This article examines the position of color in Iran during different time period and dyeing of textiles. In this research, observing the past dyeing methods and awareness to today's chemical and industrial dyeing, an attempt has been made to create color shades using nanomaterials. In this research, copper/silver nanoparticles were taken from Sigma Aldrich Company and using chemical methods two golden and brown colored shades was created on cotton fabric. The results show the success of colors created. Considering the nature of the materials used, it can be stated that these colors do not have any side effects on the environment

Mohammadisaghand, Fariba

Mohammadisaghand, Roya

Sakenyandehkordi, Mehrnoosh

English

International Journal of Applied Arts Studies (IJAPAS)

 Available online at www.ijapas.org 
International Journal of Applied Arts Studies 
IJAPAS 5(3) (2020) 67–71 
 
 
Reviewing the History of Textile Dyeing in Iran and Introducing the 
Novel Method by using Nano Technology 
Fariba Mohammadisaghanda, Roya Mohammadisaghanda, Mehrnoosh 
Sakenyandehkordib* 
aDepartment of Design and Clothing, Research Institute of Traditional and Modern Structures (RITMS), Yazd, Iran 
bDepartment of Graphic, Research Institute of Traditional and Modern Structures (RITMS), Yazd, Iran 
 
Received 10 December 2020; revised 02 January 2021; accepted 13 January 2021 
Abstract 
This article examines the color position and dyeing of textiles in Iran during different time period. 
In this research, observing the past dyeing methods and awareness to today's chemical and 
industrial dyeing, an attempt has been made to produce color shades using nanomaterials. In this 
research, copper/silver nanoparticles were purchased from Sigma Aldrich Company and using 
chemical methods two orange-red and brown colored shades was created on cotton fabric. The 
results showed the success of colors created. Considering the nature of the materials used, it can be 
stated that these colors do not have any side effects on the environment. 
 
Keywords: Textile; Nano Material; Traditional Dyeing 
1. Introduction 
Color is an integral element of nature. Most of the living and non-living material in the universe 
has more or less benefited from color, many objects and phenomena are expressed in colorful 
forms: from diverse colors of rock, water, soil, colorful flowers and plants, glittering wings and 
feathers of birds, and rainbow. In other words, color recognition itself is another story. Light-
sensitive receptors that work in a complex network of brain and nerve for sight, these receptors in 
nature according to light resolution and recognition different colors among the living creatures is 
incomplete. But, by the complex brain system the weak vision is compensated and detects the color 
spectrum range. Human uses color in various celebrations and ceremonies and gradually learn 
various ways to obtain color from nature (Jahanshahi Afshar, 2001). 
Color covers a wide range of topics from color physics, psychology, tradition and culture. In 
Dehkhoda dictionary “Color” is the effect of light on the appearance of objects, which is called 
 
 
* Corresponding author. Tel: +98-9120694957. 
E-mail address: mehrsa96@yahoo.com  
68 Fariba Mohammadisaghand et al. / International Journal of Applied Arts Studies 5(3) (2020) 67–71 
"hue". Color emerges with the effect of absorption and part of light reflection. In scientific 
definitions, the wavelength obtain from light radiation is absorbed by objects and after reflection is 
seen in the invisible color area, that is observed by the eye and analyzed by nerve cells in the brain 
to understand the type of color by human (Shahparvari et al, 2017). 
In Islamic aesthetics color has a special place and studied from a metaphysical point of view. 
Colors are the distinguishing features of Islamic art that, in addition to its decorative appearance, 
have a nature and truth which results from the reproduction of light (Shahparvari et al, 2017). Ages 
ago dyeing has been buried in the dark depths of human life without any definite date for it. But it 
is certain that over time and development of human societies, simple color methods for dyeing has 
been converted to more complex techniques. In addition to the use of various minerals material and 
different parts of plants (stems, roots, leaves, flowers, bark, seeds), humans were able to obtain 
various colors from insects and plant pests (Jahanshahi Afshar, 2001). 
The remains of painting during the ancient period especially cave paintings that have been 
painted in various forms, depict the long history of human familiarity with dyeing. According to 
some scholars, ancient Asian civilizations such as China, Iran and India about 2000 years B.C. were 
completely acquainted with the materials used to dye wool and silk fibers and used it in the best 
possible way (Jahanshahi Afshar, 2001). 
1.1. Color and Dyeing in Iran 
Color is one of the main elements in the valuable Iranian artworks. Meantime, the coloring 
system of Iranian work of art, has always been influenced by factors such as traditional criteria and 
contracts, social beliefs and religion, mysticism, culture, etc., that have been transferred from 
generation to generation through one artist to another. The element of color can be studied in one of 
the most practical handicrafts of Iran, namely cloth weaving in Islamic era: obviously, this 
handicraft has been influenced by the above-mentioned factors in different Islamic periods, and we 
evidence the creativity of many Iranian artists in this field. The valuable period in the art of cloth 
weaving with the presence of the most beautiful element of color can be clearly seen during the 
Seljuk to Safavid era (Rezaei Azar, 2018). 
The common belief of all researchers in the decorative and visual arts of the East is that the 
Iranians masters have used colors in the artworks of the eighth century to the late Safavid, 
especially in cloth and miniature carpets (Suresrafi, 1999). The dyeing with natural material has 
kept its important reflection in the art and carpet weaving industry (Rahimpour, 2019). 
In fact, there is no doubt that the colors used in the old Iranian carpets were natural and plant 
colors, the prominent types as the carpets of the Safavid period are embellishing preservers in the 
world museums. Till date most of the colors of these carpets has remained attractive and pleasant, 
and even if they have changed over time, it has been due to their desirability and increasing quality 
(Suresrafi, 1999). 
The most important sources of natural dyes are plants, from which the obtained colors are 
exposed to sunlight, washing and use that over time find a gentle glow on the fibers. Undoubtedly, 
the radiance of the beautiful carpets that have remained in the museums of the world from the past, 
especially the Safavid era, has caused the illusion that natural colors are sufficient and desirable for 
use in carpets, and if there is a color change in the carpet colors, it has been a pleasant color change. 
The comparison of plant color with industrial colors (sometimes its stability reaches the highest 
standards of color stability) is not appropriate (Suresrafi, 1999). 
                    Fariba Mohammadisaghand et al. / International Journal of Applied Arts Studies 5(3) (2020) 67–71                      69 
1.2. Color in Fabrics during the Seljuk, Mongol, Timurid and Safavid Period 
Colors: Use of different plant materials and insects such as: red seeds, Rubia tinctorum (rose 
madder), Socotra dragon tree, ginger plant and Anacardiaceae for red color; Sumac (Rhus), saffron, 
turmeric, Safflower, pomegranate peel, Reseda and grape leaves for yellow color; indigo plant, 
wood color, Jute plant or litmus for blue color. The mixture of yellow and blue give the green color. 
The green walnut skin is used for brown color, indigo plant in two different types as black alum 
(lye), iron rust used for black color (Rezaei Azar, 2018). 
1.3. Dyeing in Textiles 
In Iran, in addition to various colors used, stabilizing materials were also used to keep the fabric 
color constant, and to have the desired changes in light color shades. The stabilizers are: alum 
(aluminum sulfate), Alkali alum (potassium alum), Ammonium alum (Copper and iron sulfate), and 
extract from terebinth leaves, fresh walnut skin, green pistachio skin, and pomegranate peel (Rezaei 
Azar, 2018).   
This method of color dyeing in Iran is the result of Iranian weaver’s experiences in the past 
centuries, which has been an important factor in the quality of Iranian fabrics and carpets with 
constant colors (Rezaei Azar, 2018). 
1.4. Evolution of Fabric Weaving during the Safavid Period 
During the Safavid era in the weaving centers of Iran, fabrics were produced such as silk, 
borcode (knitted fabrics), velvet, satin, block printed, scarf (cashmere, double and multi ply fabrics) 
and embossed silk. These fabrics were unique in terms of color variety with beautiful designs and 
patterns (Talebpour, 2018). 
Dyers of the Safavid period obtained different tones of color by combining different materials, 
which was in fact a diagram of the colors found in nature and included the lightest to the darkest 
colors (Rezaei Azar, 2018). 
1.5. Dyeing 
Dyeing is a process in which the color material under certain conditions such as temperature and 
time affects the fibers or knitted products and dyes it. The carpet dyeing is also part of textile 
industry. Generally, dyes refer to all natural or chemical materials that have the ability to dye fibers 
or textiles. Differences can be seen in the comparison between traditional and modern methods due 
to the application of some traditional materials in dyeing with natural colors. The performance 
nature and results obtained from natural dyes is scientifically justified and is fully consistent with 
advanced industrial methods (Suresrafi, 1999). 
1.6. Color Selection 
In dyeing process, there is a principle in choosing the appropriate color and this issue is 
applicable to natural and industrial dyes. The concept of a suitable dye in its simplest form is 
depending on the type of fiber being dyed, (for example; acid dye for wool, and naturally the direct 
dye used for dyeing cotton fibers cannot dye the wool fibers) (Suresrafi, 1999). 
70 Fariba Mohammadisaghand et al. / International Journal of Applied Arts Studies 5(3) (2020) 67–71 
1.7. Nanoparticles 
The noble metal nanoparticles have been used since ancient times as decorative pigments for 
glass and ceramic colors. The famous Dichoric Cup with effect (Dichronic), gold and silver 
nanoparticles are used as color, an example of the old use of nanoparticles for noble metals in 
works of art. This cup shows the reflected green color in the light which passes through the bright 
red color in the light that it is due to the presence of gold and silver nanoparticles in the glass 
matrix. Silver nanoparticles, as one of the oldest decorative pigments, create not only beautiful 
colors but also antibacterial properties. Inorganic nanoparticles, especially silver nanoparticles, are 
cheap, stable and effective in comparison to the organic antibacterial materials. Silver ions have 
antimicrobial and photoactive properties, and textile products treated with old silver nanoparticles 
are in limited colors. Consumers want textile products with enhanced functions, such as 
antibacterial, antistatic, dye resistance and light-ray protection (Johnston et al, 2008; Tang et al., 
2011; Metraux and Mirkin, 2005). 
2. Practical Work Process (Method) 
Cotton fabric was provided by Yazd Baf Company. Silver /copper nanomaterials were purchased 
from Sigma Aldrich Company. Initially, silver nitrate solution was prepared, and then 2 ml of 
Trisodium citrate was added with 0.1 gram of Polyvinylpyrrolidone and hydrogen peroxide. Half 
ml of sodium borohydride solution was added and by using a mixer it was stirred for 30 minutes. It 
was ultrasonic by adding to it 1% copper and silver nanomaterials. Later, a cotton cloth was added 
and the ultrasonic was repeated. Finally, the sample was washed with distilled water and dried in an 
oven. The resulting sample has an orange-red color shade (Figure 1). The same experiment was 
performed with half percent of nanomaterial which resulted in a golden brown color shade (Figure 
2). 
 
Fig 1 Dyed fabric sample with 1% nanomaterials 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Fig 2 Dyed fabric sample with 0.5% 
nanomaterials 
 
                    Fariba Mohammadisaghand et al. / International Journal of Applied Arts Studies 5(3) (2020) 67–71                      71 
3. Conclusion 
In this article, dyeing methods and art of dyeing in the past of Iran were studied. Based on the 
materials presented in the past, the textile dyeing was done using many natural dyes, but despite the 
fact that industrial chemicals were not used for dyeing, the effluent of these dyes was still harmful 
to the environment. Today, in most countries, chemical dyes are used for textiles dyeing which has 
adverse effects. In this article, attempt has been made to create different color shades on the fabric 
by using nanomaterials so that they can be used as an alternative to industrial chemical dyes. 
Therefore, using silver/copper nanomaterials were able to create two shades of gold-brown and 
orange-red on cotton fabric. 
References 
Jahanshahi Afshar, V. (2001). Dyeing process of fibers with natural materials. Tehran, University 
of Art. 
Johnston, J. H., Richardson, M. J., Burridge, K. A., & Kelly, F. M. (2008). Gold Nanoparticles as 
Colourants in High fashion Fabrics and Textiles. Victoria University of Wellington, New 
Zealand. 
Metraux, G. S., & Mirkin, C. A. (2005). Rapid Thermal Synthesis of Silver Nanoprisms with 
Chemically Tailorable Thickness. Advanced Materials, 17(4), 412-415. 
Rezaei Azar, N. (2018). Investigation of color element in fabrics of Islamic period (Seljuk to 
Safavid). Journal of Print World. No. 152. 
Rahimpour, Sh. (2019). Science and Technology of Textile and Clothing.  Scientific Journal, 1(9). 
Shahparvari, M., Mirza Amini, S. M., Zare Mehrjardi, M., & Sheikh Belgo, A. (2017). Studies in 
the World of Color. Elmi-tarviji journal, 7(1), 47-65. 
Suresrafi, Sh. (1999). Iranian colors. Hand-woven Carpet Research Institute.  
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anisotropic silver nanoparticles: multifunctionalization of wool fabric. Journal of colloid and 
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Reviewing the History of Textile Dyeing in Iran and Introducing the Novel Method by using Nano Technology

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Reviewing the History of Textile Dyeing in Iran and Introducing the Novel Method by using Nano Technology

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