Mohammad Kahanmoui, a native of Kahanmou village, gained renown in Tabriz as a prominent producer by engaging in the textile and silk-weaving trade. 1834–1835 AD (Islamic calendar), he migrated to Mashhad, where he changed his family name from "Kahanmoui" to "Amoghli" and shifted his focus from weaving to carpet production and weaving. Mohammad Amoghli had two sons, Abdol Mohammad and Alikhan, both of whom followed in their father’s footsteps and contributed to carpet production in Mashhad.
Master Abdol Mohammad Amoghli Kahanmoui
Master Abdol Mohammad Amoghli Kahanmoui (1896–1897 AD) was one of the few figures who elevated and added significant value to the art of carpet weaving in Iran. Alongside his brother, he operated several carpet-weaving workshops. Abdol Mohammad Amoghli was particularly skilled in designing unique patterns and preparing dyes for use in carpet weaving. Designers such as Abdol Karim of Kerman and Master Abdol Hamid Sanat Negar created extraordinary patterns for these carpets.
Abdol Hamid Sanat Negar once remarked about Amoghli:
“He was a simple man with immense passion for carpet weaving, but he did not possess great wealth. Most of the time, he would order the designs he cherished, such as the ‘Sarv-o-Naz’ and ‘Lechak-Toranj’ patterns. It was only after the closure of foreign companies that the Amoghli brothers' abilities in carpet production reached their full potential.”
Since most of Amoghli's carpets were custom-made, they often drew inspiration from designs found in two large books, reportedly sent to him from England. These books contained numerous images and patterns of traditional Iranian carpets from the Safavid era and earlier, as well as illustrations of museum carpets from outside Iran. Amoghli would adapt these patterns based on his expertise and years of experience.
In the field of dyeing and using natural dyes, few could match his skill. The dyeing materials he commonly used included cochineal, indigo, vine leaves, walnut husks, and madder root. By carefully measuring and using these materials, he ensured that the final colors prevented issues like uneven shading or streaks in the carpet during weaving.
Master Ali Khan Amoghli Kahanmoui
Ali Khan Amoghli, the second son of Mohammad Amoghli, continued his father’s legacy with great determination and perseverance alongside his brother Abdol Mohammad after their father’s passing. The designs for Ali Khan’s carpets were also crafted by Abdol Hamid Sanat Negar. Like his brother, Ali Khan devoted special care and precision to using natural dyes. He developed his unique dyeing formula in his workshop, allowing no one but his trusted apprentice to be present during the process.
Ali Khan’s crowning achievement in dyeing was creating a remarkably brilliant and transparent navy blue color. This exceptional dye quality was one of the main reasons Amoghli carpets stood out, featuring vibrant, durable, and aesthetically superior colors. All of Ali Khan’s carpets bore the signature mark “Ali Khan 110,” with “110” symbolizing the Abjad numerical value of the name Ali (in honor of Imam Ali).
Ali Khan’s passion for the art of carpet weaving and his commitment to creating the finest and most beautiful colors were unparalleled. He worked tirelessly throughout his life, weaving his final masterpiece, the grand carpet for the Iranian Senate, the night before his passing.
During the Pahlavi era, Ali Khan’s skilled hands produced exquisite carpets that now adorn the palaces of Saadabad, Niavaran, Marmar, the National Assembly, and the Senate. In fact, many of the royal carpets were crafted by Abdol Mohammad and Ali Khan Amoghli. One of the most notable works is a carpet that adorned the wall behind Mohammad Reza Pahlavi’s royal desk, as well as a 4×3-meter carpet located in the National Bank’s conference room.
The last carpet Ali Khan wove was the grand Senate carpet. He passed away 1957 AD. at the age of 65 and was buried with great respect in the sacred precinct of Imam Reza’s shrine. Out of devotion to Imam Reza (AS), the Amoghli brothers donated several of their masterpieces to the holy shrine.
Characteristics of Amoghli Carpets
Amoghli carpets are distinguished by their light weight, softness, use of natural dyes, fine weaving, and high knot density. The knot count of Amoghli carpets ranged between 40 and 150 knots per square inch. Most carpets featured longitudinal and transverse borders with seamless kilim weaves. These carpets were typically large-scale, with both symmetric and asymmetric knots.
The designs included Lechak-Toranj, Afshan, and Vase motifs, as well as the renowned Sheikh Safi pattern, which the Amoghli brothers introduced to Iranian carpet weaving. During a trip to London, they studied the design of a pair of Sheikh Safi carpets and not only recreated them in Iran but also produced numerous variations in different sizes.
Most Amoghli carpets were woven during the late Qajar and early-to-mid Pahlavi periods. The brothers specialized in crafting large-scale carpets that revitalized the art of Iranian weaving, effectively giving Iranian carpets a renewed identity. Their designs were intricate, exuding a calming elegance that remains unparalleled.
In contemporary terms, the Amoghli brothers’ work is innovative, featuring delicate and detailed motifs. Their connection to Safavid-era carpet traditions serves as a bridge between past and present, preserving the identity of Iranian carpet artistry. They laid the foundation for a modern style of Mashhad carpets, which Iranians continue to celebrate with pride.
Global Recognition
English carpet expert Cecil Edwards writes in his renowned book The Persian Carpet:
"The Kouzeh-Kenani carpet is a remarkable masterpiece of carpet weaving, showcasing the pinnacle of skill and craftsmanship. Over 50 years, I have seen exquisite carpets in various regions of Iran and Western countries, but Amoghli carpets rank among the finest modern masterpieces. Their design, layout, and margins embody absolute beauty and artistic essence. The Sarv-o-Naz and snake motifs are stunningly captivating, leaving any viewer in awe."
The largest Amoghli carpet adorns the dining hall of the Mellat Palace in Saadabad, measuring 145 square meters. This masterpiece, featuring a Sheikh Safi design with a navy-blue background and red borders, was crafted with Persian knots. Designed by Abdol Hamid Sanat Negar, a renowned Kermani designer, this carpet was woven around 1931AD. Its centerpiece boasts an eight-pointed star surrounded by Shah Abbasi flowers, exuding intricate artistry.