TRIBAL RUGS TREASURES OF THE BLACK TENT
BRIAN W. MACDONALD
Contents Foreword by the late Sir Denis Wright Acknowledgements Introduction Chapter 1. The Ancient Art of Tribal Weaving Chapter 2. The Oldest Complete Rug in the World The Pazyryk Rug c.400-500 BC Chapter 3. After ‘Pazyryk’ Chapter 4. The Tribes of Central Asia The Türkmen Chapter 5. The Tribes of Afghanistan The Timuri, The Chahar Aimaq, The Mushwani and The Türkmen Chapter 6. The Nomadic Tribes of Persia The Baluch, The Afshar, The Qashqa’i, The Khamseh Confederacy, The Lor, The Bakhtiari-Lor, The Kurds, The Kizyl-Bash and The Shahsevan Chapter 7. The Tribes of the Caucasus Chapter 8. The Tribes of Anatolia Chapter 9. The Final Years of the Twentieth Century A Return to Tradition Chapter 10. The Lost Language – An Exploration of Symbolism in Antique Tribal Rugs and Weavings Chapter 11. Eastern Tribal Rugs and Bags as Wall Hangings Chapter 12. The Appeal of Collecting Antique Eastern Rugs Points to look for and Mistakes to avoid Glossary Select Recommended Reading Index
9 10 11 15 23 26 29 58
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226 250 261 276 283 285 290 296 298
THE TRIBES
OF
CENTRAL ASIA – THE TÜRKMEN
Gurbaghe göl Colour Plate 5 DIP GHALI (small rug), TEKKE Türkmen, Turkmenistan, Central Asia, third quarter 19th century. 1.70m x 1.15m (5ft.7in. x 3ft.9in.). The madder red field of this exceptionally fine Tekke Türkmen rug contains three vertical rows of ten Tekke tribal göls. The minor göl depicted here is referred to as the Gurbaghe göl and has been thought to represent either two major groups or sub-tribes of the Tekke. The wool is soft and silky and I would guess the weaver was highly experienced. Private Collection, U.K.
Colour Plate 5A. Tekke structure 40
THE TRIBES
OF
CENTRAL ASIA – THE TÜRKMEN
Colour Plate 6 DIP GHALI (small rug), TEKKE Türkmen, Turkmenistan, Central Asia, last quarter 19th century. 1.09m x 92cm (3ft.7in. x 3ft.). Extremely fine weave and small size indicate a dowry rug – the opportunity for a young woman to show her skill at weaving and impress her future husband. The design comprises four vertical rows of ten Tekke göls. Courtesy Brian MacDonald
Tshemtshe göl 41
THE NOMADIC TRIBES
OF
PERSIA – THE BALUCH
Colour Plate 70 CHANTEH (vanity-bag), SALAR KHANI tribe, KHORASSAN province, North-East PERSIA, second half 19th century. 40cm x 36cm (1ft.4in. x 1ft.2in.). Although acquired quite separately from the salt-bag in the following illustration, and years apart, they could easily be mistaken for a pair! The weaving technique is of the same high quality work with the main borders and piled bases being very similar. They are obviously the work of the same tribe and in my opinion, the Salar Khani take the credit. Private Collection, U.K.
FRONT BACK
Colour Plate 71 NAMAKDAN (salt-bag), SALAR KHANI tr ibe, KHORASSAN province, North-East PERSIA, second half 19th century. 56cm x 38cm. (1ft.10in. x 1ft.3in.). One of the finest Salar Khani weavings I have seen, emphasising the point that the best work regularly went into the making of small utilitarian bags – in many cases woven as ‘dowry’ or ‘trousseau’ possessions. The illustration shows the front and back of this very rare salt-bag. The front has the Salar Khani border, similar to the vanity-bag in Colour Plate 70, and silk is used for highlighting certain features or symbols in the central field. Private Collection, U.K.
110
THE NOMADIC TRIBES
OF
PERSIA – THE BALUCH
Colour Plate 72 RU ZINI (saddle-cover), SALAR KHANI tribe, KHORASSAN province, North-East PERSIA, second half 19th century. 97cm x 81cm (3ft.2in. x 2ft.8in.).
Fish – swim in woven water gardens, often in pairs. Two fish symbolise happiness in marriage.
The majority of antique ‘Baluch’ saddle-covers in private collections were woven by the Salar Khani tribe. However, this example is unusual in its layout and depiction of a multitude of small animals and birds. The inner field contains the so-called ‘Herati’ pattern, consisting of fish swimming in a water garden. Surrounding the fish are water lilies and then a cockerel or peacock guarding the inner field. The main border depicts birds and animals, making sure that evil spirits do not enter. The small ‘filled-in’ square in the lower border was the hole to encircle the pommel. Private Collection, U.K.
111
THE NOMADIC TRIBES
OF
PERSIA – THE AFSHAR
Colour Plate 81 (Left) RUG, AFSHAR tribes, Southern PERSIA, last quarter 19th century. 2m x 1.35m (6ft.6in. x 4ft.6in.). A magnificent example of Afshar work using excellent wool and good plant dyes. Particularly beautiful are the different nuances of light to mid blue used in the spandrels and the myriad of birds and animals depicted throughout. The yellow inner border is a nice touch and the brocaded ends remain intact – a sign of age and quality. Courtesy Brian MacDonald
Angular boteh
Colour Plate 82 (Opposite) SUMAKH, AFSHAR tribes, Southern PERSIA, last quarter 19th century. 1.52m x 1.07m (5ft. x 3ft.6in.). This small sumakh rug might have been a child’s cradle, bearing in mind the small size and the braided warps which are often bound this way for strength and durability. The beautiful paleyellow field contains diagonal rows of botehs and the extra end panels contain rows of eightpointed stars – symbols of happiness and fertility – an appropriate weaving, therefore, to contain such symbolism! Private Collection, Singapore 122
THE NOMADIC TRIBES
OF
PERSIA – THE AFSHAR
123
THE NOMADIC TRIBES
OF
PERSIA – THE QASHQA’I CONFEDERACY
Isfahan
IRAN
IRAQ
Semirom Ahvaz
› ›
Abadeh
› ›
it wa u K
SAUDI ARABIA
Eqlid
›
›
Yasuj
Kerman
Shiraz
PERSIAN GULF
›
Firuzabad
Qashqa’i summer and winter territories, Fars Province, South-West Iran
The Qashqa’i Confederacy
Qashqa’i girl dancing at a wedding – Pasargadae, South-West Persia 132
The Qashqa’i, according to some sources, originated among the Khalaj, a Turkic people who originated in eastern Turkistan and one of the twenty-two tribes of the western Oghuz which left the area in the eleventh century. At the end of the fourteenth century the great Mongol ruler, Timur, moved some Khalaj from Asia Minor to central and eastern Persia. Shortly afterwards, a group of Khalaj broke away from the major tribe and fled to Fars in south-western Persia, where they were given the name ‘Qashqa’i’ meaning ‘Fugitives’ or ‘those who fled’. Another source mentions the Qashqa’i as a branch of the Iraqi Türkmen who escaped from Ghaznavid rulers (944-1040) and settled in western Persia. Nineteenth century Qashqa’i leaders have provided the information that the Qashqa’i people were brought from Kashgar in eastern Turkistan to Persia by the Mongol Hulagu Khan. Whatever theory is correct, one thing is certain and that is that the Qashqa’i are not of Persian stock but are more likely to have originated in Central Asia or eastern Turkistan. The Confederacy of Qashqa’i tribes dates, it is believed, from the reign of Shah Abbas (1587-1629), who gave Jani Agha Qashqa’i of the Shahilu tribe control over the tribes in Fars province, south-west Persia. In 1895, no fewer than fifty-seven Qashqa’i tribes were listed by Fasa’i in his book The Tribes of Fars published in Shiraz in 1895. In 1972 the Iranian tribal office named only six major tribes (taifeh): the Sheshboluki, Kashkuli Bozorg, Kashkuli Kuchek, Farsimadan, Darrehshuri and the Amaleh. Other important sub-tribes consist of the Mamasani, Safi Khani, Bolvardi, Rahimlu and Ard Kapan.
THE NOMADIC TRIBES
OF
PERSIA – THE QASHQA’I CONFEDERACY
Qashqa’i women dancing at a wedding – Pasargadae, South West Persia 133
THE NOMADIC TRIBES
OF
PERSIA – THE QASHQA’I CONFEDERACY
Colour Plate 106 STORAGE-BAG, QASHQA’I tribes, KASHKULI taifeh, FARS province, South-West PERSIA, third quarter 19th century. 76cm x 66cm (2ft.6in. x 2ft.2in.). This extremely fine bag was woven in sumakh technique and suggests a highly accomplished, mature weaver. The three horizontal borders contain reciprocal birds’ heads – carrying out their ‘guard duty’. The chequered upper and lower skirts are typical of Qashqa’i design work and this can be seen again in the vanity-bag illustrated in Colour Plate 107. The similarity in the overall weaving structure might indicate the same Qashqa’i sub-tribe. This bag was probably made for a special person such as a Khan or chief and was used for storing important personal effects. Private Collection, U.K.
Reciprocal birds’ heads
152
THE NOMADIC TRIBES
OF
PERSIA – THE QASHQA’I CONFEDERACY
Colour Plate 107 (Right) VANITY-BAG, QASHQA’I tribes, KASHKULI taifeh, FARS province, South-West PERSIA, last quarter 19th century. 30cm. x 66cm (1ft.x 2ft.2in.) including tassels. Another small bag of exceptional quality possibly linked in tribal attribution to the previously illustrated example. A guess to taifeh might indicate Kashkuli work, being a tribe recognised for the finest weavings of the Confederation. The design in the field of this bag is reminiscent of the Seljuc ‘star’ pattern, seen in weavings dating back to at least the fifteenth century. Private Collection, U.K.
Colour Plate 108 (Below) NAMAKDAN (salt-bag), QASHQA’I tr ibes, DARREHSHURI taifeh, FARS province, South-West PERSIA, c.1900. 59cm. x 34cm (2ft. x 1ft.1in.). A simple but extremely effective design in plain-weave technique with three coloured knots in yellow, red and dark blue, probably inserted to ward off the evil eye. It is believed that this salt-bag was woven by the Darrehshuri tribe of the Qashqa’i Confederacy – the style of work is the indicator. Private Collection, U.K.
Eight-pointed stars symbolising happiness, fertility and masculinity (see Colour Plate 107)
153
THE FINAL YEARS
OF THE
TWENTIETH CENTURY
Colour Plate 214 (Left) Contemporary Natural-Dye SUMAKH, BALUCH Tribes, Eastern IRAN, 2003. 1.83m x 1.22m (6ft. x 4ft.). Similar in design to the previous sumakh, this beautiful piece is entirely woven in the sumakh technique except for the main madder-red border, which is in knotted pile. The pale yellow field contains a variety of creatures but particularly interesting is the central band depicting three stylised peacocks – symbols of prosperity to the tribes. Zollanvari Production, Iran
Colour Plate 215 (Opposite) Contemporary Natural-Dye SUMAKH, BALUCH Tribes, Eastern IRAN, 2004. 1.3m x 0.90m (4ft.3in. x 3ft.). In this stunning sumakh the indigo-blue border is the only knotted pile part of the rug – the rest is in the weftwrapping technique. Here we observe mountains with elegant trees and two little shepherds amongst a flock of goats. Birds are seen flying – carriers of the soul from the earthly world to the world of the spirit. Zollanvari Production, Iran
274
THE FINAL YEARS
OF THE
TWENTIETH CENTURY
275
THE LOST LANGUAGE
R
S
T
U
V
R) Colour Plate 64: ‘Sawtooth’ inner and outer borders (Baluch); S) Colour Plate 68: ‘Laleh Abbasi’ inner and outer borders (Baluch); T) Colour Plate 135: ‘Laleh Abbasi’ used as large main border (Bakhtiari); U) Colour Plate 173: Outer and inner reciprocal ‘Laleh Abbasi’ borders (Kazak); V) Colour Plate 176: Outer and inner reciprocal ‘Sawtooth’ borders (Karachov-Kazak)
weavings we can observe double-headed birds or animals which can be interpreted as the guardians of the ‘Tree of Life’. It was believed that Heaven beyond the Sky was separated from our human world by a gate in the Sky, the mythical ‘Sky Door’. The Turkmen Engsis illustrated in Colour Plates 8, 12, 22 and 26 seem to clearly illustrate this belief. The Engsi was a door-hanging within the Türkmen öy and should therefore be viewed vertically. The panel across the lower part of the weaving would depict the vault of the sky or ‘Sky Door’ through which it would be necessary to pass before eventually reaching Paradise, which in this case would be the four panels within the central field representing the symbolic ‘Four Gardens of Paradise’. While the Sky Door may provide a view of something beyond, it can also bar access. Thus anyone seated at the centre of a ‘cosmic’ rug could consider themselves very favourably positioned and spiritually secure. The borders of a rug could also serve symbolically as a kind of fence or barrier. Many show a continuous row of projections resembling spear-points facing outwards on the outermost guard-stripe, often matched by a similar set pointing inwards on the innermost edge of the border. Sometimes the projections resemble triangles arranged in sawtooth fashion; other examples show diamonds jutting from triangles like lance-heads; very often they are continuous birds’ heads (Colour Plates 64, 68, 135, 173 and 176). The very shape of these projections makes them look defensive – as though they were meant to ward off something – as indeed they were. Those facing outwards were symbolically intended to hold at 280
THE LOST LANGUAGE
bay any threatening forces or demonic influences exerted by evil jinns. The inward-pointing ones had the job of restraining or keeping in the good spiritual powers associated with the heavenly pattern of the inner field, and preventing their life-enriching energies from being sucked out. The vases and ewers depicted on prayer rugs in particular were not merely ‘ritual vessels’, as is often assumed, but were primarily symbols of life-giving water and could have symbolised the ‘Waters of Paradise’ as well as purity. Human figures often expressed the hope of having a child or implied the expectation of a baby (Colour Plate 36). Birds were believed to mediate between this world and the spiritual world (Colour Plate 80) and often symbolised a variety of themes such as good or bad luck, happiness, joy and love, the soul of the dead, power and strength (Colour Plates 110 and 133). As early as the fourth millennium BC the bird was recognised as a rain and moon symbol. The cockerel (Colour Plates 39 and 67) represented the harbinger of the day which dispelled the spirits of darkness. The ram’s horn symbolised fertility, heroism, power and strength (Colour Plate 159 border). The star, often represented as having eight points, symbolised happiness, fertility and masculinity (Colour Plates 34, 89, 111 and 171).
Colour Plate 89 – ‘8’ pointed star in central field (Afshar)
Colour Plate 159 ‘Ram’s horn’ Ivory border (Kizyl Bash)
Colour Plate 111 (Above) – ‘8’ pointed star in central field (Qashqa’i) Colour Plate 34 (Left) – ‘8’ pointed star in border pattern (Timuri)
Colour Plate 171 – ‘8’ pointed star in border pattern (Caucasus) 281
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