The Design and Weaving Manager of Mousavi Carpet Gallery, established in 1960 under the supervision of Seyed Abolhassan Mousavi Sirat, shares a rich legacy of Persian carpet artistry. Educated by his father, a renowned master in design, dyeing, and weaving, he further honed his craft after graduating in painting and handicrafts. Over the years, he has created iconic works such as The Last Day of Pompeii, Louis XVI’s Wedding, 1001 Nights, and The Last Supper of Jesus Christ.

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In a groundbreaking move, he introduced computer-aided carpet design to Iran, becoming the first to utilize digital systems for this purpose after acquiring advanced design technologies at the Domotex Fair in Hanover. This innovation enabled the production of machine-woven carpets and led to the creation of a unique collection of 27 carpets inspired by the Shahnameh (The Book of Kings) by Ferdowsi. This pioneering effort marked the first time a carpet series was designed based on a literary masterpiece and is now preserved in the Iranian Carpet Museum.

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Among his many achievements, he also designed and created portraits of the United Nations Secretary Generals, which are currently housed at the U.N. headquarters in New York. His works have been exhibited in renowned museums worldwide and are highly sought after by collectors.

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Since 1989, he has trained under Ayden Aghdashloo, further refining his skills in professional design and painting. His artistic journey includes over 30 individual and group exhibitions, participation in international biennials, and a legacy of educating and inspiring the next generation of Persian carpet artisans.

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The antique Persian Rugs that has been transformed by Mr. Mohsen Mousavi into a piece of artwork are truly a masterpiece. He says: "In crafting this piece, my goal was to reinterpret and artistically reconstruct a narrative that remains deeply rooted in the past while simultaneously reaching toward the future. The vintage handwoven carpet, chosen as the foundation of this work, embodies the rich artistic and cultural heritage of ancient Iran. Yet, over time, it has endured wear and tear, bearing the marks of history and transformation.

 

To me, these imperfections are not flaws but opportunities—an invitation to breathe new life into the old and uncover beauty within the broken. To mend these fractures, I wove miniature clouds into the composition—not merely as a means of restoration but as a symbol of transcendence, bridging earth and sky. In Iranian art, clouds have long represented spirituality, liberation from material constraints, and a connection to the divine. By stitching them onto the aged carpet, I sought to express the idea that even in the face of decay and imperfection, one can discover something higher—that from material wounds, a deeper, more ethereal beauty can emerge.

The cypress, another powerful motif in this work, stands as a symbol of immortality and resilience, rising from the depths of the carpet. For me, its presence represents a metaphorical liberation from the past and an ascent toward a higher plane. Rather than being bound to the earth, the cypress drifts among celestial clouds, embodying spiritual evolution and the transformation from the physical to the divine. Emerging from the heart of the carpet, it speaks to the journey of the soul—a movement beyond time, beyond material limitations, toward ultimate freedom.

Creating this piece has been a journey in itself—a passage from past to present, from tradition to innovation, from earth to sky. Through this work, I hope to convey that even within remnants of the past, there is space for renewal and hope. Beauty can be reborn from the ruins, and traditions can find new meaning in a contemporary world."