It is a well-known fact that Isfahan is an important and historical city. Isfahani artists, over the years, have proven their interest in handicrafts including carpet-weaving, needle-knitting, tiling, and …, and have exerted much effort for improving their quality and quantity. Such that today, as a result of their efforts, beautiful carpets are produced in this part of the land of Iran, that significantly have grabbed the attention of world markets and outstanding museums in the world.
The support and the attention of Safavi kings toward arts and artists, was a motivating factor for individuals from every sect and class to be absorbed in grand royal workshops, especially for carpet weaving. Such that the most exquisite silk and brocade carpets with very innovative designs were woven by Isfahan artists. So, that period may be called the period of splendor and glory of Iranian carpets.
Variations of patterns and color combinations are evident in all of its art, such that today Isfahan carpets are known as the most fundamental Iranian carpets, and artists have exerted lots of effort and have tried hard to protect and maintain that art. As long as the original patterns of "eslimi", "khataei", and "shah-abassi", shine on the turquoise dome of the Imam Mosque and the Sheikh lotfollah Mosque, and the golden memoranda of Reza Abassi's pen sparkle on the walls of Ali-ghapu, Chehelsotoon, and Hasht-Behesht, Isfahan carpets are the protectors of fundamental Iranian culture, civilization, and creed. Harmony, balance, and color variations (especially dard and light vibrant colors), short lint, number of rows between 50 and 90, the use of "Farsi knots", using silk and wool in the warp and woof and fur, using vertical stands with fixed and Farsi "chelle-keshi", conjoined binding (mostly twin-warps), and finishing during weaving, are of the unique attributes of Isfahan weaving.