If you have ever been mesmerized by the intricate, rhythmic patterns of scrolling vines on a Persian carpet or the tilework of a mosque, you have likely called it an "arabesque." It is a beautiful word for a beautiful form. But in the world of traditional Persian art, this pattern holds a deeper name and a hidden history.

Welcome to the secret life of the Eslimi.

While the terms are often used interchangeably, understanding the nuance between "arabesque" and "eslimi" unlocks a deeper appreciation for the artistry behind the patterns. It reveals a design philosophy that is not just about decoration, but about capturing the infinite.

Two Names for One Beauty

To the Western eye, the rhythmic, interlacing designs of foliage and tendrils that form seamless, repeating motifs are known as Arabesques. This Western term, meaning "in Arab style," was coined by Europeans in the 19th century to describe the surface decorations they observed in Islamic art.

However, the native term for this foundational element is Eslimi (or Islimi). An Arabic word meaning "related to Islam," it is a pillar of traditional Iranian painting and architecture, with roots tracing back much further to the Sassanid era. Along with calligraphy and geometry, the Eslimi is one of the three main aesthetic components of Islamic art.

Essentially, "arabesque" is the Western name for a type of art for which the local name is "Eslimi".

The Hidden Distinction: Animal vs. Plant

While the terms are largely interchangeable in a general context, within the specific discipline of Persian art—known as tazhib or illumination—there is a fascinating distinction.

Not all scrolling vines are created equal.

• The Eslimi: In traditional Persian painting, Eslimi patterns are thought to have an animal source. Their stylized motifs, though heavily abstracted into spirals, are derived from the anatomy of animals—imagine the curve of an elephant's trunk or the graceful arch of a gazelle's neck abstracted into a perfect, endless line.

• The Khataii: Eslimi is often used in combination with Khataii patterns. These are its floral counterparts, deriving their inspiration explicitly from the world of plants, flowers, and buds.

So, when you look at a complex piece of Persian ornamentation, you are often seeing a harmonious interplay between abstracted animal forms (Eslimi) and stylized plant forms (Khataii) dancing together.

The Philosophy of the Infinite

Despite these subtle differences in inspiration, both Eslimi and Khataii share a profound unifying philosophy. They are not mere decorations. These continuous, unbroken spiraling lines and repeated motifs that can be tiled endlessly are designed to symbolize the infinite, indivisible nature of the divine. They create a visual rhythm that has no beginning and no end, inviting the viewer into a state of contemplation.

At Nilpar Gallery, we honor this ancient language of design. In the contemporary works of Niloofar K. Afshar, these traditional Eslimi motifs are often deconstructed—isolated in textured gold leaf against deep, modern backgrounds. By breaking the infinite loop, we invite you to pause and admire the singular beauty of the curve itself, connecting the deep history of the past with the bold expression of the present.