Interior design in Iranian style. There are many interesting architectural solutions everywhere.

The Iranian interior is so flawless and thoughtful that by choosing it to decorate your home, you will feel like a hermit in a calm harbor, and in every corner you can relax and have a good time. An Iranian-style home has an ambiance that is saturated with warmth that comes from natural materials. Indeed, as in any country of the East, natural raw materials are also highly valued in Iran.

Basic colors in the Iranian interior, pastel is considered, which has much in common with the desert. Basically, these are natural shades that are found in the desert: terracotta, beige, black and ivory. However, the Iranian style cannot do without blue color. Blue with its two shades (pale blue and ultramarine) are the most common colors in Iranian dwellings. But designers believe that there are several ideal combinations of pairs of colors that will look advantageous in any case.

Such universal colors include, for example, white with black, light green with blue, and also bright blue with brown. As it turned out, the Iranians have a great sense of style: back in the past centuries, or even millennia, they chose the color scheme that today is the standard of designer fashion and an indicator of impeccable style.

Iran is famous for its arabesques, a repetitive ornament or pattern. In the Iranian interior, unlike other countries of the East, there are practically no images of animals. History has influenced the theme of arabesques. When Persia (present-day Iran) came under the control of the Arabs, they decided to somewhat change the habitual way of life for the Iranians.

At that time, there were almost no images of people and animals in the Iranian interior, since Islam does not accept this. But, at the same time, an ornament consisting of flowers, as well as exotic and artsy vegetation, began to be actively used.

The Iranian interior should create an atmosphere of relaxation, that's why you can't use a large number of bright and deliberate materials for decoration. In addition, the premises should be organized so that they are always free and spacious. In an Iranian home, attention is drawn to every item. Here everything is in its place, the furniture is ideally arranged, and the interior is filled with luxurious accessories.

Flowers are a characteristic motif of the oriental interior. It does not matter where they are depicted (on a fabric, carpet, wooden tabletop), as the flowers always look sensual, sophisticated and rich.

Traditionally, the walls should be high, and the ceiling should consist of hotel elements (arched or multi-level). The arch, as an element of architecture, is very popular in Iran. Almost never used interior doors, because their role is played by an arched wide opening with exquisite curtains and expensive textile panels.

But the main Iranian pride has always been carpets. This is the main element in the Iranian house. After all, Iran is the birthplace of carpets, and even today carpet production is well developed in this country. Carpets in Eastern countries are universal items. They are not only laid on the floor, but also hung on the walls, in doorways, enclose different areas with them, and are also used as sun loungers, wall bags and poufs.

It is by how many carpets in the house that the Iranians learn about the level of prosperity of its owners. Even now, the inhabitants of European countries inherit the style of Iran, using carpets in the most unexpected interpretations, for example, in the form of seats and paintings.

A properly designed Iranian interior should always remind you of relaxation, which is why deliberate materials and very bright accessories are out of place here. The space is organized in such a way that personal freedom and space are always felt.

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Iranian style in the interior contains harmony, tranquility, relaxation. This is a homely, warm and cozy interior.

Iranian interior so flawless and thought out to the smallest detail that, having decorated your house in a similar style, you will feel like a hermit in a quiet harbor, and every corner will seem created for peace and pleasant pastime. The atmosphere in an Iranian house is saturated with the man-made warmth of natural materials. Indeed, as in any other eastern country, natural raw materials are also valued in Iran.

The basis in the Iranian interior is traditionally made up of pastel colors, which are reminiscent of the desert. This is usually natural colors inherent in the desert: beige, terracotta, ivory, black. But, interestingly, the Iranian style also has a great love for blue. Blue and its two shades (ultramarine and pale blue) are the most common colors in Iranian homes. According to the designers, there are several ideal combinations of color pairs that always look advantageous.

Such universal colors include, for example, black and white, blue and light green, and, of course, the color of water and the color of the earth - brown and bright blue. This is a trend that exists outside of time. So the Iranians, as it turned out, have an excellent sense of style: hundreds of years ago, or even millennia, they turned their attention to the color scheme, which became the standard of designer fashion and an indicator of impeccable style.

Iran is famous for its arabesques - this is an ornament or pattern that is repeated many times. Unlike other eastern countries, images of animals are quite rare in the Iranian interior. The theme of arabesques has developed historically. When Persia (modern Iran) was conquered by the Arabs, they made some changes to the usual Iranian way of life.

For some time, images of animals and people practically disappeared from the Iranian interior, since Islam does not accept this, but instead, floral ornaments, elaborate and exotic vegetation, as well as easily recognizable Iranian abstraction or geometry, began to be actively used.

Everything in the Iranian interior should suggest thoughts of relaxation, therefore, firstly, bright, deliberate materials for decoration should not be abused. Secondly, the premises should be organized in such a way that there is always a feeling of freedom, spaciousness. In the Iranian house there is not a single object deprived of attention.

Here everything is in its place, the arrangement of furniture is ideally thought out, the interior is replete with luxurious accessories.

Flowers are a characteristic motif of the oriental interior. Applied to a fabric, carpet, wooden tabletop or any other surface, flowers in an oriental interpretation always look very elegant, sensual, and rich.

The walls are traditionally high, and the ceiling is created according to the principle of a complex structure: multi-level, arched. arch like architectural element generally popular in Iran. Very rarely, interior doors are used there - they are successfully replaced by a wide arched opening with beautiful curtains, decorative textile panels.

And, finally, the main Iranian pride is carpets. The carpet is the chief decorative element in Iranian interior. It is Iran that is considered the birthplace of carpets, and today this country continues to be the undisputed leader in carpet production. In the East, carpets are universal items. They are not only a floor covering - carpets are hung on walls, in doorways, are used as a dividing fence of different zones, a lounger on a low podium, a wall bag, a pouffe, with the help of a carpet they designate a personal place for prayers.

By the number of carpets in the house, the Iranians determine the level of prosperity of the owners. Even today, Europeans continue to inherit the Iranian style, using carpets in unexpected interpretations: in the form of a picture or, for example, a removable seat for a chair.

In a properly created Iranian interior, everything should remind you of a vacation, and therefore too bright accessories and deliberate materials will be out of place. The space must be organized in such a way that a sense of personal freedom and a sense of spaciousness must be left.

Head of a ruler, ca. 2300 - 2000 BC.
Presumably Iran
Copper with arsenic
Height: 34.3 cm

Helmet with figures of deities under a bird with open wings, XIV century. BC.; Middle Elamite period
Southwestern Iran
Bronze; gold foil on bitumen
Height: 16.5 cm

Vessel ending in the front of a lion, Achaemenid period, 5th c. BC.
Gold
Height: 17 cm

Tetradrachm of Seleucis I, 300 - 280 BC, Seleucid period
Found during excavations in Pasargadae
Silver

The top of the standard, VIII - VII centuries. BC.
Luristan, Western Iran
Bronze
Height: 16.5 cm

Vessel with spout and stand, 9th century BC.; Iron Age II
Found during excavations at the Hasanlu cemetery, Northwestern Iran
Ceramics
Height: 21.7 cm

Grooved vessel, Achaemenid period, reign of Darius I or II (522 - 486 BC or 432 - 405 BC)
Gold
Height: 11.1 cm

Bowl with gazelles, early 1st millennium BC
Northwestern Iran, Caspian region
Gold
Height: 6.5cm

Belt or harness decoration depicting an eagle and its prey, 1st c. BC. - I century. AD; Parthian period
Gold inlaid with turquoise
Width: 8.4 cm

Standing man, I - II centuries. AD; Parthian period
gray stone
Height: 76.8 cm

Rhyton ending with the front part of a wild cat, 1st c. BC. - I century. AD; Parthian period
Gilded Silver
Height: 27.5 cm

A dish depicting a king hunting sheep; the end of the 5th - the beginning of the 6th centuries; Sassanid period
Silver, mercury gilding, blackening
Height: 4.6 cm; diameter: 21.9 cm

A dish with a hunting scene from the legend of Bahram Gur and Azadeh, 5th century; Sassanid period
Silver, mercury gilding
Diameter: 20.1cm

King's head, 4th century; Sassanid period
Gilded Silver
Height: 40 cm

Jug in the form of an animal, IX - X centuries.
Found in Neishapur, Eastern Iran
Pottery; polychrome ornament under transparent glaze
Height: 26.7 cm

Vessel with Arabic inscription, 10th c.
Refers to Iran or today's Uzbekistan, Neishapur or Samarkand; found in Iran: Neishapur, Tepe Madras
Pottery, white enamel with carved black enamel under transparent glaze
Height: 8.5 cm, max. diameter: 27.5cm

Vessel with Arabic inscription, late 10th - 11th century.
Found at Neishapur, Tepe Madras
Pottery; white enamel with polychrome enamel under clear glaze
Height: 10.8 cm; top diameter: 35.6 cm, base diameter: 15.5 cm

Jug, 7th century
Bronze, casting, engraving and inlay
Height (at the top of the cat's head): 48.5 cm, width (including handle): 25 cm, handle length - 29 cm, diameter: 21.1 cm

Bracelet, 1030
Gorgan, Northern Iran
Gold
Clasp height: 6.4 cm, max. diameter: 10.5cm

Stand for a jug with medallions in the form of signs of the zodiac, the period of the Seljukids (1040-1196), first half of the 13th century.
Brass; engraving, inlay with silver and red copper
Height: 22.2 cm, diameter: 17.5 cm

Vessel, early 14th century
Western Iran
Brass inlaid with silver and gold, champlevé enamel (engraved)
Height: 13 cm, diameter: 51.1 cm

Vessel depicting celestial bodies and great rulers, Seljuk period (1040-1196), late 12th - early 13th centuries.
Central or northern Iran
Frit porcelain; polychrome paints under glaze and overglaze painting, as well as gilding on opaque monochrome enamel (“mina”)
Height: 9.5 cm, max. diameter: 18.7cm

Vessel with a lion, Seljuk period (1040-1196), early 13th century.
Refers to Iran, Kashan
Frit porcelain: overglaze painting with luster paints on monochrome white enamel
Height: 10.5 cm, edge diameter: 22.2 cm

Vessel, period of the Seljukids (1040-1196), late XII - early XIII centuries.
Composite base, overglaze painting and gilding
Height: 8.9 cm, diameter: 21.7 cm

A game of chess by the masters of Buzurjmehr: from the so-called "First Minor Shahnameh (Book of Kings)", ca. 1300 - 1325
Northwestern Iran or Baghdad

19 x 13.2 cm

Set of chess pieces, 12th century
Neishapur, Iran
Enamelled Frit Porcelain

Container in the shape of a horse and rider, XII - XIII centuries.
Composite base, underglaze painting
Height: 27.6 cm, width: 7.6 cm, diameter: 21 cm

Jug, XIII century. (1226)
Today's Iraq or Syria
Brass, engraved and inlaid with silver
Height: 36.8 cm, diameter: 20.9 cm

Jug, Seljuk period (1040-1196), c. 1180-1210
Khorasan, Eastern Iran
Brass; raised relief, inlaid with silver and black compound
Height: 40 cm, diameter: 19.1 cm

figure, ca. 1200, Seljuk period
Painted stucco work
Height: 144.8 cm, max. width: 49.5 cm, max. diameter: 24.1cm

Flask with zodiac medallions, Ilkhanid period (1206-1353), first half of the 14th century.
Kashan, Central Iran
Frit porcelain; modeling, monochrome enamel
Height: 30.5 cm, width: 26 cm

Vessel on a leg, period of the Seljukids (1040-1196), beginning of the 13th century.
Bronze; silver and black inlay
Height: 11.1 cm, diameter: 17.3 cm

Inkwell with 12 zodiac medallions, Seljuk period (1040-1196), late 12th - early 13th centuries
Brass, casting, inlaid with silver and red copper
Height: 6 cm, diameter: 8.3 cm

Inkwell with the signs of the Zodiac, Seljuk period (1040-1196), early 13th century.
Probably Iran
Brass; casting, inlay with silver, red copper and black composition.
Height: 14.9cm, Height without lid: 9.2cm, Diameter: 11.6cm

Isfandiyar's funeral procession: from the "Great Mongolian Shahnameh (Book of Kings)", 1330s.
Probably Tabriz, Western Iran

22 x 29 cm

Oil lamp, late 12th - early 13th century
Khorasan, Eastern Iran
Bronze with silver and red copper inlay
Height: 20 cm

Storage vessel (albarello), late 13th - 14th century
Frit porcelain, glaze painting
Height: 37.5 cm

Allegory of earthly and heavenly intoxication: a page from Hafiz's Divan (collected poems by Hafiz), c. 1526 - 1527
Sultan Muhammad (Iranian, active in the first half of the 16th century)
Tabriz, Western Iran
Opaque watercolor, ink and gold on paper
28.9 x 21.6 cm

The Angel Sorush Saves Khosrow Parviz: From Shahnameh (Book of Kings) by Shah Tahmasp, c. 1530 -1535
Attributed to Muzaffar Ali
Tabriz, Western Iran

47.1 x 31.8 cm

Shah carpet (detail), mid-16th century
Iran (most likely Herat)
Silk (warp and weft), wool (pile), asymmetric knot
7.51 x 3.3 m

Jug, early 16th century; Safavid era
Afghanistan (most likely Herat)
Cast brass inlaid with silver and gold
14 cm, cap diameter: 9.2 cm

Feast of Sade: From Shahnameh (Book of Kings) by Shah Tahmasp, c. 1525
Attributed to Sultan Muhammad (an Iranian active in the first half of the 16th century)
Tabriz, Western Iran
Paint, ink, silver and gold on paper
47 x 32.1 cm

Ferdowsi visits the writer to inspire him: a page of the scattered manuscript "Khavaran-name", ca. 1480; reign of Ak-Kuyunlu
Shiraz, South Iran
Ink, paint and gold on paper
Height: 39.8 cm; width: 28.9 cm

Iranians Mourn the Death of Farud and Jarira: From Shahnameh (Book of Kings) by Shah Tahmasp, c. 1530 -1530
Attributed to Mirza Muhammad Gabahat
Tabriz, Western Iran
Paint, ink, silver and gold on paper
47.3 x 31.8 cm

Isfandiyar defeats the dragon: From Shahnameh (Book of Kings) by Shah Tahmasp, c. 1530 -1530
Attributed to Qasim son of Ali
Tabriz, Western Iran
Paint, ink, silver and gold on paper
47.3 x 31.8 cm

A page from a poetic anthology including works by Nizami and other poets, 1411; Timurid period
Calligraphy by Mahmoud al-Husseini
Iran (Shiraz)
Ink, paint and gold on paper
Height: 26.7 cm, width: 17.8 cm

Qur'an of Sultan Ibrahim, 1427, Timurid period
Shiraz, South Iran
Ink, paint and gold on paper
Page height: 20.3 cm, width: 14 cm

Sheikh Mikhna and the Peasant: A page from the Mantiq-al-Teir (Language of the Birds) manuscript by Farid al-Din Attar, c. 1487; Timurid period
Iran (Herat)
Opaque watercolor, ink and silver on paper
19.7 x 14.6 cm

Sheikh Sankan and a young maiden on the balcony: a page from the Mantiq al-Teir (Language of Birds) manuscript by Farid al-Din Attar, c. 1600; Safavid period
Isfahan, Central Iran

18.5 x 12.2 cm

A drowning man: a page from the Mantiq-al-Teyr (Language of Birds) manuscript by Farid al-Din Attar, c. 1487; Timurid period
Iran (Herat)
Opaque watercolor, ink, silver and gold on paper
18.7 x 13 cm

Astrolabe, 1654 - 1655; Safavid period
Signed: Muhammad Zaman
Brass and steel
Assembled - length: 21.6 cm, width: 17.1 cm, diameter: 5.7 cm

Plate, 17th century
Presumably Tabriz, Western Iran
Frit porcelain with a blue pattern under a clear glaze
Height: 7 cm, diameter: 43.8 cm

Jug with lid, first half of the 18th century.
Ceramics, glaze
27.9 cm

Carpet with a medallion and background decorated with flowers, 17th century; Safavid period
Wool (pile), cotton + wool + silk (warp)
205.7 x 142.4 cm

Polonaise type carpet, early 17th century; Safavid period
Silk, gold and silver threads
398.78 x 170.18 cm

Portrait of a Portuguese, c. 1630; Safavid period
School of Reza Abbasi (c. 1565 - 1635)
Paints and gilding on paper
30.5 x 17.8 cm

Div Aquan carries Rostam; volume 158 of the Shahnameh (Book of Kings), mid-17th century; Safavid period
Signed: Musin Musavvir (worked around 1638 - 1697)
Isfahan, Central Iran
Ink, paint, gold and silver on paper
36.5 x 22.2 cm

Standard in the shape of a palm, early 18th century.
Silver with blackening
Height: 48.9 cm, width: 22.9 cm

King Afrasiyab of Turan consults with his brother Garsivar: sheet from volume 110 of the Shahnameh version, dated 1696; Safavid period
Attributed to Muhammad Zaman
Ink, paint and gold on paper
47 x 28.2 cm
Signed: Yaya Sahib al-Zaman! (“Long live the Hidden Imam (Imam Mehdi)!”)

65
Bottle, XVIII - XIX century.
Glass, mold blowing, free blowing and machining
Height: 38.1 cm, max. diameter: 11 cm
Marriage contract, 1874
Signed: Abul-Qasim Farhang
Ink, paint and gold on paper
26.3 x 14.3 cm

Queen of Sheba on the throne late XIX- the beginning of the twentieth century.
Ink, paint and gold on paper
29.2 x 14.6 cm
All photos and text are taken from The Metropolitan Museum of Art (

It all started with a bedspread bought at an Iranian bazaar. Continuation of the story - and a lesson on how to make the oriental bedroom interior modern and sophisticated - in the Persian Dreams project.

Photographer: Yury Grishko" width="100%">

• 1 of 1

On the picture:

Oriental-style bedroom design certainly involves the use of ethnic textiles. The tablecloth in the photo was brought from Iran

This oriental bedroom is decorated by designer Zhanna Studenttsova according to all the canons of luxurious Persian style. Despite its traditional elegance, there is no redundancy here - ethnic textiles look great against the background of monochrome walls and wooden floors. Splendor is kept to a minimum, although on fabrics with a rich texture one cannot fail to notice a noble ebb.

6 tricks worth repeating

1 Colors. The traditional oriental interior uses four main colors: red, blue, white and yellow. These colors have a symbolic meaning, so the patterns of authentic textiles should be kept in the "correct" colors. They can be taken as a basis, supplemented with more complex, mixed versions - so ethnic interior will look more sophisticated.

2 Canopy. The interior of bedrooms in oriental style is hard to imagine without a canopy. A complex decoration made of elegant fabric with intricate draperies emphasizes the role of the bed in the interior, adds coziness and luxury to the atmosphere. The canopy repeats the round shape of the bed, which, in turn, beats non-standard layout rooms.

3 Ethnic patterns. A real Persian interior is impossible without authentic patterns. In this bedroom, a bedspread, a framed napkin on the wall, and a tablecloth were brought from the Iranian bazaar and are objects of ancient Galamkar painting. If it is not possible to bring textiles from Iran, you can pick up something suitable in other countries. Persian patterns are aesthetically close to Indian ones.

4 Themed decor. Furniture items should also be decorated “under the East”. In this photo, a standard IKEA chest of drawers is trimmed with braid and lace. The drawing is reminiscent of the famous "Gate of the Quran" located in Shiraz. The lace repeats the six-sided pattern characteristic of oriental ornaments.

5 Metal accessories. Another important detail of the Persian decor is metal decorations with chasing and painting. Patterned dishes, vases, jugs, lamps, panels and boxes are indispensable attributes of the oriental bedroom. In this interior, metal decorations were brought from Dagestan and Turkey. Nevertheless, they fit perfectly into the overall "oriental" style.

6 Curtains. An abundance of curtains made of luxurious fabrics - distinguishing feature oriental style. Elegant organza draperies, drapes made of shiny satin or lush velvet give the interior a characteristic languor. In the Persian style, as a rule, peach tulle and rich cherry-colored curtains are used. They can decorate only the window, but also the canopy of the bed, and even the mirror - then it turns into a false window. Another nuance is the thoughtful plasticity of the curtains. In this project, organza pelmets cite the circle shape, key to this interior.

The project is a participant of the competition Best Design bedrooms" on pinwin.ru. Link to project page: http://www.pinwin.ru/konkurs.php?kact=2&knid=37&rbid=6845

See other apartment projects on interiorexplorer.ru

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Iranian style in interior design is known for its special harmony and vocation of relaxation. As a rule, this style is thought out to the smallest detail. Each inhabitant of the dwelling, stylized in the Iranian spirit, will be cozy and comfortable in every corner, because its whole atmosphere is saturated with man-made warmth from natural materials. Like any eastern country, Iran appreciates natural raw materials and hand made. However, if you notice, then the Japanese-style interior is also filled with such items made from natural materials.

Pastel colors are the basis of Iranian interior design. These are more colors that are reminiscent of the desert: terracotta, black, beige and ivory. As a tribute to the sky over the desert in the homes of Iranians, the color blue is very loved, especially its two shades: ultramarine and soft blue. Especially advantageous is the combination of the color of the earth and the color of the water - bright blue and brown. Today, this combination is a timeless trend, an indicator of impeccable style and a true standard of designer fashion.

Also, the Iranian style of interior design is famous for its arabesques - a pattern or ornament that repeats. But unlike other eastern countries, in Iraq, animals in arabesques are quite rare. This difference has developed historically, mainly due to the conquest of the country by the Arabs, who made some changes in their culture. Yes, and Islam does not accept the image of people and animals, but it quite welcomes the floral ornament, artsy and exotic vegetation. The original Iranian abstraction and geometry are also popular.

The Iranian-style interior itself must be impeccable, carefully thought out. The walls are usually high and the ceiling is designed to be very complex structure with several levels and arches. Therefore, the doors are practically not used - they are replaced by a beautiful arched opening with elegant curtains.

And, finally, the main Iranian pride is carpets. Even today, Iran, the birthplace of carpets, remains the undisputed leader in their production. Carpet is not only perfect flooring, Iranians hang it on walls, doors, separate functional areas for them and use it as a lounger on a low podium. It is by the number of these products that the inhabitants of Iraq determine the level of prosperity of the owners. Today, fashionable Europeans use carpets in completely unpredictable places, such as a picture or a removable seat for a chair.

In a properly created Iranian interior, everything should remind you of a vacation, and therefore too bright accessories and deliberate materials will be out of place. The space must be organized in such a way that a sense of personal freedom and a sense of spaciousness must be left.

Discussion: 5 comments

Indeed, all oriental interiors are very homely, cozy, warm and Iranian is another confirmation of this. I am especially impressed by the pastel range, the colors of which resemble the desert. And of course, the biggest plus in using natural materials, the safety of the home is above all.