What is "Kamme Doozi" (Embroidery)?

History of Kamme Doozi

Historically, around 105 years before the birth of Christ, according to tradition, the Chinese government sent pieces of embroidered brocade fabric to Iran as a diplomatic gift to seal an agreement with its neighbors. In 628 AD, when Heraclius captured and looted Dastgerd, the most valuable spoils were the Iranian embroidery works. This historical account led to the misconception that embroidery came to Iran from China. However, archaeological findings in Russia show that in the 3rd century BC, embroidery and the processing of brocade fabrics were already popular in Iran. Iranians used fine golden threads to sew images of grape leaves and tendrils onto woolen fabrics. In later centuries, Byzantine embroidery (a neighboring culture) was considered a refined imitation of Iranian craft.

With the Mongol invasion, Chinese elements influenced Iranian embroidery. Although no examples from this period remain, it is certain that this tradition continued into the 15th, 16th, and 17th centuries. Travelers such as Chardin often praised Iranian embroidery and goldwork, believing them to be superior to European and Turkish work. The history of embroidery in Iran can be traced through artifacts from the Persepolis ruins and the uncovered tiles in Shush, where garments worn by courtiers and guards were intricately decorated, often with embroidery. Archaeological evidence suggests that embroidery existed in ancient Persia during the Achaemenid period. The oldest known example of Iranian goldwork dates back to the Seljuk era.

Method of Kamme Doozi

The technique involves sewing gold thread around small golden or silver sequins, which are then arranged around a template formed by punching a hole in the center of a large round sequin. The small sequins and gold thread cover the template, creating a pattern of small flowers. These flowers are arranged in a continuous line, creating a decorative strip. This technique has a history that is difficult to trace precisely, but it became widespread in the Hormozgan region after the Safavid era. During that time, it was commonly used to decorate scarves, collars, hems of skirts, trousers, cuffs, and sleeves, especially in the cities of Bandar Lengeh, Minab, and Bandar Abbas.

Kamme Doozi Designs

The designs used in Kamme Doozi primarily feature flowers and plants, with the following motifs commonly seen:

• Islami Patterns: Decorative plant-like motifs with spiraling stems, typically referred to as "tendril patterns" among women.

• Khatayi or Khatai Flowers: A key design in Iranian decorative arts, combining flowers, buds, and leaves. The flowers in Kamme Doozi typically feature three, six, or twelve petals, often derived from the lotus flower or based on the royal “Shah Abasi” floral patterns, which link curved lines and leaf shapes.

  

  

• Bracelet Motif: Derived from the shape of bracelets or necklaces that ancient Iranians used to gift to warriors, these motifs are often seen on collar and cuff edges.

• Boteh Jegheh: A rich and symbolic motif representing the cypress tree with a curved top, interpreted in various ways as fig, almond, or palm flowers. This design is often used to decorate the hems of women's trousers.

• Mihrab Pattern: Inspired by the prayer niche in mosques, this design includes columns, chandeliers, flowers, and leaves.

• Branch Pattern: Based on the date palm tree, which holds symbolic importance for people in southern Iran. It is believed that for every palm tree cut down, another must be planted.