Rasam Arabzadeh was born in 1914 in the city of Tabriz. His father, Hossein Zeidi Lotfi, known as Seyyed Arab, was a disciple of Kamal ol-Molk and made a living through painting and carpet design. He became familiar with design and color in childhood, under the tutelage of his father. During Rasam's youth, he painted hundreds of designs on canvas, and during his trips to Tehran, he dedicated himself to the practical study of painting and design, gaining abundant experience in the production of artistic carpets. Up until that time, carpets were woven according to traditional methods. Rasam Arabzadeh brought philosophy and literature into his work by combining the traditions of carpet weaving with artistic innovations, thus bringing about a new transformation in the millennia-old life of carpet weaving.
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Rasam, an artist in Iran and other countries, is known as one of the most prominent and acclaimed Iranian carpet designers. He also worked in painting, miniatures, and sculpture. Among his innovations, one can mention:
✔ Knot-hanger "is a type of knotting technique in carpet weaving where four knots are used instead of one knot".
✔ Using a combination of two types of carpets with the title of knot density, "A carpet with a larger knot density inside another carpet with a smaller knot density,".
✔ Simultaneous weaving "A part of the handwoven fabric is woven as a carpet, and another part is woven as a kilim".
The activity and innovations of the Rasam Arabzadeh artists began with the design and weaving of carpets. The first manifestations of his creativity involve pattern-making based on new design principles, such as adherence to scale and proportions. However, his prominent feature is the utilization of designs referred to as "wrong patterns." These designs are a combination of different patterns with unconventional systems and are contrary to common traditions. Indeed, Rasam turned to these patterns in his youth. However, the master weavers were not receptive to such designs for carpet weaving. Therefore, at this stage, he delves into weaving precious carpets with incorrect patterns. Thus, he does not sit idly by in disrupting the forms of traditional carpet motifs, and gradually, the extensive dimensions of disrupting the old order and frameworks of carpets emerge.
