Ali Jeddi began making rugs in Qom in 1972, more than half a century ago. In a light-ground medallion work from his workshop, cream and pale blue form a fine grid and warm-coloured flowers surround the centre. Dense flowers and leaves find their places along the central axis and frame. Silk selection, dyeing supervision and quality control ensure that details answer the whole.
Works and style
Contemporary works
Ali's production line invites attention to the coordination between overall pattern and details at the edges. Field, borders and fringe together form the work, while the catalogue's descriptions of details of pile woven into flatwoven end sections offer further viewing clues. Moving from the whole towards the edges reveals how materials, colour and details form a continuous textile expression.
People and heritage
Family continuity diagram
Haji Ismail dyed wool and silk in his own workshop. Abolghasem learned dyeing from his father and later entered silk-rug production. Ali began making rugs in Qom in 1972; Abolghasem and Mohsen learned from their elder brother as boys, and the three brothers continued production.
Earlier mastersHaji Ismail
Father's dyeing tradition
Haji Ismail
Own dyeing workshop for wool and silk
The brothers' generation
Ali Jeddi
Qom silk-rug production and guidance of his brothers' training
The brothers' generation
Abolghasem Jeddi
Silk-rug production, dyeing training and designs combining new and old patterns
Parent's generation: Haji Ismail
The brothers' generation
Mohsen Jeddi
Member of the brothers' workshops
Ali Jeddi / Abolghasem Jeddi · Brothers
Ali Jeddi / Mohsen Jeddi · Brothers
People and heritage
Family archive
A public workshop account dates Ali's beginning in Qom rug making to 1972, a personal span of 54 years by 2026. Each brother has identified workshop works; this page follows Ali's production line. From central medallion to frame, details respond to the whole. His responsibilities in silk selection, dyeing supervision and quality control connect materials with the image.
Ali's craft can be understood by viewing the central field, surrounding borders and fringe together. Details in different positions must coordinate to establish the work's order. Inset-pile details described in existing catalogues also provide a way into this craft reading, alongside material selection and colour control.