TEHRAN -- In Three-Ghaleh in Iran’s South Khorasan province, needles move rhythmically through cloth, pulling bright threads into patterns that have endured for more than a century. Each stitch is deliberate. Each motif carries memory. And in the hands of local women, an almost-forgotten art is breathing again.
Known as Chakan-doozi, this intricate form of embroidery has been practiced in the region for over 150 years. More than decorative needlework, it is a visual language — one that tells stories of belief, survival, beauty, and belonging in a land shaped by vast deserts and resilient communities.
South Khorasan, in eastern Iran, is a province of sweeping sands, star-filled skies, and deeply rooted traditions. Across Iran, more than 300 handicraft disciplines have been identified; around 80 exist in this province alone. Among them, Chakan-dozi stands out for its symbolic complexity and technical refinement.
The word “chakan” comes from a Turkic term meaning “to draw.” With colored threads and fine stitches, women draw symbolic designs onto plain fabric. Traditionally, the craft was used to create small embroidered pouches — for tobacco, coins, soap, and other personal data-x-items — objects that accompanied daily life.
Unlike many embroidered items, Chakan-doozi pouches are fully decorated on both sides, with no distinction between front and back. At the center often stands the “Tree of Life,” rendered with seven branches. Around it, small human figures appear in reverence, while stylized natural motifs frame the borders. At the top, a knotted decorative element known as “Shamsak” — believed to bring good fortune — completes the piece.
The threads were once silk. The fabric, a locally woven silk textile known as vala, glowed in hues of crimson, indigo, and violet. Every stitch — chain stitch, couching, delicate fastening stitches — reflected patience and mastery.
Over time, as lifestyles shifted and industrial goods replaced handmade objects, Chakan-doozi began to fade. Many of its patterns risked disappearing with the older generations who carried them.
Fatemeh Shafaei, now in her early forties, remembers seeing old embroidered pouches in her mother’s home as a child. Years later, drawn by a deep affection for traditional crafts, she began researching the forgotten embroidery of her hometown. Through self-study and experimentation, she reconstructed techniques and revived motifs that had nearly vanished.
In 2019, the skill of making Chakan-doozi pouches in Three-Ghaleh was officially registered on Iran’s National Intangible Cultural Heritage list — a milestone that marked both recognition and renewed hope.
Today, Shafaei works with eight women in a home-based production network. There is no large workshop. Each artisan embroiders from her own home, and a small local shop serves as a hub for gathering finished pieces, coordinating orders, and introducing the craft to visitors.
While traditional pouches remain central, Chakan-dozi has adapted. The embroidery now appears on cardholders, handbags, mobile phone cases, garments, and coats — bridging past and present.
Beyond its aesthetic beauty, Chakan-doozi carries economic significance. For women in Three-Ghaleh and surrounding areas, it offers a path to financial participation without leaving home — a vital opportunity in smaller towns where employment options can be limited.
Much of the sales now happen online, through social media and messaging platforms. Artisans also participate in provincial and national exhibitions in cities such as Tehran and Kerman. Tourism, though still centered largely on the desert landscape and night skies of the region, presents growing potential for linking craft and cultural travel.