Qalamkar House Statement
What We Do at the Qalamkar House of Isfahan?
We are a small, dedicated group of artists and scholars with backgrounds in painting, architecture, graphic design, art research, and more. Since 2016, we have been contemplating and experimenting with Qalamkar, guided by our core mission. Our team has grown over time, united by a belief in the ongoing re-evaluation of this art within its historical and cultural context.
We are currently compiling the “Naqsh-nameh,” a visual database of patterns. We document the names, uses, and, as much as possible, the age of each motif. We are working to obtain images of Qalamkar artifacts held in museums and private collections around the world to make the Naqsh-nameh as complete as possible.
We have a special focus on the art of mold carving, meticulously studying the methods, tool use, and anything that affects the final quality of the work. Mold carving is a crucial part of Qalamkar, and its master artisans work patiently behind the scenes. If their skills are not passed on to the next generation, a large part of this art will be lost.
In our botanical dye lab, we are experimenting with how plant-based colors react on different fabrics. Our hope is to discover new methods for creating beautiful, authentic fabrics with the familiar and delicate motifs of Qalamkar.
Education is one of our most important concerns. As the team behind the Isfahan Qalamkar House, we are always learning and documenting our findings in text and images. After organizing and categorizing this information, it will be made available to other enthusiasts for their use and reference.
Another one of our activities is identifying those who have pioneered this path before us. We introduce them and learn from their experiences to help guide our own journey. These individuals worked tirelessly to pave the way, making our path clearer today.
We also focus on translating useful texts. Many books and resources on the patterns and history of this art, fabric processing methods, dyeing, and other techniques from both Iran and countries like India (which have close ties to this art) have not yet been translated into Persian. We believe it is vital for more people to be able to study and use these resources.
We are striving to properly understand Qalamkar’s visual language as a deeply rooted tradition, taking the time required without rushing. We believe this visual understanding comes from patiently observing, comparing, and practicing the intricate lines, curves, and forms. Our hope is that this deep understanding of the visual language will lead to the creation of new and authentic motifs.
A portion of our work is dedicated to research trips. During these domestic and occasional international journeys, we seek to gain a deeper understanding of the methods, skills, and the connections between patterns and designs across different cities, countries, and regions. With each trip, we find answers to many of the questions we have.
From time to time, we plan to hold in-person exhibitions, roundtable discussions, and periodic workshops to share our work and progress. The first such event, “Barkhan-e Qalamkar,” was held in May 2025 at the Emrooz Gallery in Isfahan.
What is the Qalamkar House of Isfahan, and Where is it Located?
The Qalamkar House of Isfahan is a cultural and artistic platform operating with specific goals in mind. It considers the art form’s past, its current state, and its potential for the future.
The first goal is to systematically document and archive everything we have inherited from the past. This means studying and collecting textual and visual resources, techniques, skills, motifs, and patterns, then organizing all this information. The results of this effort will be preserved in a space called the Ganj-khaneh.
The initial core of the Ganj-khaneh is a collection called “Naqsh-nameh.” This is a comprehensive multi-volume book on fabric, currently being developed in a single copy. It focuses on each wooden block print, documenting its size, pattern connections, name, date, and other details. Digital and paper versions are also planned.
Another goal is to document the current state of Qalamkar in Isfahan. This enables further study and review.
The house also aims to talk with master craftsmen about their lives and professional experiences and to learn about each workshop’s methods and visual approaches. The findings from these conversations and the comparison of today’s methods with those of the past are intended for the educational, experimental, and laboratory space known as the Ostad-khaneh.
The next set of goals, which we refer to as the Timcheh, involves dedicating the necessary time and effort to a specialized re-evaluation and, if possible, a comprehensive revival of this art. We can achieve this by creating new, authentic designs for Qalamkar products, adding more artistic value to them.
The Timcheh focuses on the innovative Qalamkar products that are the result of the meticulous work in the Ostad-khaneh. With a focus on sustainable economics and job creation, especially for women, it aims to be a productive and income-generating art. Given its complexities, this is only possible with continuous study, training, and research, as well as collaboration and participation.
Currently, the Qalamkar House has no public-facing physical location. However, an architectural plan called “Exemplary Architecture,” featuring the three main sections—Ganj-khaneh, Ostad-khaneh, and Timcheh—has been developed. We will be sharing more about this plan over time, and a virtual tour of the architectural space may be available in the future.
The Qalamkar House currently operates as a private space, working on various aspects of these goals. Its history, progress, and results will be shared over time on its Instagram and website, and soon, its YouTube channel.
The Vision and Philosophy Behind the Qalamkar House of Isfahan
The idea for the Qalamkar House of Isfahan began as a response to the needs and responsibilities we felt toward this multifaceted art form, which is rooted in both Iranian craft and history.
For a visually sensitive audience, signs of artistic decline in the colors, patterns, and overall harmony of the final products are clearly visible.
There is a noticeable shortage of new masters to replace the older ones, especially in the crucial areas of mold carving and pattern design.
To avoid repetitive creations, we need talented, well-trained, and knowledgeable artists who can breathe new life into this art by creating innovative designs that both honor its traditional roots and appeal to the refined tastes of today’s audience.
Currently, Qalamkar products are mainly sold as traditional souvenirs from Isfahan and are not widely used in people’s daily lives. Another concern is that the younger generation shows less interest in this art form, for reasons that are clear and need to be addressed.
It is crucial to remember that if such skills and arts are not continually taught and passed on to the next generation, they will either become flawed or their original, authentic qualities will be forgotten over time.
With a sense of responsibility, we believe that by focusing on education, we can not only protect this valuable historical asset but also create a more serious space for study, collaboration, and ultimately the revival of this art. This is a time-consuming process that requires the cooperation of various groups, especially visual artists.
Driven by these concerns, the Qalamkar House began its journey around 2016. We strive to make progress in this field with the participation of other enthusiasts.