Aesthetic Analysis of Carpet Designs in Illustrated Manuscripts of the Jalayerid Period (737–814 AH)

The study of Persian carpets prior to the Safavid period faces a major methodological challenge: the absence of surviving examples. From the early Islamic centuries to the sixteenth century, no complete carpets remain that could provide direct evidence of design traditions.Consequently, research in this field depends largely on indirect sources, primarily illustrated manuscripts and textual accounts such as travelogues, chronicles, and geographical writings. Yet these sources present significant difficulties: miniatures often stylize rather than meticulously document reality, while written descriptions are frequently fragmentary, selective, or even contradictory. Compared with other arts—such as architecture, ceramics, or metalwork—where abundant material evidence enables cross-verification, the study of carpets inevitably remains speculative and contested.The ephemeral nature of textiles, susceptible to decay and destruction, has left a profound lacuna in art historical knowledge, forcing scholars to develop innovative interpretive frameworks for analyzing limited and indirect evidence.Within this problematic framework, the Jalayerid period (1336–1432) acquires particular significance. Positioned between the collapse of the Ilkhanids and the rise of the Timurids, the Jalayerids established political authority in Tabriz and attracted skilled artisans from the Rabʿ Rashidi complex.Their cultural patronage both ensured a crucial continuity with Ilkhanid traditions and encouraged new artistic tendencies.Although no physical Jalayerid carpets have survived, miniatures produced in this era serve as the only available visual evidence for reconstructing design features and aesthetic tendencies.This research aims to identify stylistic and aesthetic patterns of Jalayerid carpet design through a systematic analysis of these miniatures. Adopting a historical perspective and a descriptive–analytical method, it surveys all extant Jalayerid manuscripts containing depictions of carpets or floor coverings. Data were collected through a comprehensive review and analyzed qualitatively using a census sampling approach. This methodology allows for the recognition of both continuity and innovation within the visual corpus, providing a structured framework for interpretation.The findings reveal that Jalayerid carpet imagery preserves significant Ilkhanid features such as repeat-unit structures, endless-knot motifs, and hooked lozenges—testifying to the training of artists shaped by earlier dynasties. At the same time, clear innovations emerge: a transition from rigid geometric frameworks to fluid arabesques and vegetal scrolls, expanded chromatic experimentation, and a new emphasis on borders as creative zones. The evident parallels between carpet motifs and architectural ornament suggest the existence of a shared visual vocabulary across multiple artistic media, pointing toward an integrated aesthetic system that transcended individual art forms.In conclusion, the Jalayerid period should not be viewed merely as a transitional bridge between Ilkhanid and Timurid traditions. Instead, it represents a creative and dynamic phase in its own right, where exploratory practices laid the groundwork for Timurid achievements. Jalayerid contributions therefore occupy an independent and influential position in the broader history of Persian carpet design. Beyond this historical reassessment, the study demonstrates the interpretive value of miniatures in reconstructing lost traditions and highlights the methodological potential of visual analysis for addressing gaps where material evidence is absent. This approach offers a powerful model for scholars seeking to fill the void left by the destruction of historical artifacts.