The
Lion
An enduring symbol of majesty
and power woven into Persian rugs
January 5, 1998
The Iranian
From "Lion Rugs; The Lion in Art and Culture of Iran" by Parviz Tanavoli (Trans Book, New York, 1985). Click on images to see full images of the rugs.
My first lion rug
I
found my first lion rug in early 1970. Its unusual pattern set it apart
from all other Iranian rugs and so captivated me that I bought it without
any hesitation whatsoever. A week or two later another lion rug, different
from the first, came into my hands, and then a third. The discovery of
these rugs was so exciting to me that I thought about them constantly.
I myself knew nothing about rugs like these, nor did those from whom I
had purchased them, except for the fact that they were called gabbeh-ye
shiri ("lion rug") in Persian. This lack of knowledge and
the utter fascination these rugs held for me led me to pursue them far
and wide.
The
first of many trips I made in quest of lion rugs was to Shiraz, which is
about a twelve-hour bus ride from my home in Tehran. In Shiraz, I found
more examples. For several years thereafter, my life was spent traveling
back and forth between Tehran and Shiraz, visiting bazaars on the way,
and scouring the mountains and plains of Fars Province for the makers of
these rugs.
Two
things drove me on. The first was the knowledge that many of these rugs
were still in constant use among their creators and, if not preserved in
time, would be completely worn out and discarded. The second was the variety
of these rugs. Almost every day I would find a new lion and the prospect
of yet another caused one to imagine a thousand possible patterns and color
combinations. In many instances, these reveries were not far from the truth.
Those were exciting days. Rug connoisseurs and merchants advised me not
to buy such coarse weavings, or at least to buy less frequently so as to
not to drive the prices up. The tribesmen were somewhat embarrassed and
apologetic that the lions of the rugs were not naturalistic representations
of real lions. Yet they were happy that someone would be so interested
in their art.
Symbol of majesty and power
Many
secrets lie behind the enchanting patterns of the lion rugs of Iran. The
unusual subject matter and composition that distinguish these form other
traditional rugs require some explanation, especially since they do not
seem to have been chosen solely to please the eye. Lion rugs, symbols of
the tribal bravery, were objects of every day use in the dwellings of their
creators. For this reason, many of them wore out and in time were discarded.
Those that have survived date only from the last two centuries. There is
evidence, however, that the lion motif was utilized by rug weavers prior
to this.
The
close relationship that these rugs have with stone lions and other objects
which bear the image of this animal leave no doubt that the lion motif
played an important role in the culture, religion, and nationalistic sentiments
of the Iranian people. Indeed, in the course of the Iranian history, no
other symbol has been so long-lived or meaningful. Bravery, patience, generosity,
manliness, nobility, and purity are all qualities Iranian have associated
with the lion.
The
importance of the lion in ancient Iran was such that Iran was called "the
land of lions." In Zoroastrianism, the ancient religion of Iran in
which elements -- water, fire, and earth -- were accorded great respect,
the lion was identified with fire. During the achamenid and Sasanid periods,
the lion was the symbol of majesty and power, and, with the coming of Islam
to Iran, the lion motif continued to play a role in the decorative arts.
The
lion motif took on a renewed significance in Iran with the establishment
of the Safavid dynasty in 1501. In the framework of Twelver Shi'ism, the
official religion of the Safavids, Ali Ibn Abi Talib, the Fourth Caliph,
and First Imam, and leading figure of the sect was known as the "Lion
of God." This revived use of the lion motif brought only a chance
in the form and not in the content of the lion symbolism, for Iranians,
from their long experience with invaders and foreign rulers, have always
been able to adapt themselves to changed circumstances without losing sight
of the original import of their symbols. In time the lion also came to
be the official emblem of the Iranian state and the symbol of the nation.
Subject matter
Most
questions people ask about the lion rugs concern the subject matter: Why
did the weavers of these rugs choose the lion and not other animals like
the horse, camel, or goat? Without the cultural context described in this
introduction an answer to this question would be difficult; all one could
say would be "it is due to their appreciation of bravery and prowess"
or "it is for the protection of their tents." However, if the
question is "why were lion rugs woven mostly by tribesmen, especially
those of Fars?", very specific answers can be found. It would not
be an exaggeration to say that in the opinion of the tribesmen of Iran
the most important characteristics of a man are courage and virility. The
opposite of these traits, fear cowardice, are considered so vile that their
attribution to a person can discredit an entire family or tribe.
Life
in the mountains and plains and its attendant struggle with heat, cold
and wild animals have taught these people the art of survival. For them
the lion symbolizes bravery and prowess. Thus many tribesmen have names
which include the Persian word shir (lion) such as Shir Ali or Alishir,
Shirzad, Shirdel, and Shir Mohammad. Others have names like Arsalan or
Aslan, which mean "lion" in Turkish. Still others are known as
Asad, "lion" in Arabic. They often tell wonderful stories of
how their fathers and grandfathers hunted lions. As to why most lions rugs
were woven in Fars, we must first say a few words about the geographical
setting of this region and the existence of lions there, something that
without doubt had an influence on the prevalence of this type of rug.
Because
of its special natural setting which includes numerous thickets and large
game such as wild boar, mountain goats and rams, Fars Province provided
an ideal environment for the lion. For centuries this province was known
for its lions, and various beliefs and customs concerning the lion flourished
there. In the 12th century Farsnameh of Ibn Balkhi, the oldest geography
of Fars, such as districts as Kamfiruz and the Arzhan Plain are called
"lion mines." Many references to the lion hunting expeditions
of the Iranian shahs and local rulers of Fars are made in literary texts
and poetry of the Islamic period down to and including the Qajar period
(1779-1924).
Exactly
how long the lion existed in Fars is a matter of considerable interest.
According to the Iranian Department of Environment, the last lions were
seen in Fars at the beginning of this century while the last lion in Khuzestan
was seen near Dezful in 1942. The extinction of the lion in southwestern
Iran was simultaneous with the end of traditions of carving lions in stone
and weaving their images in rugs. The oldest surviving lion rugs date only
from the last two centuries.
Other books on rugs by Parviz Tanavoli available through Amazon.com:
- Kings,
Heroes & Lovers : Pictorial Rugs from the Tribes and Villages
of Iran (1997)
- Shahsavan
: Iranian Rugs and Textiles (1985)
Related sites
* The
Persian Carpet Gallery - Learn about various kinds of Persian carpets
* Medallion Rug Gallery
- Handmade rugs from Persia, India, Pakistan, and China. Store in Palo
Alto, California
* Cover stories
* Who's
who
Copyright © 1997 Abadan Publishing Co. All Rights Reserved. May not be duplicated or distributed in any form.
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