Iran Bazaar of Isfahan3


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Isfahan may also be well named the city of Iranian handicrafts and traditional arts. Carpet weaving, engraving, miniature painting, inlaid work, tile making, brocade, calico and enamelwork are among the most important forms of art in Isfahan. Due to its high potentials and arts, it can be said that ISFAHAN is a Museum Where People Live in.
The Bazaar of Isfahan, the heritage of the Saljuqid and Safavid era, is one of the oldest and largest bazaars of the Middle East. It stretches between Imam Square and the Jameh Mosque several kilometers away. Like most Iranian bazaars, Bazaar-e Bozorg is loosely divided into several interconnected corridors, each specializing in a particular trade or product, with carpet dealers, goldsmiths, samovar-makers, shoe makers, dyers, all having their own quarters.
You can also find several mosques, tea shops, bathhouses, and even gardens. Small apertures in the vaulted roof let in sufficient light yet kept out the intense heat of summer and retained warmth in winter.

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  • Isfahan may also be well named the city of Iranian handicrafts and traditional arts. Carpet weaving, engraving, miniature painting, inlaid work, tile making, brocade, calico and enamelwork are among the most important forms of art in Isfahan.Due to its high potentials and arts, it can be said that ISFAHAN is a Museum Where People Live in.
  • ČĪT cotton cloth decorated with block-printed or painted designs in multiple colors.
  • Iranian (Persian) Block-Printing (Qalamkar)     ČĪT or Chit cotton cloth decorated with block-printed or painted designs in multiple colors. The term  čīt  passed into English as “chintz,” now the common designation for any cotton or linen furnishing fabric printed with floral designs in fast colors.   Kalamkar, Qalamkar or Ghalamkar (the old term ČĪT) the craft of woodblock-printing on cotton tablecloths, bedspreads, and curtains has been a specialty of Isfahan for the last two centuries. The origin of the word Qalamkari refers to Qalam or pen and Kar or work.  
  • In the 1870s the guild of the  qalamkār  makers had four connecting bazaars and between the bazaars there were five caravanserais and  timche with 284 shops and offices, but not even half of their number have remained, because trade had declined sharply due to foreign competition and lack of demand at home. The reason was that the Isfahan output of  qalamkār  was not comparable in quality and price with British and later Russian imports. Production could initially only survive by importing unbleached fabrics from Great Britain and India that were then printed in Iran. This delayed the inevitable decline of the craft for some time, but lack of innovation, continued inferior quality, and the use of chemical dyes meant that by the beginning of the 20th century the craft had all but disappeared. In 1920 there were only 46  čitsāz  left in Isfahan, where once there had been hundreds. The craft of  qalamkār was revived again after World War II thanks to the US Aid program and demand from the international marketThe craft of  qalamkār was revived again after World War II thanks to the US Aid program and demand from the international market (Gluck et al., p. 192).
  • In the 1950s in Isfahan and Najafābād there were about thirty  qalamkār  workshops with an annual production of 40,000 pairs of drapery, and 10,000 tablecloth pieces (ʿĀbedi, p. 139). Supported by the Handicrafts Organization, the number of workshops and guild masters multiplied in the bazaar in the next twenty years and new products and techniques were put into practice (Gluck et al., p. 192). The implementation of anti-pollution laws in the 1970s led to another slowdown of the  qalamkar  industry, but as a result better dyes were developed and production was standardized. Limitation on imports after the 1979 Revolution resuscitated the industry, and  qalamkār resurfaced as perennial favorites in the bazaar of Isfahan.   Santoori is the representative of many quality Qalamkar manufacturers who have their own manufacturing unit in Isfahan. All items offered by Santoori are picked up and reveal the export suited quality.  
  • In India Persian cultural influence was strong in the independent Muslim courts that arose in the west and in the Deccan after the collapse of the Delhi sultanate in 801/1398. In particular Gujarat, Khandesh, and Golconda developed into important production centers for painted cotton textiles. Golconda enjoyed close family, diplo­matic, and trade links with Safavid Persia, to which it exported cotton cloth painted with designs of flowering trees and peacocks. Persian inspiration, transmitted through immigrant craftsmen and merchants, is, how­ever, discernible in the style and technique of textiles produced in the succeeding Mughal period (932-1274/1526/1858). The similarities engendered by these close contacts complicate any effort to trace a distinct Persian industry producing either čīt or qalam-kārī textiles, es­pecially as few examples survive from before the 13th/19th century.
  • Alireza Eftekhari is an Iranian vocalist of Iranian classical and popular music. Esfahan. He learnt music from several well known Iranian musicians, such as Taj Esfahani and Ali Tajvidi . Eftekhari is one of the most prolific Iranian vocalists. Eftekhari is a popular and prolific Persian singer. He put significant effort in changing the situation of popular music in Iran. In his own words: "In order to introduce pop music to Iranian music culture, I have made myself a scapegoat."
  • Iran Bazaar of Isfahan3

    1. 1.
    2. 2. The Bazaar of Isfahanor Isfahan Bazaar is ahistorical market inIsfahan, Iran, one of theoldest and largestbazaars in the MiddleEast, dating back to the17th century. Thebazaar is a vaulted two-kilometre street linkingthe old city with thenew.Supranumit perlaPersiei, Esfahan estemândria întregii ţări şiunul dintre cele maireprezentative oraşeislamice din lume.Bazarul său este unuldintre cele mai mari dinOrientul Mijlociu şidatează din secolulXVII, mai mult de 2kilometri de străzi
    3. 3. Archaeologists have found evidence ofbazaars in different parts of Iran. It iscertain that the creation of cities wasbased on not only the growth of thepopulation but also on the increase ofproduction, which brought about thegrowth of trade and accumulation ofwealth.Like most Iranian bazaars, Bazaar-eBozorgis loosely divided into severalinterconnected corridors, eachspecializing in a particular trade orproduct, with carpet dealers,goldsmiths,samovar-makers, shoe makers,dyers, allhaving their own quarters.Săpăturile arheologice au demonstratexistenţa bazarelor în diferite părţi aleIranului. Este clar că întemeierea oraşelorse baza nu numai pe creşterea populaţieici şi pecreşterea producţiei care a dus lacreşterea comerţului şi acumularea debunuri.La fel cu majoritatea bazarelor persane şicel din Esfahan este împărţit în coridoarecare comunică între ele, fiecare fiind însăspecializat în vânzarea sau producereaunui anumit tip de produs: covoare,bijuterii,samovare, pantofi, mina-kari(vase de metalemailate) sau….kalamkari….
    4. 4. Bazaar means a market place orassemblage of shops where miscellaneousgoods and services are displayed to buy andsell.The word "bazaar" refers to "waazaar",which is an ancient Persian word. This word,bazaar, has been transferred into Arabiccountries, Ottoman Turkey, Europe andIndiaand even China through economicalinteractions between Persia and thesecountries.Bazaar înseamnă un ansamblu de magazineunde diverse produse şi servicii sunt puse ladispoziţia cumpărătorilor. Etimologic provinedin “waazaar” un cuvânt din persana veche.Cuvântul bazar a intrat în limbile ţărilorarabe, ale Imperiului Otoman, în Europa şiIndia, ajungând până în China, pe calearelaţiilor comerciale pe care Persia le aveacu aceste ţări.
    5. 5. Ice Cream shop
    6. 6. You can also find several mosques, teashops, bathhouses, and even gardens. Smallapertures in the vaulted roof let in sufficientlight yet kept out the intense heat of summerand retained warmth in winter.Aici poţi găsi chiar şi câteva moschei,ceainării, băi publice, restaurante, până şigrădini. Mici deschizături în acoperiş asigurălumină suficientă apărând însă întreg bazarulde căldura intensă a verii şi reţinând călduraiarna.
    7. 7. Fernandel from Isfahan
    8. 8. During UNESCO completion for Seal of Excellencein 2010, Isfahan artists won 30 UNESCO Seal ofExcellenceThe high quality license of UNESCO has beendonated to handicrafts deputy recently and deputyaward them to artists.The license comprises full information about artistsand criteria of their handicrafts”The stated objective of the Seal is to encourageartisans to produce handicrafts using traditionalskills, patterns and themes in an innovative way, inorder to ensure the continuity and sustainability ofthese traditions and skills. The program wasestablished to promote the handicraft sector, whichplay an important economic and social role indeveloping countries. The award aims to promotesustainable livelihoods as well as encourage thecontinued use of traditional knowledge.The products are judged according to a number ofset criteria which includes; Excellence, Authenticity,Innovation, Eco-friendliness, and Marketability.
    9. 9. Isfahan craftsman
    10. 10. Block printing is a traditional way ofdecorating textiles. Kalamkari is the earliestand more complex techniques of block-printing on cloth using vegetable dyes.
    11. 11. Kalamkari has become widely used because it is anuncomplicated method that creates vibrant, colorfulpatterns. Chemical and artificial colors have replacedthe traditional natural dyes used in block printing. Theprincipal tints are red, yellow, blue and saffron.
    12. 12. In the 1920s entrepreneurs began developing modern factories, especially textile mills, which bythe early 1960s employed nearly 20,000 workers and produced one-half of Irans total output oftextiles. The renewed prosperity stimulated greater and more diversified industrialization, and thecity became the center of the countrys steel industry during the 1970s.
    13. 13. wood textile print blocks, woodenstamps and stencils for use inimpressing, stamping or printingtextiles
    14. 14. Isfahan has maintained its position as a majorcenter for traditional crafts in Persia. The crafts ofIsfahan encompass textiles, carpets, metalwork,woodwork, ceramics, painting, and inlay works ofvarious kind.
    15. 15. The work is carried outin different settingsincluding smallindustrial and bazaarworkshops, in thehomes of craftsmenand women, and inrural cottageindustries.
    16. 16. In India Persian cultural influencewas strong in the independentMuslim courts that arose in thewest and in the Deccan after thecollapse of the Delhi sultanate in801/1398. In particular Gujarat,Khandesh, and Golcondadeveloped into importantproduction centers for paintedcotton textiles.
    17. 17. Iran Text : Internet Pictures: Sanda Foişoreanu Nicoleta Leu Copyright: All the images belong to their authors Arangement: Sanda Foişoreanu Alireza Eftekhari - Gereftar - Ya Ali