Weaving kilim has an old precedence in Iran. Iranian
kilim was welcome in 18th and 19th centuries in world market. Rich
European people accepted it as an up-to-date oriental ornament furniture; but at the
present century, it was not much desired owing to its simplicity and rawness of texture.
This kind of weaving was liked only by a few artists and art lovers, and it was found only
in exhibition halls and domestic rooms.
At last, irrespective of these displeasures, the strong quality of design and color in
kilims of Qashqai and Lor in southern part if Iran, stimulated the desire of kilim lovers
toward this art.
Many kilim lovers considered it, not only as a floor cushion but also as an ornamental
object and as a painting in the wall. After a short time, when kilim stood in the group of
artistic objects, a larger crowd were attracted to have it and during the recent 15 years,
miscellaneous types of Persian kilim were entered into western countries; but it resulted
a decline in traditional weaving of the hand-made kilim, which is clear in newly textures,
made upon order of western buyers; and more efforts is made towards style and texture of
Iranian kilims are more various than Turkish or Africans. Iran, having miscellaneous
tribes, could be studied after due consideration about those tribes and groups in
connection to the art of kilim weaving.
Kurd and Lor are part of the most ancient residents of Iran; they have not much tendency
to have others participating in their skills, especially in kilim weaving.
There is evidence in the residence of those tribes showing revealing the fact that they
have, for the first time, encouraged in the art of weaving floor cushion and kilim.
Kilim weaves in Iran by Kurd, Shahseven, Lor, Bakhtiari, Qashqai, Kamseh, Afshar tribes and also in Kerman, Varamin and Garmsar, Harsin and Hamadan,