«Boteh» pattern in handwoven carpet

Hand-woven carpet with Boteh Design

Boteh hand-woven carpet is one of the oldest and most well-known designs in the art of Iranian carpet weaving. This design, which is woven in different ways in different regions of Iran, is considered one of the cultural and artistic symbols of the country. The Boteh Design is usually designed in the shape of a bud or a curved leaf, which can be seen in different ways, such as Botehjakeh, Botehkhorqa, Botehsarabandi and Boteheight feathers. Boteh may be present individually or in combination with other geometric and plant motifs in the carpet. In some cases, this design is interpreted as a flame and represents life and movement.

The history of Boteh design in Iranian carpets

Boteh design, one of the ancient and widely used designs in Iranian carpets, has its roots in the Sassanid period and gradually reached the peak of popularity and variety in different historical periods, including Safavid and Qajar. This design, which appears in the form of a bud or a bent leaf, is a symbol of life and immortality and has been present in various Iranian arts, including textiles and carpet weaving. In the Safavid period, Boteh was woven with more details and more diverse colors, and in later periods, including the Qajar and modern times, it was still preserved as one of the main motifs in Iranian carpets. Today, Boteh design is known as a symbol of Iranian culture and art in the world.

The place of Boteh Design in today's carpet

Boteh design is still one of the popular and original motifs in modern Iranian carpets, which has a special place in the art and craft of carpet weaving. Despite the emergence of modern styles and designs, Boteh has been preserved as a symbol of Iran's tradition and cultural identity and is used in many hand-woven and even machine-made carpets. Due to its beauty, symbolism and deep connection with Iranian history and art, this design is still in demand in the domestic and international markets. The use of Boteh in modern decorations is also due to its adaptability to different styles, which has made this classic design still maintain its position among the fans of Iranian art and handwoven carpets.

Botehe design in rural and nomadic carpets of Iran

The Boteh Design appears in the rural and nomadic carpets of Iran in a simpler, more original and sometimes more basic form than the urban and classic carpets. These designs are designed with simple lines and little details, often symbolically and without the complexities common in urban carpets. The raw materials used in these carpets mainly include local wool and natural dyes that are extracted from plants, minerals and even insects in the region. These materials not only give the carpets a warm, soft and natural texture, but also create vivid colors that harmonize with the local environment. The motifs in nomadic and rural rugs are often inspired by the natural environment and daily life of these communities, reflecting their deep connection with nature and their local culture. Each carpet in this style reflects the traditions, beliefs and cultural identity of these societies, which, while simple, has a unique and valuable originality.

Elements and components of the plan

Boteh's design is made up of various elements and components, each of which is specially designed and together, creates a beautiful and meaningful combination. In the following, we describe these elements and components:

Boteh:

Main Boteh: Forms the heart of the design and is usually depicted as a bud or curved leaf. The Botehcan be simple or complex and is often placed alone or alongside other Botehs. The shape of the Botehmay be elongated, round or wide, and in some styles, it is designed in the shape of a flame or a drop of water.  
BotehJagha: It is one of the most famous types of Boteh, which is designed in the form of a basic Botehwith additional twists and more decorations. This type of carpet is mostly seen in the carpets of the Safavid period.

Margins:

Curved lines: In some Boteh Designs, there are curved lines or slimes that wrap around the main Botehand decorate it. These lines may be in the form of plant stems or branches that branch off from the main trunk.  
Flower borders: sometimes the Boteh are surrounded by borders of small and decorative flowers that help the design to be beautiful and productive.

Field of interest:

Background colors: Botehis usually placed on a background of contrasting or complementary colors. The background color can play an important role in highlighting the elements and contributing to the visual appeal of the design.  
Complementary motifs: In many carpets, in addition to the main motif, other motifs such as leaves, flowers or slimes are placed in the background to create a more complete design.

Inner details of the bag:

Geometric or plant details: The inside of the Boteh may be filled with details such as parallel lines, geometric patterns or plant designs. These details add to the elegance and beauty of the design.  
Internal motifs: Sometimes motifs such as bergamot or smaller flowers can be seen inside the baskets, which contribute to the complexity and variety of the design.

Repeat and combine:

Repetition of Boteh: Boteh are usually repeated throughout the carpet or in the form of special patterns such as Botehjakeh or Botehsarabandi. This repetition gives harmony and order to the plan.  
Combine with other motifs: Boteh can be combined with other motifs such as bergamot, slime borders, or floral motifs to create a complete and cohesive design.  
Boteh design, despite its simplicity in appearance, consists of many elements and components that are put together with special precision and artistry. Together, these elements create a harmonious and beautiful composition that is not only visually appealing, but also culturally and meaningfully deep.

All kinds of designs

Hasht Boteh Design: This design, which is attributed to Kurdistan, is usually used in square frames. On each side of the square, there is a pair of parallel bars. Its lines are broken and along each corner of the square, an abstract branch of wheat is designed. The interior decorations of the smaller Botehare curved lines, and the bat's head resembles a chicken laying its head on its side.  
Ardabil Boteh Design: This Botehis woven with straight lines without curves and is in the shape of a bag with its head tied.  
Ghamshei and mirage design: the flower beds are filled with multi-petal flowers and special flowers of the region in such a way that sometimes the main lines of the flower bed disappear and the flower bed design appears by replacing the flowers in the imaginary line.  
Khorasan Boteh Design: In this region, Botehare designed in different ways. Khorasan bats can be divided into three categories: bats similar to short cypresses, which are shorter and fatter than cloaked bats and designed with curved lines; Tall and long, slender Boteh, with the tip of the bate sunken into itself, and decorations specific to the region are used in it; And Boteh that are similar to Isfahan bate and Termeh bate and are woven in different positions, including mother and child.  
BotehSarouk design: This Botehis similar to Kerman Botehin terms of height and size and is known as BotehSarouk. The difference of this Botehis more standing and drawing on the vertical axis and less dancing compared to Kerman's Boteh. Sometimes a smaller Botehis decorated inside it.  
Boteh Design of Isfahan: In Isfahan, the Botehs are designed with very soft and delicate lines and have many decorations that originate from the taste of the artist. The variety of Botehs in this area is very large and includes cashew Boteh, Botehjakeh, Botehberegi and Botehkalamkar.  
Tabriz Boteh Design: This design is similar to Isfahan Botehand is known for its interior decorations of leaves and flowers and extraneous elements similar to a semi-slim drawn on the outer part of the Boteh.  
Cloak Boteh Design: A larger, pine-like Botehknown as the Cloak Botehdue to its large size. The inside of this Botehis decorated with flowery branches and it is mostly seen in Kerman carpets. This Botehis similar to Miri and Cashmere bats, but with a slightly more elongated height and less curvature.  
BotehMirsarband design: Boteh Designed with broken lines and a body with zigzag lines, reminiscent of the fruit of a pine tree.  
Sistan Boteh Design: There are two types of Botehin Sistan: one is similar to Jakeh Botehand the other is more abstract with more broken lines.  
BotehTaki design: This design, which is common in boulevard carpets, as well as in Qashqai tribe and some other weaving centers in southern Iran, is similar to a vine trellis or a flower-filled pavilion and has a combination of straight and curved lines.  
Qashqai Boteh Design: One of the most common types of Botehin this region is the Qabad Khani Boteh, which is very similar to the Sufi Boteh. This blanket probably originates from the plans invented by Qabad Khan in Fars and is woven in Ail Nefer. Other examples of Botehin Fars include the eagle Botehfor the Rahim Lo tribe and the chicken Botehfor the Kashkooli tribe. Botehis a larger and more geometric chicken than Jakeh Botehand is used in the Kashkuli tribe.

Regional differences in Boteh Design

Hasht Boteh Design: This design, which is attributed to Kurdistan, is usually used in square frames. On each side of the square, there is a pair of parallel bars. Its lines are broken and along each corner of the square, an abstract branch of wheat is designed. The interior decorations of the smaller Botehare curved lines, and the bat's head resembles a chicken laying its head on its side.  
Ardabil Boteh Design: This Botehis woven with straight lines without curves and is in the shape of a bag with its head tied.  
Ghamshei and mirage design: the flower beds are filled with multi-petal flowers and special flowers of the region in such a way that sometimes the main lines of the flower bed disappear and the flower bed design appears by replacing the flowers in the imaginary line.  
Khorasan Boteh Design: In this region, Botehare designed in different ways. Khorasan bats can be divided into three categories: bats similar to short cypresses, which are shorter and fatter than cloaked bats and designed with curved lines; Tall and long, slender Boteh, with the tip of the bate sunken into itself, and decorations specific to the region are used in it; And Boteh that are similar to Isfahan bate and Termeh bate and are woven in different positions, including mother and child.  
BotehSarouk design: This Botehis similar to Kerman Botehin terms of height and size and is known as BotehSarouk. The difference of this Botehis more standing and drawing on the vertical axis and less dancing compared to Kerman's Boteh. Sometimes a smaller Botehis decorated inside it.  
Boteh Design of Isfahan: In Isfahan, the Botehs are designed with very soft and delicate lines and have many decorations that originate from the taste of the artist. The variety of beets in this area is very large and includes cashew Boteh, Botehjakeh, Botehberegi and Botehkalamkar.  
Tabriz Boteh Design: This design is similar to Isfahan Botehand is known for its interior decorations of leaves and flowers and extraneous elements similar to a semi-slim drawn on the outer part of the Boteh.  
Cloak Boteh Design: A larger, pine-like Botehknown as the Cloak Botehdue to its large size. The inside of this Botehis decorated with flowery branches and it is mostly seen in Kerman carpets. This Botehis similar to Miri and Cashmere bats, but with a slightly more elongated height and less curvature.  
BotehMirsarband design: Boteh Designed with broken lines and a body with zigzag lines, reminiscent of the fruit of a pine tree.  
Sistan Boteh Design: There are two types of Botehin Sistan: one is similar to Jakeh Botehand the other is more abstract with more broken lines.  
BotehTaki design: This design, which is common in boulevard carpets, as well as in Qashqai tribe and some other weaving centers in southern Iran, is similar to a vine trellis or a flower-filled pavilion and has a combination of straight and curved lines .  
Qashqai Boteh Design: One of the most common types of Botehin this region is the Qabad Khani Boteh, which is very similar to the Sufi Boteh. This blanket probably originates from the plans invented by Qabad Khan in Fars and is woven in Ail Nefer. Other examples of Botehin Fars include the eagle Botehfor the Rahim Lo tribe and the chicken Botehfor the Kashkooli tribe. Botehis a larger and more geometric chicken than Jakeh Botehand is used in the Kashkuli tribe.

Regional differences in Boteh Design

The composition of the carpet with a Boteh Design is one of the most complex and artistic aspects of Iranian carpet design, which depends on the exact balance and harmony between different motifs. In this design, Boteh, depicted as buds or curved leaves, play a central role and are usually repeated, symmetrical, or spread throughout the carpet in specific patterns.  
Overall pattern (uniform dispersion):  
In this type of composition, the Boteh are repeated evenly throughout the carpet. This pattern can be seen in rows, diagonally or spread freely on the entire surface of the carpet. This type of combination gives the carpet a regular and harmonious look, which is very suitable for formal and classic spaces.  
Central pattern (trange and elastic):  
One of the most popular combinations for a batten design is the use of a central berg. In this pattern, the Boteh are placed symmetrically around a central tang, and the quadrilaterals are decorated symmetrically with the Boteh. This type of composition is especially common in Isfahan and Tabriz carpets, and due to its high symmetry and balance, it gives a special beauty to the carpet.  
Group pattern (combined groups):  
In some designs, the Boteh are placed together in groups and each group forms a specific pattern. This type of composition is usually seen in carpets with a checkered pattern or a cloaked pattern, where each group of patterns forms an independent set and is repeated in different parts of the carpet.

Margins and additional details:

The borders of the Boteh carpet are usually decorated with complementary motifs such as salamis, Shah Abbasi flowers or geometric designs. These borders help to balance and frame the overall design and visually put the Boteh in the center of attention. Delicate and decorative details such as curved lines, small leaves and secondary flowers are also often seen inside and around the flowers, which add more depth and richness to the design.  
Coloring and its effect in the composition:  
Color plays a vital role in the composition of rugs. Using contrasting or complementary colors separates the tiles from the background and makes them stand out. For example, red or gold bats on a dark background, such as blue or black, have a prominent and powerful effect. On the other hand, the use of soft and harmonious colors gives the carpet a relaxing and integrated state.

Final word

Boteh design, with its rich history and unique diversity, is still recognized as one of the outstanding symbols of Iranian carpet weaving art. This design, which originates from different compositions and different geographical regions, shows the skill, taste and taste of artists throughout history. From the amazing rugs in Kerman carpets to the unique variety of rugs in Isfahan and Tabriz, each of these designs in turn express the unique culture and art of their regions. The transformation and evolution of the Boteh design over time shows how it is influenced by social, cultural and artistic developments. By continuing to pay attention to this original art and preserving its weaving and design techniques, we can protect this precious cultural heritage and pass it on to future generations. These efforts not only help to preserve the cultural and artistic identity of Iran, but also add to the introduction and appreciation of the unique art of Iranian carpet weaving at the world level.

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