A carpet of this design generally depicts hunting with human figures (usually on horseback) or predatory animals pursuing their prey amidst fertile undergrowth of various plant life.
Formal hunting scenes are firmly rooted in the traditions of the Persian Shahs and Princelings who loved to have themselves depicted as noble hunters and horsemen.
A small number of these carpets are connected to the Safavid period.
Numbering eighteen pieces, fourteen were small in size with dimension of approximately 2.50x1.50 m.
These carpets are also decorated with either Corner Medallions made in silk.
The carpets were woven in Kashan .. The finest of the remaining four larger carpets is kept in the museum in Osterreichisches Vienna, Austria. It is extremely elegant, made entirely of silk and brocaded with silver and gold. The size is 6.80x3.20 m. and its knots number about 1.270.000 to each square metre.
Experts believe that Sultan Mahammad, the skilled painter of Shah Tahmasb's Court, who was a pupil of the celebrated Iranian painter Behzad, designed this incomparable piece. The animals depicted in these designs included lion, deer, wild ass, etc. Pasturing amidst trees and bushes with huntsmen on horseback or on foot, with bow and arrow.
The basic sketch is formed from specially designed flowers, which are known as Shah¬Abbasi. It is set off by other floral designs and occasionally Eslimi motif, these abstract flowers form the main design in the field and the borde-r, all over (Afshan), medallion, Sheikh-Safi, tree, animal, turreted medallion are the better known in the secondary group of this design.
Abstract circular branches of a tree amidst leaves are the basic form of this design.
The branches are adorned with foliate spurs known as Eslimi. There are many kinds of Eslimi designs predominating in some carpets of which the Dahan Ajdari is the best known.
The Botteh design is the abstract form of the cypress tree common in both Indian and Iranian patterns from olden times and for many years it had had a good market. There are various forms and sizes in the Botteh designs in Iran. The famous one of this category are: Botteh jegheh, Botteh terme, Botteh saraband or Botteh Mir, Botteh Ghalarnkar Esfahan, Botteh Kordastani and Botteh Afshar!
Normally in carpet designs all the components and forms are joined and linked together as if the painter's pen has never ceased its movement from the beginning until the end of the sketch. In the Afshan design, the flowers, branches and other motifs are scattered on the surface of the carpet without being joined.
Well-known patterns in this group are: Afshan Shah Abbasi, Afshan bouquet of flower, Afshan gol
The prayer niche in the mosque where the Imam prays inspires the basic design of the rug. Some ornaments such as columns, headband, candelabrum (Ghadil), Shah Abbasi flowers, may enrich this design. Among the numerous variations are tree prayer (Mehrabi Derakhti), vase prayer (Mehrabi Goldani), candelabrum prayer (Mehrabi Ghandili).
To create these designs the inspiration has been taken from the tile work and architecture of ancient buildings. In the course of history carpet designers have copied the main patterns and created similar designs.
Some of the most famous of the relic are Sheik Lotf-ollah mosque, Takhte-Jamshid
When a small portion of a design is repeated and connected throughout the length and width, the pattern is called interconnected (Bandi).
Sub patterns of this group are known as Bandi Varamin or Mina - Khani, Bandi Eslimi, Bandi Mollah Nasreddin, interconnected cartouche, interconnected deer horn (Bandi Shakh Gavazni).
The field of the carpet in this design is divided by some lateral panels and the carpet looks just like a chess-board. The interior of each panel is decorated by the traditional motif of each district such as vase, Botteh, bunch of Grapes, Willow, flowers, birds, animals etc. This design which is originally from Bakhtiari area, is appreciated also by the craftsmen of Tabriz, Ghom, Birjand. Sub - patterns are Bakhtiari panel, Eslimi panel.