palace in Isfahan. Collectors may have seen this design produced by Karim’s father, Grandmaster Haj Sadegh Seirafian. However, this is a different beast. The 47 persons depicted in the rug, each have completely different colors and designs of outfits. The color variations are incredible, perhaps over a hundred colors. The execution is absolutely stunning. There are only less than 5 of this rug made in different variations. This is the one in Master Karim’s private collection, which I had the pleasure of seeing. This rug is for the finest connoisseurs and collectors.

Since I met Master Karim during the Norooz festivity, he showed me a beautiful, charming rug designed by Master Mehrdad Sadri, depicting a traditional Qajar style miniature depiction of Haft Seen and Norooz, with modern touches in imagery of the male and female characters in the rug. This rug is in a landscape format and was a beautiful wall piece from his private collection.

I was also privy to several incredible masterpieces that I'll let the pictures speak for themselves. One was a classic Eslimi design in green, but not from Archang. This small rug was gorgeous. The green and cochineal red made a magical composition. The other rug was a very new, never-before-produced, original masterpiece of Grandmaster Javad Rostam Shirazi's design. Rostam Shirazi rugs are the exact opposite of Archang. Archang is about calm, peace, and tranquility, while Rostam rugs are energetic and have an inherent dynamism and movement to them. This rug has spectacular color diversity and is another rare masterpiece.

Finally, I'll let you see pieces of two grand rugs in Master Karim’s collection without saying much about them as promised. Enjoy!

Hamed Sanei, March 2024, Isfahan, Iran

Opinion piece:

The Legacy and Future of Seirafian Rugs

Hamed Sanei

Hamed Sanei is a professor of geoscience at Aarhus University, Denmark. Alongside his academic profession, he has been a connoisseur of Persian art, especially Isfahan rugs, for over three decades.

The author has not received any financial contributions, emphasizing that this is not a paid advertorial.

Summary

The article delves into the exceptional allure of Seirafian rugs. It traces the workshop's historical emergence, emphasizing its association with artistic luminaries and the cultural context that fostered its rise to prominence. It highlights the workshop's commitment to original designs and meticulous craftsmanship, which captivated collectors and connoisseurs. Despite the workshop's historical eminence, the article discusses the contemporary challenges faced by newer generations in maintaining the brand's artistic and qualitative standards. However, amidst these challenges, it praises the work of Karim Seirafian, who stands out for his adherence to the original artistic principles and execution, offering a beacon of hope for the brand's future. The article concludes by advocating for a return to the foundational principles of the past, urging other producers within the Seirafian brand to follow Karim's lead in preserving the legacy through quality, originality, and honoring the artisans.

What Makes Seirafian Rugs Exceptional

Many inquire about the allure of Seirafian rugs and their steep prices. To comprehend this, one must delve into the intricate process of rug making, distinguish between functional floor coverings and artistic masterpieces, and assess the provenance and originality of the rug.

The Seirafian workshop boasts a storied history, emerging in 1940 at the tail end of the Great Depression. This epoch coincided with an upturn in economic conditions and a resurgence of interest in Iran’s illustrious arts, fostered by luminaries like Arthur Pope. Iranian artists, inspired by the grandeur of past eras, particularly the Safavid and Seljuk dynasties, birthed a new cadre of masters. Notable figures such as Haj Mirza Agha Reza Emami and his protégés like Ahmad Archang, Haj Mosavar, Isa Bahadori, Rostam Shirazi, and others spearheaded this artistic renaissance.

Amidst Iran’s burgeoning civilization and the prosperous reign of Mohammad Reza Shah Pahlavi, Persian art flourished. The Seirafian workshop carved a niche in artisan rug making by upholding unparalleled standards of weaving, quality, and artistic finesse. Commissioning designs exclusively from two of the era’s greatest minds, Ahmad Archang and Haj Mosavar, the workshop ensured originality. These designs, not replicated from existing art but crafted expressly for weaving Persian rugs, were meticulously supervised by the Seirafians themselves and executed using only the finest materials.

The resulting Seirafian rugs soon captivated collectors, Persian rug aficionados, royalty, and the affluent for their spectacular beauty and originality. Decades later, Seirafian rugs stand as the pinnacle of weaving art, treasured by connoisseurs and museums alike.

A key reason for the exorbitant value of Seirafian rugs lies in their genesis. Each rug is meticulously woven, knot by knot, following the original hand-drawn design penned by the grand master, an original art piece boasting impeccable provenance. While a limited number of copies may exist, they still retain the hallmark of the great designers' original pen. Distinct from the myriad replicas flooding the market, these rugs stand as true works of art safeguarded by the workshop.

Contemplating New Seirafian Rug Purchases

While Seirafian rugs continue to be crafted, not all are deemed collectible for two primary reasons.

Firstly, the workshop has never been operating as a unified entity, resulting in variability in the products, with some straying from the stringent standards of the early Seirafian lineage.

Secondly, a looming threat to the artisan brand arises from unauthorized alterations to the original designs. Some producers employ modern technologies to modify and create iterations of the original works, compromising their originality and provenance. Although these rugs serve as exquisite furnishings, they lack the essence of original art.

Observing the Current Seirafian Workshop Status

As a discerning observer of the Seirafian workshop, I've witnessed a rather decline. While most of the recent works are more or less aligned with their forefathers' standards, some of the new rugs fall short in terms of both artistic merit and quality. Some productions seem to deviate from the ethos of Seirafian.

Hope for the Seirafian Brand and the Karim Seirafian Phenomenon

In this somewhat dim landscape of Persian rug art, a bright star shines: Karim Seirafian, son of the late Sadegh Seirafian. With over three decades of rug production, Karim’s creations are highly sought after, commanding premium prices. His success stems from not only his mastery in rug making but also his profound scholarly insight into Persian art, particularly Isfahan’s historical artistry. Adhering to the original Seirafian formula by engaging the best artists and utilizing superior materials, Karim's rugs stand out for their flawless execution of the original designs penned by master artists.

Mehrdad Sadri stands as an exemplary figure among the new generation of designers who have undergone formal training in the classic school of Isa Bahadori and Rostam Shirazi. His collaboration with Karim Seirafian marks the initiation of a new chapter in the grandeur of Seirafian rugs, akin to the impactful contributions of Ahmad Arhcng and Haj Mosavar.

Advice for Other Seirafian Rug Producers

To reclaim their former glory, workshops should heed the successful formula of the past by engaging eminent artists to create new designs rooted in Persian culture. Although this might increase production costs, the market will eventually reward this dedication. Prioritizing the use of superior materials and dyes, and acknowledging and rewarding the craftsmen, is vital. These artisans are the stars of this artistic endeavor and deserve recognition for their invaluable contribution.

I implore other family members producing under the Seirafian brand to emulate Karim Seirafian's approach. His dedication upholds the legendary Seirafian brand, setting a benchmark for quality and originality. Learning from his methods would be instrumental in preserving the Seirafian legacy.