By us!
We create unique rugs in original designs through years of experience, a wealth of family heritage, and a deep understanding of culture, tradition, and centuries-old techniques. Our main objective is to introduce a collection that can meet and work with modernity without sacrificing the centuries-old cultural heritage.
A family of weavers
since 1750":
“Ours is a family shaped by rugs for generations. Growing up, I often heard stories of the famine of 1917, when my great-grandmother would hold a lantern through the night so her four sons could continue weaving. At dawn, she would bake bread, hide it beneath her chador, and quietly leave to feed those in need.
Those orphaned boys became the fourth generation of a family that produced and traded rugs out of Tabriz, the city that once stood as the bridge between Iran and the West. The tradition was later passed to my father, and then to me.
Perhaps this is why rugs have never felt like mere objects in our family. The love for them runs deep in our blood and continues to materialise in the rugs we produce and the collections we curate.”
Our Arasbaran collection was created in the Arasbaran region, a beautiful mountainous area in the Azerbaijan province of Iran. This lush and green landscape has long been home to skilled weavers and rich weaving traditions. The idea behind this collection was simple yet ambitious: to reinterpret traditional patterns by adjusting their colours, proportions, and orientations so that they could retain the spirit of the old designs while fitting naturally into modern interiors. To achieve this, we placed particular emphasis on selecting the finest materials. The wool used in these rugs was sourced from the highlands of Kurdistan, where sheep produce exceptionally fine and slightly oily fleece. This wool, known for its strength and natural sheen, was hand-spun in Kurdish villages using traditional methods. Once the yarn was prepared, it was sent to Shiraz, where it was dyed using natural vegetable pigments under the supervision of Master Abbas Sayyahi, one of the most respected dye masters of recent decades. Abbas Sayyahi became widely known in Iran as the figure who revived traditional natural dyeing methods and reintroduced them to contemporary Persian carpet production. His work played a crucial role in restoring the beauty and authenticity of naturally dyed carpets. The designs for this collection were developed by our own designers under the supervision of Nishaburis, carefully adapting historic motifs into compositions that harmonise easily with modern living spaces. The result is a series of rugs that combine traditional craftsmanship with contemporary sensibility. Their natural dyes, fine wool, and thoughtful designs create textiles that are both visually striking and wonderfully tactile. These carpets are not only beautiful decorative pieces but also durable works meant to be enjoyed in everyday life. With time and use, the colours will settle and mature, the texture will become even more pleasing, and the rugs will gain the character that makes true handwoven carpets so treasured. These pieces represent a continuation of tradition while looking confidently toward the future, the antiques of tomorrow.
Abbas & Nasser Nishaburi
A transitional collection
The collection is a unique body of work that represents a cross-generational transition of a remarkable heritage. A master and apprentice collaboration that imbues each piece with an aura of love and integrity.
Arasbaran Collection
Village looms
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Natural dyes | Hand-spun wool
Contemporary today | Antiques tomorrow
Made in the beautiful mountainous valleys of Mount Sabalan, this remarkable rug is one of our own creations, designed to answer the demand of those who appreciate classic Persian rugs yet seek fresh colours and new interpretations of traditional patterns.
Each piece was conceived with the utmost care to suit modern interiors, while remaining deeply rooted in tradition. The materials were prepared with obsessive attention, using only hand-spun wool and natural dyes, chosen to create rugs that not only last, but grow more beautiful with time and use.
This rug is an outstanding example, with an open, spacious field framed by an elaborate and finely balanced border. It is a piece for aesthetes, for those seeking a rug that sits comfortably in a contemporary setting while quietly elevating the space.
At the same time, it becomes a subtle point of focus, inviting curiosity and thoughtful conversation, not only about the rug itself but about the culture and history from which such works emerge. A source of pride, elegance, and lasting fascination for a home.
Azerbaijan Collection
Arasbaran Our Azerbaijan collection was created in the Arasbaran region, a beautiful mountainous area in the Azerbaijan province of Iran. This lush and green landscape has long been home to skilled weavers and rich weaving traditions. The idea behind this collection was simple yet ambitious: to reinterpret traditional patterns by adjusting their colours, proportions, and orientations so that they could retain the spirit of the old designs while fitting naturally into modern interiors. To achieve this, we placed particular emphasis on selecting the finest materials. The wool used in these rugs was sourced from the highlands of Kurdistan, where sheep produce exceptionally fine and slightly oily fleece. This wool, known for its strength and natural sheen, was hand-spun in Kurdish villages using traditional methods. Once the yarn was prepared, it was sent to Shiraz, where it was dyed using natural vegetable pigments under the supervision of Master Abbas Sayyahi, one of the most respected dye masters of recent decades. Abbas Sayyahi became widely known in Iran as the figure who revived traditional natural dyeing methods and reintroduced them to contemporary Persian carpet production. His work played a crucial role in restoring the beauty and authenticity of naturally dyed carpets. The designs for this collection were developed by our own designers under the supervision of Nasser Nishaburi, carefully adapting historic motifs into compositions that harmonise easily with modern living spaces. The result is a series of rugs that combine traditional craftsmanship with contemporary sensibility. Their natural dyes, fine wool, and thoughtful designs create textiles that are both visually striking and wonderfully tactile. These carpets are not only beautiful decorative pieces but also durable works meant to be enjoyed in everyday life. With time and use, the colours will settle and mature, the texture will become even more pleasing, and the rugs will gain the character that makes true handwoven carpets so treasured. These pieces represent a continuation of tradition while looking confidently toward the future, the antiques of tomorrow.
Tradition, Retold
The collection begins where tradition already stands. The patterns we inherit, the materials we trust, and the techniques refined over generations form its foundation. Yet within that foundation lies space for interpretation, for rethinking, and for reimagining.
Drawing from the language of classical rugs, the collection allows tradition to evolve through a contemporary lens.
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The inspiration for this unique rug comes from a similar pattern that Nasser Nishaburi�s great-uncle used to produce in Tabriz around the turn of the 20th century. It was created in our workshop in Azerbaijan by our skilled weavers using the best quality wool and natural dyes. The colours have been thoughtfully combined to achieve a softer aesthetic, and natural dyes have resulted in a delightful range of hues in the field, ranging from green to blue.
The bouquets depicted in four corners are in a beautiful combination reminiscent of autumn shades. This carpet can last the test of time and gracefully age to be a marvellous carpet, even for generations to come.
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Tradition, Retold collection
Produced in our own workshop in Tabriz, the Tradition, Retold collection reflects our own designs and interpretations, rooted in generations of weaving knowledge and craftsmanship. Drawing from inherited patterns and traditions, each piece is reimagined through a contemporary lens while preserving the integrity and spirit of the originals. While we always keep a selection of pieces in stock, in different colours and designs.
Customization:
We also gladly work with our customers on customised sizes and palettes to create one-of-a-kind, exclusive pieces, thoughtfully crafted to suit a tasteful space.
Often, the transformation of a classic design into a contemporary one occurs through the introduction of a different colour combination. Due to long-standing traditions and cultural biases, designers and weavers often confine themselves to specific colour palettes. This carpet represents a rebellion against such dogmas. The incorporation of shades of green and fuchsia in this rug has transformed it into a piece that can truly stand out and create an exuberant impact within an interior space. This carpet is intended for aesthetic designers who favour the creative use of colours over the monotony of the ordinary. With this carpet, one can fashion a room that is sure to spark discussions and leave a lasting impression on viewers.
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Creating a rug
is a long and demanding journey, from the birth of an idea and its form on paper, to the choice of materials and colours, and finally the tying of countless knots into a living piece. Yet the joy of creation makes every effort worthwhile. The result becomes part of your soul, a one-of-a-kind piece to live with you and yours for generations.
Knotifed
Souls
Feelings, myths, and stories
woven into modern rugs.
BEYOND DECORATION
In today’s world of increasingly uniform interiors and trend-driven aesthetics, this collection is an attempt to reintroduce meaning, emotion, and human expression into the language of rugs. These works are not conceived merely as floor coverings to complement furniture, but as pieces with presence, memory, and soul, capable of contributing atmosphere, identity, and narrative to a space.
Designed by Nasser Nishaburi, this rug expresses the emotional resonance surrounding the walls that confine us, whether self-imposed or imposed by others, visible or non. These barriers prevent us from soaring and transcending beyond set boundaries, limiting our view of the infinite horizons of possibilities beyond.
Such walls are all around us, experienced and felt by all, igniting a deep-seated desire to break them down, smash them and fly beyond their constraints.
This rug could serve as a reminder to keep the inner flame burning, to maintain our spirit, and to believe unwaveringly that these walls can be overcome and crossed, for we stand taller than the walls that seek to confine us.
Technique: Hand-knotted, Tibetan weave | Material: wool and silk on cotton
HOPE
It's remarkable how even a small splash of colour amid a neutral palette of black, white, and grey can breathe life into a rug and elevate it to a sophisticated and uplifting carpet.
The vivid red hue woven into this rug represents hope and a spirited drive to beautify our world. While the subdued colour scheme lends versatility to the piece, it's the red accent that sets it apart. The rug exudes optimism and vibrancy and can transform any space into an exquisite and distinct environment.
Crafted from natural Himalayan wool and silk, the rug features an array of undyed shades ranging from white to black. The red hues are dyed using traditional and artisanal techniques exclusively for this piece. Expertly woven by Tibetan weavers in Nepal, this rug is a testament to their skill and artistry.
Hand-knotted | wool & silk on cotton base
THE SONG
BENEATH THE KNOTS
For centuries, Persian rugs intrigued curious minds with their mysterious aura, as if they carried cryptic messages sung through incomprehensible melodies. Within their motifs lived inherited symbols, emotions, myths, poetry, and fragments of collective memory. With the commercialisation of rugs, many of those songs slowly faded, as rugs increasingly became commissioned products designed for distant markets and changing trends.
Simplicity is a virtue.
Neat lines, a clear idea, and a quiet dash of colour representing the one that stands apart, the one that chooses to rise, glow, and remain true to itself.
This minimalist piece was woven in the city of Tabriz using the symmetric Turkic knot, a weaving technique long associated with the honest and durable structure of the region’s carpets.
What makes this rug fascinating is its restraint. There is no unnecessary complexity, no overcrowding of motifs, only a few elegant lines gently rising like stems, ending in delicate blossoms. And among them, a single red flower quietly interrupts the harmony, immediately drawing the eye.
That one flower changes everything.
It becomes a subtle statement about individuality, divergence, and the courage to remain different within repetition and order. The composition is calm and disciplined, yet deeply expressive.
Wool on a cotton base.
“To hell with rhyme and rythem!”
The Tree of My Life: A Personal Reflection.
Among the countless symbols that humanity has carried through the ages, few have travelled as deeply through cultures and civilisations as the Tree of Life. In Persian mythology, perhaps the closest parallel is the Tree of All Seeds mentioned in the Bundahishn, the mythical mother of all vegetation in the world, standing beside the sacred Haoma tree in the middle of the cosmic sea of Farakhkart. From there, the idea travelled and transformed across cultures, reappearing in different forms throughout history.
For centuries, Persian weavers have interpreted this symbol in endless ways. Some depicted paradise, others eternity, fertility, renewal, or spiritual ascendance. Yet every interpretation ultimately became a reflection of the weaver’s own understanding of existence.
This carpet is my own interpretation, something I chose to call The Tree of My Life.
My tree does not begin within the borders of the rug, nor does it end there. Like existence itself, it arrives from an unknown infinity and disappears into another beyond my understanding. The branches twist, scroll, and wander freely, much like life itself, unpredictable, imperfect, and alive.
The fruits scattered across the tree are intentionally different in colour and size. Some appear vibrant, others quieter, some larger, some barely visible. Together, they represent moments, experiences, people, emotions, successes, losses, memories, and traces left behind through a lifetime.
There are exactly 184 fruits on the tree. The number was not accidental. Through the old Abjad system of assigning numerical values to letters, 184 corresponds to the word Vahed, meaning “One.” Many fruits, many colours, many experiences, yet ultimately one origin and one existence.
What fascinates me most about the ancient Tree of Life symbol is that, despite all cultural differences, it almost always points toward the same mystery, the relationship between multiplicity and unity, between the visible and invisible, between the temporary and the eternal.
The carpet itself was woven in Nepal by three sisters from the Tamang clan, Shanti, Kamala, and Sunita, whose patience and care became part of the piece's soul. Their contribution reminds me that even deeply personal ideas can only come into existence through human connection and shared effort.
Natural wool, silk, and cotton were used throughout the carpet, while the yarn was prepared and dyed traditionally in small quantities with minimal undesirable environmental impact. The materials were chosen to age gently and honestly, allowing the piece to mature over time, much like the life it seeks to portray.
This carpet is not meant merely to decorate a space. It is a meditation on existence, an attempt to translate thoughts that cannot easily be expressed in words into form, colour, and movement.
Wool and silk on a cotton base.
A SEARCH FOR MEANING
This collection is my personal attempt to revive some of that lost charm and spirit by reintroducing meaning and expression into contemporary rugs. The motifs draw from feelings, literature, old stories, and conversations heard from elders, transformed into a visual language intended for those who seek beauty beyond decoration alone.
At its heart, this collection reflects a personal struggle, a cultural dilemma, and a philosophical debate, a resistance to reducing rugs into meaningless decorative surfaces. Through these works, I attempt to create art for the floor, pieces that could nourish the mind as much as the eyes, elevate the spirit of a space, and remind us that beauty can still make us feel deeply human.
This shall pass too!
Wool and silk, Nepal. (50×50cm)
When one transcends the cognitive struggle of lines, angles, shapes, and forms once perceived as restraints, a sense of peace emerges through the discovery of the true self. This rug was woven in Nepal employing age-old techniques by a solitary weaver, without whose dedication the design would have remained confined to paper, never taking the form of a rug.
Wool and silk on cotton.
I just took a pen and wrote my heart out!
The outflow of emotions can imbue words with movement and dance. After only a few strokes of the pen, writing becomes a form of meditation, allowing the hand to move freely and create abstract expressions of emotion. Words flow effortlessly into curvilinear forms that glide across the page, eventually taking on circular movements reminiscent of the whirling dance of the dervishes.
This meditative process became a pathway towards a deeper level of consciousness and a closer connection with the inner self. In order to free the work from the constraints of formalism and tradition, I consciously omitted the dots that form an integral part of the Persian language script, resulting in a more abstract and less legible visual language, a personal diary of emotions expressed beyond conventional calligraphy.
The hypnotic movement of these swirling lines and forms eventually inspired me to translate a fragment of the work into a rug. The piece was woven in Nepal by exceptionally skilled Tibetan weavers, whose patience and craftsmanship transformed the design into a finely woven carpet. The result is a work that attempts to preserve the spirit of the original calligraphy, its movement, abstraction, and emotional rhythm, in the form of art for the floor.
Toil with thy hands, and thou art a labourer.
Make with thy mind and hands, and thou art a craftsman.
Create with thy hands, mind, and love, and thou art an artist.
Loud is the silence!
Khersak, in Persian, means a little bear, and it refers to rugs made in different parts of Iran with a coarse weave and long, shaggy pile. The Lor and Qashqai tribes of Iran used to weave such pieces for use as blankets during the cold winters. Their patterns were always fussy and abstract due to the structure and style, and thus carried a distinctly modern look.
The inspiration for this rug came from those Khersak traditions. The wool is hand-spun in Kurdistan by Kurdish women, and the dyeing is done in Shiraz in the workshop of Master Abbas Sayyahi, who was known for reviving the age-old tradition of yarn dyeing using natural pigments, in this case madder, indigo and weld. The weaving was carried out by a Qashqai woman near Shiraz under the supervision of Nasser.
No. 169483 280x194cm, A Tabriz rug, Hand-spun wool, natural dyes.
The most remarkable Persian masterpieces often bear no trace of their creators, whether designer or weaver. Such is the humility of artisans whose work endures far beyond their lifetimes, appreciated by generations to come. I often ponder the people behind these carpets and the mystery of their past, realising that through reinterpretation, we could honour their work and keep their artistry alive for future generations.
The reproduction of age-old Persian designs has been essential in preserving and carrying forward a rich legacy of patterns and symbols. Through reinterpretation, these timeless designs continue to thrive, adapting to contemporary tastes while maintaining their cultural essence.
Among the finest examples are the centuries-old designs of nomadic rugs, passed down from one generation to the next as children observe and absorb the craft from their elders. Although the stories and meanings behind these ancient creations may sometimes fade, the forms endure, aesthetics evolve, and new meanings are attached to the motifs. In this way, a long tradition remains alive and relevant.
This philosophy has inspired some of my rugs: to reimagine traditional designs with a modern twist, allowing them to fit contemporary spaces while honouring their origins. The carpet here reflects the design of an antique Sarugh rug (picture bellow), reinterpreted with a fresh color combination, ensuring that its timeless beauty remains accessible and appreciated by future generations.
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TREE OF MY LIFE, 172429-297x288
I have always been fascinated by the numerous renditions of the Tree of Life in all qualities of rugs. The design of this rug is my interpretation, and I like to call it "The Tree of My Life". My life begins from an unknown infinity and will end in another beyond my senses and thus outside the parameters of the rug. In between, life twirls, dances, and bears fruits of different sizes and colours. I want to believe in life as the tree I have depicted here; a happy one with meaningful achievements. I commissioned the carpet to the weavers in Nepal, where they are respected and enjoy much better working conditions than the neighbouring countries. This carpet wouldn’t have been as attractive if not for the tree sisters; The weavers of these rugs are This Rug was three sisters, Shanti, Kamala and Sunita, from The Tamang Clan in Nepal made the rug with care and love. Shanti, Kamala and Sunita, from The Tamang Clan in Nepal We used natural wool, silk, and cotton to make this carpet. Preparing the yarn and dying the yarn is done in the most traditional ways and small lots with a minimum undesirable environmental impact.
167906, 360x240, An Azerbaijan rug from the “Silence Collection”.
The Silence Collection!
Your narrative is powerful and deeply evocative. It captures the emotional and historical context behind the Silence Azerbaijan rugs in a way that’s both personal and universally relatable. The way you've woven your experiences and reflections into this project gives the rugs a layer of meaning that elevates them beyond mere objects of art or decor.
If you'd like any refinement for clarity or poetic effect, here’s a subtle revision that maintains your voice:
In 2018, after more than 30 years working across three continents, residing in multiple countries, and engaging in wholesaling, retailing, collecting, and producing rugs, I took the first step toward a profound change. The project was to collaborate with a European product designer to inject modernity into Persian rugs. Multiple trips and extensive work with Spanish designer Luis Eslava yielded a collection that earned recognition from prominent voices in the field. It was published in prestigious media, including The Interior Magazine New York, Hali Magazine, The Cover Magazine, and several online blogs. The pinnacle of the collection, which remains close to my heart, was the Silence Azerbaijan rugs produced in a workshop in Tabriz.
The "Silence" in Azerbaijan reflected my own woven experience, mirroring the stories of countless others who came to understand themselves amidst revolution, war, and the political and social turmoil in Iran. For my generation, born in the late 1960s and 1970s, it is common to be referred to as the “Burnt Generation,” having experienced the brief calm and prosperity before the revolution of 1979, only to live through the harsh years that followed. Happiness became taboo, singing and dancing were forbidden, and the names of our cities' streets transformed into tributes to martyrs.
The Silence rugs symbolize my generation—The Silenced.
The carpet here is one of the finest examples of the collection. Each of these rugs is truly unique and one of a kind, with yarn dyed using centuries-old artisanal methods and weaving carried out by skilled weavers in a small, dedicated workshop.
800604 193 x 310
HOPE
It's remarkable how even a small splash of colour amid a neutral palette of black, white, and grey can breathe life into a rug and elevate it to a sophisticated and uplifting carpet. The vivid red hue woven into this rug represents hope and a spirited drive to beautify our world. While the subdued colour scheme lends versatility to the piece, it's the red accent that sets it apart. The rug exudes optimism and vibrancy and can transform any space into an exquisite and distinct environment. Crafted from natural Himalayan wool and silk, the rug features an array of undyed shades ranging from white to black. The red hues are dyed using traditional and artisanal techniques exclusively for this piece. Expertly woven by Tibetan weavers in Nepal, this rug is a testament to their skill and artistry.
Speak not, me— the tear is enough!
Nepalese weave, wool and silk. 50x50cm
Persian Pansies, Number, 161419-154x98
It has long been a custom to plant many little pansies at the end of autumn, just before the first snow, around my native city, Tehran—in yards, streets, and parks. Through the winter, they lay hidden beneath the snow, and then, just before the Persian New Year, Nowruz, we would wake up one morning to find the snow melting, unveiling an array of vibrant pansies.
This experience, vivid in my memory, inspired the design of this rug. It brings the essence of an eternal spring to any space, reminiscing the fragrance of flowers, the fresh pre-spring chill, and the joy that always accompanied spring's return.
Persian Pansies Blue, Number, 800448-152x95cm
Far from the everydayness of modern life, she ties her passion into every knot.
Sometimes, “a little” is more than enough. Tabriz in two tones. Wool and silk.
Sometimes, a little is more than enough, Woven in Nepal. More silk than wool, 850295 298x251cm
To make a change, one must sometimes revolt, break the order, defy the norm. This rug was redesigned to stand out for its audacity, for its distinctness.
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Modern Arasbaran Hand-Spun Wool,
No. 152142, 197 × 150 cm
A creative mind imagines the pattern, and pairs of skilled hands translate it into the rugs we enjoy and adore. Yet no rug could ever charm its viewers without the vibrance of the colours created by the dye master and the yarn spinner. For those who know the art deeply, these two elements are the very essence of the aesthetics of a Persian rug.
This piece demonstrates that truth beautifully. Its minimalistic, abstract composition, formed through layered blocks of colour, is elevated by the exceptional hand-spun yarn produced by Kurdish women using the wool of their own highland flocks. The yarn spun by these women was then dyed by one of Iran’s greatest dye-masters, Mr Abbas Sayyahi, renowned for reviving the ancient techniques of natural dyeing.
The result is a modern artistic expression enriched by traditional materials and knowledge, a carpet that will only grow softer and more beautiful with time.
Choice is the name, colouring is the game— and the magic is distinct!
A Tabriz rug in 300x200cm
Where my rug rests, peace prevails! A William Morris inspired rug woven in our workshop in Tabriz. 200x150cm
Bless you, bro. This is life—this is love.
The one who finds the way! Wool on a cotton base, India
Warp threads lie in rows, like paper waiting to be written on.
Unperson. Behind every face shouts a soul! Nepalese weave 50x50cm
The Legend of Herat, Number: 167917-287x235cm
There exists a vast wealth of rugs bearing designs passed down through centuries—elegant, mysteriously meaningful, and aesthetically remarkable. The intricate motifs and abundant elements in these classic rugs, however, can often appear overwhelming to the minimalist tastes of contemporary design, perceived as overly complex. Yet, with careful study and understanding, these rugs can inspire new interpretations that seamlessly fit modern spaces while preserving the depth and charm unique to traditional designs.
The rug here draws inspiration from the popular "Herati" or "Fish" pattern but is woven using a technique distinctly different from that used for fine carpets bearing this motif. The result is a fresh, modern take on a timeless design, achieving a look that bridges heritage with contemporary style.
The Oneness is a lonely place. Tabriz, 240x170cm.
SOLITUDE
When you transcend cognitive struggles and rise above the complex realm of lines, angles, shapes, and forms you perceive as restraints, you find peace and solitude in discovering your true self.
I designed “SOLITUDE” a couple of years ago and had it woven in Nepal specifically for this occasion. It is currently on the loom, on its way to being displayed for the first time in this exhibition. The rug is exceptionally fine and can be used either on the floor or displayed as an art piece on the wall.
150x100cm
Sometimes, the difference between the extraordinary and just another rug is a burst of colour.
The Wall, 850253-300x210
Walls are everywhere; some we build ourselves, and others are built for us. Some stand low, while others rise high and intimidating. Some are invisible yet far more formidable than those we can see: fear, timidity, weakness...
The inspiration for this rug comes from walls—those that stand in our way, blocking us from reaching our dreams, dreams as simple as an ordinary life in peace.
This rug’s design captures a barrier that separates the familiar from the vast horizon beyond, serving as a stark reminder to its owner that while walls exist, we must take steps to reach beyond them—to the openness that lies on the other side.
The confined cypress! Me or him? Who is within? Nepalese, wool and silk, 50x50cm
THE DANCE
The outflow of emotions can imbue words with a sense of movement and dance. After only a few strokes of the pen, writing becomes a form of meditation, allowing the pen to take control and create abstract forms of emotions with each new word. Words flow easily, culminating in curvilinear shapes that glide gracefully across the page, ultimately taking on circular forms that evoke the twirling dance of the dervishes. This state of meditative writing provides a pathway to a deeper level of consciousness that allows for a connection with the innermost self. To free myself from the constraints of formalism and tradition, I made a conscious decision to omit the dots that are an integral aspect of Farsi letters. This led to the creation of a more abstract and less legible work of calligraphy, a visual diary of emotions expressed in a non-traditional way. The hypnotic effect of the twirling lines and forms in the calligraphy intrigued me to translate a segment into a rug. The creation of this rug was made possible by the exceptional perseverance and craftsmanship of Tibetan weavers in Nepal, who painstakingly and precisely transformed the design into a magnificent carpet. The result is a stunning piece of art that captures the essence of the original calligraphy, with its swirling forms and abstract expression of emotions.
I took a pen and wrote my heart out,
and somewhere along the way, it became the inspiration for The Dance.
Nazar is a millennia-old amulet, often woven by the inhabitants of Mesopotamia and Iran as protection against the evil eye. Its shape is most intriguing, and it served as inspiration in designing this colourful Tabriz rug, crafted from handspun wool and natural dyes.
