Cities and Places, renowned carpets design, is one of the varieties of Persian carpet patterns. This section contains carpet patterns named after significant cities where they are woven. There are models of Iranian carpets that are weaved more frequently in urban areas. Or that the cloth used in this pattern was produced in that city. As a result, they share the same city's name. This is despite the fact that this design's texture used to be prevalent in that city, but it is not as popular now. However, the old name persists and they continue to be referred to by the same name. A very essential point to remember! It is generally true that these names and categories are taken from handwoven carpets. Consequently, it has more diverse categories in several ways. However, while naming machine carpet, some of these helpful elements are eliminated. or alters form For instance, this section on "names of cities and locations" designs in Iranian carpets has no relevance to machine-made rugs. Alternatively, one may say that it has been altered. The majority of renowned patterns are referred to as cities in machine carpets You are likely wondering what this means. Therefore, the machine carpet's fibers are synthetic and spun by a machine. It is also weaved according to a plan. Therefore, factors such as the city of the location of weaving, and the craftsmanship of its weavers have no effect on it. 
Kashan carpets, Isfahan carpets, etc., are referenced in hand-woven carpets. Other than the carpet's pattern, a variety of criteria, such as the type of thread, the art of the region's weavers, the carpet's fine or coarse texture, its softness or roughness, etc., are typically taken into account. In the case of the Nain carpet, for instance, there are a variety of patterns. All of these patterns are woven with distinctive qualities in the city of Nain. In contrast, machine-made carpets are given names based on their appearance and pattern. Therefore, when we refer to the Nayin design in machine-made carpet, we are typically referring about a certain design and model of the carpet, not numerous designs! Obviously, designs with the same name might have distinct characteristics. But the overview remains unchanged. In the same example as the Isfahan carpet, for instance, a rug with a tangerine design, a large border, and two thinner borders on either side is considered. Isfahan and Nain plans, Kashan plans, Ardabil plans, Kerman plans, Bijar plans, Joshghani plans, Afghani plans, Birjand plans, Khatai plans, Tafaresh plans, Khorasan plans, Saroq plans, Zanjan plans, Saraband plans, Saveh plans, Sistan plans, Sanandaj designs, Kurdistan designs, Ferdous designs, Turki Shirazi designs, and Meshkabad designs are among the most
- Kashan carpet design - Kashan carpet
Since antiquity, Kashan carpets have enjoyed widespread renown around the world. Due to its distinctive design, the Kashan carpet is included in the group of Lakh Taranj carpets and is one of the most well-known styles of Iranian carpets. It is also renowned in Iran and around the world for its unique hue.
Lacquer and Renaissance hues are frequently employed as background colors in this carpet's texture. Obviously, Kashan design carpets are also manufactured in cream, black, and navy hues. But what is commonly known as a Kashan carpet is its crimson or lacquered background, which is better ideal for classical interiors and is commonly known as a Kashan carpet. Because lach and tanraj are employed in the design and coloring of the Kashan design carpet, this design belongs to the group of Iranian lach tanraj designs. This carpet's design and maps of slender and error have given it a unique charm and decorative fit.
- Isfahan carpet
Although Isfahan and Nain carpets are two distinct styles with unique characteristics, they are typically grouped together because of their design similarities. In the background of this design, which is one of the Lakh Tarang patterns, there are simple slime motifs, torpedo mouths, and flower and plant gardens with intertwined and creeping leaves. This carpet's edge features a narrow and wide border that is encircled by two narrow borders (smaller or thinner border). The flowers of Shah Abbasi are strewn over the perimeter of this carpet.
- Nayin-style carpet
Elegant texture and high-quality fibers are distinguishing characteristics of handwoven Nayin carpets compared to handwoven Isfahan carpets and other carpets. This element has increased the design's artistic worth and given it a special reputation and widespread appeal on international markets. 
The wool and fluff used to weave these carpets are typically pure. One could even say that it exceeds the standard of Iranian wool by one step. The design, patterns, and hues of a Nain carpet are highly variable. Among the designs employed in the carpets of the Nayin region are the Lakh Taranj design (similar to the Isfahan design), the Afshan design, the dome (ceiling), the tree, the Haj Khanami design, the Mehrabi design, the Qabi design, the inscription design, and the Mahramat design. Obviously, this statement pertains to the variation in the texture quality of Nain carpet. As stated previously, however, when it comes to carpet design types, Isfahan carpets and Nayin carpets are grouped together. In machine-made carpets, apart from differences in the comb, density, and carpet thread, and given that it is an industrial product that can be manufactured anywhere, the names Isfahan design and Nayin design refer only to the appearance of these designs. It refers to the same pattern of lach and tanraj with a circular tanraj in the center of the carpet.
- Khorasani plan
In typical Khorasani designs, there is not a great deal of color variety. In its texture, the colors red and yellowish red, turquoise blue, garlic blue, mustard, beige, and brown are frequently utilized. Among the most obvious characteristics in terms of texture type are a moderately coarse texture and a relatively lengthy pile (thickness of the carpet). Flowers, plants, insects, and birds were included in its design, to name a few of the components utilised. In Khorasani patterns, flower motifs, vase motifs, Bete Jakeh, Afshan, Lakh, and Tareng motifs, all-over floral motifs, and Herati motifs predominate. Certainly, Indian-style patterns are prominent in hand-woven Khorasan carpets. These patterns are exclusive to the Baloch and Turkmen weavers of this area.
Carpets patterns
As discussed previously, one style of Iranian carpets design is known as carpet-producing city designs. In the previous title, four cities were mentioned. The continuation of the Patterns known as cities will be presented.
- Kerman carpet
The rugs of the province of Kerman can be split into two categories: woven urban rugs and woven nomad rugs. Vegetable designs and pictorial designs have been employed in Kerman carpets from the past to the present, with the finest examples made in the Raver carpet weaving region. The most prominent are Hafez, Laili, and Majnoon, Khayyam, landscapes, and generally mystic and romantic subjects, which are frequently mixed with the lovely Sabzikarr style. Afshan designs, particularly Afshan Shah Abbasi, are among the most well-known in Kerman. Other well-known patterns include Quranic frame motifs, types of trees and vases, fusions, shrubs, and types of farang flowers, lach and bergamot, afshan, tree, animal, armband, neckbandi, clay, Shah Abbasi series, and woven face. cited.
- Faulty design carpet
According to some experts, this project's name is derived from the name of the Chinese city "Khata or Khatan." This can show the influence and impact of Chinese art on Iranian artists to some level. 
Given the significance of the city of Khotan in Iranian literature and the fact that the art of Iranian painting was also affected by the painting of Chinese painters, the likelihood that this interpretation is accurate is considerable. Khatai design resembles Chinese decorative design in many ways. This pattern features flowers and plants, particularly Shah Abbasi's blooms.
- Bijar design carpet
Bijar carpets are another form of Iranian carpet pattern that has acquired international recognition. This carpet has many of the same qualities as Kurdish carpets, particularly those from the city of Bijar. Typically, the weavers of this region weave Bijar carpets mentally and without a strategy. This carpet's design and patterns incorporate geometric themes. Therefore, the Bijar design carpet can be considered one of the geometric patterns and shapes. This term refers to a unique pattern in machine-made carpets that is often known as the Bijar design. This design belongs to the category of carpets with lach and tanraj patterns. This design's central tang is shaped like a rhombus-hexagon. In the carpet's corners, the canvas or lettering is likewise formed by straight-lined elastics.
- the Mashhad rug
In most Mashhad carpet designs, big Shah Abbasi flowers with slender, delicate branches are included. In addition to themes, the usage of Lach Taranj and Afshan designs with written borders is one of the most prominent and defining aspects of the products of Farsh Astan Quds Razavi, which can be observed even now.
The margins of the inscriptions on the Mashhad carpet, together with the huge blossoms of Shah Abbasi, have given this design a highly attractive, captivating, and unique appearance. The architecture of the ancient designs in this region closely resembles the original designs of Herati. There are still samples of carpets ascribed to Herat available for purchase.
- Joshghan carpet design
This carpet's fragmented patterns are a characteristic shared by all Joshghan rugs. These rugs have Sepidar, pomegranate flower, and chamomile motifs. Joshghan's pattern resembles Bijar's carpet pattern in look. In the middle of the Joshghan pattern carpet, which can be regarded a bergamot design, is a bergamot in the shape of a rhombus. At the beginning and conclusion of this bergamot is a head in the shape of a claw. The patterns of four-petaled flowers, full-blooming flowers, and Majnoon willow trees provide a connection between the many elements of the Joshghan carpet in a straightforward manner and without rhombus-shaped features. In addition, Joshghan carpets resemble Hamedan carpets and Mimeh carpets, which are marketed under the name "Mimeh Joshghan carpet" The gusset design of machine-made carpets is often created with coarse-weave machines. Obviously, it can also be manufactured using 700 comb carpet machines. 700 comb carpets, being one of the forms of tightly woven carpets, have a naturally superior texture to 320 or 440 comb carpets. As stated previously, the naming of carpet designs in the machine carpet industry is primarily dependent on the names of the patterns and motifs. Based on this, Joshghan carpet is typically categorized as a traditional or nomadic carpet.
- Qom design carpet
The traditional designs in Qom woven carpets include: clay bandi (Bakhtiari mosaic), batik, tree, hunting, geometrical Joshqani, Shah Abbasi Lachak Taranj, Shah Abbasi Afshan, Mahramat, plain flat taranji, inscription bandi, Gol Farang and Zhan Mihrabi. The name is Al-Sultani. In Qom, carpets are woven in the style of Joshghani's geometric design, which resembles the older carpets of Kashan. In addition, in Qom, a tree pattern is sometimes woven without the mihrab motif and sometimes with it. Isfahan Kashan also weaves rugs with similar patterns to this one. Also, Qom carpet weavers produce simple floor carpets with wide hexagonal fringes filled with flowers and leaves of the Herati type, similar to those woven in Birjand. Based on this, it is possible to conclude that, despite the fact that Qom carpet has earned worldwide popularity and a large consumer base in recent years, its design and map resemble those of carpet designers from other places.
- Shiraz design carpet
What is commonly referred to as the Shiraz carpet is primarily the Qashqai carpet, woven by the nomadic tribes of Fars and the rural population of this region. In the part devoted to the design of carpet weavers (the section on Qashqai carpets), we provided a thorough explanation.