Oriental rugs sample by Alberto

ALBERTO ALMEIDA

ORIENTAL RUGS

C 2010 COVER PICTURE - Buckhara Polo lemos.almeida@gmail.com

To the memory of a great man, Levy Kelaty, whose work goes on in the family.

Dome of a mosque at Isfahan

Shah Abbas / Safavid Dinasty

INTRODUCTION This book is not intended for the expert on oriental rugs and carpets, my intention is to provide a tool for those that love this art, but have no idea of its value. I hope that this book will help those who wish to start to learn the basics of this ancient art. I aim to show the main production areas including some of the most remarkable rugs produced there, with basic information on technics, material, symbols, type of looms, dyes, and history. There are a lot more rugs being produced in these areas and many other countries that manufacture beautiful rugs which are not represented in this book. For those that need a more detailed information, there are many books in the market that do specialized or more extensive work. I do hope however, that this effort will help you to begin to understand why this form of art has been appreciated by nobles and commons alike. I have tried to present the information in a simple way, so that the readers without deep knowledge of carpet weaving are able to read and absorb the information easily. After reading the book a visit to a carpet dealer to compare your information with the rugs available is advisable. Enjoy the book.

Afghan Shepherd and his flock

PART 1

GENERAL INFORMATION Although no one knows precisely where and when the technique of weaving first began, there is no doubt that the art of weaving, in general, started in Central Asia. A population explosion caused the inhabitants of that area to migrate to the western parts of Asia in order to find more prosperous land. These migrating tribes were called Yuroks or nomadic tribes. During their migrations, these nomads, who were exposed to severe weather conditions, learned how to use goat hair to make their tents. Goat hair is longer and much stiffer than sheep's wool. The flat weave technique was used in the making of nomadic tents.

ORIENTAL LOOM AND TOOLS

Notorious Rugs

An interesting fact is that the art of rug weaving flourished in the 15th Century in Persia and Turkey, followed by Indian early in the 16th Century and China in the 17th Century. Even though weaving was common to all humanity, the end result of each ethnic group was quite different. In addition, paralleling urban weaving centres, nomadic and village weavers continued their centuries-old craft of knotted rugs, with the earliest surviving examples dating from the eighteenth century. In the 18th Century Oriental rugs were first used on floors as well as table coverings and wall hangings During the 1876 Centennial Exhibition in Philadelphia, Oriental rugs were introduced to America. This rug exhibit made a lasting impression on the Americans who saw it. The founder of W.J. Sloan, William Sloan, bought the entire collection from the exhibition and opened the first major retailing store for Oriental rugs in America. It was in Europe in the 19th Century that Oriental rugs were first studied by scholars. The first major Oriental rug exhibition in Europe was in Vienna in 1891. The most important collections of Persian rugs are now at the Metropolitan Museum of Art in New York City, the National Museum in Teheran, and the Boston Museum of Fine Arts. The art of rug making reaches back into pre-history. The majority of pieces available today at dealers, auctions, antique shops, department stores and even museums are mostly products of the 19th and 20th century In order to meet the demands of western markets new materials and dye processes were initiated to speed up the production of rug making after the second half of the 19th century. Although the methods of production have become more organized and standardized, many aspects of weaving remain unchanged in many of the traditional places of rug making Unfortunately very little is known about the earliest examples of knotted rugs. A small number of these have been preserved in museums and private collections, but sadly the vast majority of older rugs have disappeared.

Pazyryk The survival of the earliest knotted rug, the Pazyryk carpet, is owed to the Siberian ice in the Altai Mountains near the outer Mongolian border. This rug, discovered by Soviet archaeologist S.I. Rudenko in 1949, was covered by ice in a burial chamber and had been preserved that way for over 2500 years. The Pazyryk carpet is of unknown origin, measuring roughly 6 by 5 feet woven with the Turkish knot. The design is of a dominant tile-work central motif surrounded by borders featuring rows of elk and horsemen.

Notorious Rugs

Ardebil - V&A Museum, London

As early as the Eighth Century B.C., wealthy families frequently adorned their homes with magnificent rugs. The great period of creativity in rug making took place in Persia during the Safavid period (1499-1722) under the reigns of Shah Tahmasp and Shah Abbas. From this period came the most glorious and outstanding rugs of historic significance Tabriz, Kashan, Herat, and Kerman became busy centres of rug production. Under the Persian king Shah Tahmasp in the late 16th Century, the famous Ardebil carpet was made. Today this priceless work of art is preserved in the Victoria and Albert museum in London. The Ardebil is regarded as one of the most magnificent rugs of the world. It is approximately 17 by 34 feet with over 32 million tightly woven knots

The Spring of Khosrow

The spring of Khosrow, winter carpet, a huge, late Sassanian royal carpet. The carpet measured 60 cubits (araš, derã) square (ca. 27 m x 27 m) *, that may have covered the floor of the great audience hall (Ayvãn-e Kesrã) at the winter capital of Madã'en. Representations of paths and streams were embroidered on it with gems against a ground of gold. Its border was embroidered with emeralds to represent a cultivated green field in which was flowering spring plants with fruit embroidered with different coloured gems on stalks of gold with gold and silver flowers and silk foliage. It was used as a place to drink, as if in gardens, when the winter winds blew. The Habib al-star explains that when one sat on it in winter, it was as if it was spring. When Madã'en fell to the Muslims in 637 this carpet was too heavy for the Persians to carry away so it was taken with the other booty. The Muslims called it al-qetf “the picked” and, since it was left over after Sad Abī Waqqãṣ divided the booty; he sent it to ʿOmar in Medina. Although the assembly agreed that Omar should use his own judgment in disposing of it, Ali was concerned lest someone be deprived of a rightful share in the future, so Omar cut it up and divided it among the Muslims. Although Ali did not receive one of the best pieces, he sold his for 20,000 dirham. * Other information indicates a different measurement for this rug at being 450 long by 90 feet wide.

Oriental Rugs History

Although historians have not been able to pinpoint exactly when knotted rugs were first made, it seems probable that they have been around since human civilization began. Man first began using animal furs as clothing and flooring, but as animals became domesticated and farming increased, the use of sheared wool and silk became mediums for weaving. There are theories about the weaving of rugs originating with the Egyptians, Chinese and even Mayans. What is clear, however, is that as with most things in nomadic life, the origins were based on clothing and shelter not ornamentation. The nomadic people would have used wool from their own flocks of sheep to weave makeshift floor coverings, blankets and even tent coverings. The style of these coverings has changed little over thousands of years, but the designs have changed dramatically. Oriental carpet weaving as and art form, however, has now been accurately traced back to the 5th century BC. Russian archaeologists excavating in the Pazyryk Valley of Siberia, near the outer Mongolian border in the Altai Mountains in southern Siberia unearthed a carpet from a burial chamber belonging to a Scythian Chieftain. It had been frozen in ice and was in remarkably good condition. Modern carbon dating has placed it as 2,500 years old. This carpet is now in the Hermitage Museum at St. Petersburg, Russia. The Old Testament (Exodus, Chapter 36, verses 35, 37) regarded carpets as precious artefacts in the building of King Solomon's Temple (1014-965 BC). It talks about a fine curtain of red, purple and blue with cherubim woven into it by a skilled craftsman. History of the reign of Nebuchadnezzar II (605-562 BC) is also coloured with images of carpet weaving. He ruled Babylon and much of the Middle East. Each of his conquests resulted in a generous bounty of carpets and rugs. Unfortunately, wool textiles oxidize and crumble with the passage of time. There are carpet fragments dating from the 5th century that have been found throughout the Middle East. This seems to indicate that that the weaving art was highly perfected by that time. So we can see that the Scythians were not the only weavers.

The Scythians

Oriental Rugs History

In China, carpet making dates back to the period of the Sung Dynasty (960 to 1279 AD). The Chinese produced rugs in factory workshops controlled by the emperors. The designs were characteristic of Buddhism and Taoism. Marco Polo discovered some of the earliest examples of carpets while travelling through China and Turkey in the 13th century. He was an ardent admirer of Chinese rugs. Weaving as an art peaked in the royal court workshops in and Delhi, India during the Indian Moghul Empire in the sixteenth century. The Romans adorned their palaces with rugs, both on the floor and on the walls. They were highly valued and were even used as payment for taxes. They were clearly perceived as better than money. It is well recorded in history that Queen Cleopatra was presented to Caesar rolled up in a carpet. Caesar ended up with two beautiful treasures. Later still, Pakistan developed the art of carpet weaving from the Persians and even developed styles to suit the Mongolian Emperors. One of the finest examples of carpet weaving can be found in the Victoria and Albert Museum in London. It is a carpet, some 37 feet x 17 feet made of a blend of wool and silk which was found in the mosque at Ardebil in Persia, also in 1947. It has a cartouche in one corner, which bears the date AH947 in the Islamic calendar, which translates to 1540 AD in ours. The cartouche tells us that it was made by the order of the Shah Tahmasp by a weaver named Maksud al Kashani and was used in the Shayka Safi Shrine in Ardebil. An excellent book, The Christian Oriental Carpet by Volkmar Gantzhorn, deals with the history of patterns in rugs. After the explorers, the next clues we get about rugs and their patterns come from artists. The Crusades introduced Europeans to Middle Eastern rugs. They became status symbols for the very rich. Hans Holbein the Younger (c. 1497-1543) made Turkish carpets popular by including them in his paintings. Also, A Family Group, which was painted in 1547 by Lorenzo Lotto (c. 1480-1556) shows a rug border called the "kufic". Paris, France has many examples of rug history. The Louvre Museum shows a stone carving of a threshold rug with a pattern that is still being made today. The Opus statue, also in the Louvre, depicts God in full decoration with a carpet on his back. The history of rugs in France began with Louis IX (1226-1270). He was the leader of the Holy War of the Crusades. He conquered the Moors, who had migrated to France from Spain. Part of the bounty was fine rugs and carpets. By the end of the fifteenth century, Louis XII (1498-1515) had brought many Italian craftsmen to help train his French workers. Francis I (15151547) continued this tradition by brining such artists as Leonardo Da Vinci and Andrea de Sarto to work for the royal family. From 1547-1589, the crafts dried up. In 1589, things took a dramatic upward spiral. Henry IV (1589-1610), started a rug factory in his palace to create rugs for the French market. He liked the rugs so well; he never shared them with the population. Louis XIII (1610-1643), his successor, started an outside workshop for the people called "Savonneries". These French designs, however, were not as popular as the Middle Eastern designs. â&#x20AC;&#x153;A Family Groupâ&#x20AC;? painted in 1547 by Lorenzo Lotto (c. 1480 - 1556),

Oriental Rugs History

The documented history of rugs increases greatly for rugs from the 17th century onward. It is easy to see the changes since the 16th century are relatively minor, although patterns for general areas changed. In a series of books Oriental Rugs-Persian by Eric Aschenbrenner, the issue of geographic barriers to transportation and ethnographic barriers and how they affected the weaving of rugs. These barriers of transportation are the major reason that Persian rugs are such art forms whereas rugs from India and Pakistan have never achieved this status. Oriental rugs made their way to America in the late seventeenth century. They were used as floor coverings and wall coverings. The nineteenth century Victorian era saw a dramatic increase in demand for the rugs. The bold colours and designs complemented the dark and heavy Victorian furniture. An Oriental Indian rug owned by Cornelius Vanderbilt sold for $950,000. The American market has always been strong for these beautiful works of art. Geographic and ethnographic barriers created marked differentiation of rugs between weaving districts. The urban areas supported factories where weaving techniques could be refined. But a weaving district was not limited to just the city. In fact, families living in primitive conditions in areas surrounding the town of note did much of the production: Heriz is a small town in the northwest portion of Iran- yet the production of Heriz carpets is huge. This is because a lot of families made them according to set standards in the area. To be kind, these standards were not always strictly enforced. If there was no cotton for a foundation, they might use wool. If madder was in short supply, some other red dye might be used. Therefore, even within an area there is product differentiation. For instance, in the town of Bidjar, many rugs were woven with specific foundation pattern, and these rugs were called Bidjars. But more rugs were woven in the surrounding areas in the homes of "subcontractors" and they were called Bidjars also. The control over the countryside contractors was much weaker than the control held over the factory weavers. As a result, a Bidjar can vary according to location. To the southeast of Bidjar is a mountainous area, inhabited by a tribe called the QuashQai? The rugs from this area are called "Shiraz" and are woven by a number of nomadic tribes roaming the desert. The QuashQai is one of these tribes. Although by miles the geographic distance between QuashQai and Bidjar is not much, the ethnographic difference is huge-and the difference in the rugs is huge also. If you keep this thought and proceed to the northwest of the QuashQai, you encounter the Zagros Mountains. North of this range is Isfahan. There are a huge difference Isfahan rugs and Shiraz rugs; this is probably due to the environment in which the people live. Look at the map and find Northwest Persia. The weaving area of Heriz is most representative of northwest Persia. A Bakshaish rug, just south of Heriz, looks geometric like a Heriz but has pastel colours. Meshkin, close to Heriz but to the east, uses angular octagons instead of the Heriz arrowhead, but is made of wool sheared from dead sheep, and this wool holds dye differently than wool sheared from live sheep. Ardabil, to the north of Meshkin, stylizes the angularity of the Heriz rugs. Karaja, to the northeast of Heriz, uses a modified Heriz pattern. Ahar, to the north of Heriz, softens the angularity of the Heriz patterns and makes them slightly more curvilinear, like the patterns in the urban areas.

Nomads carrying rugs on a camel

Oriental Rugs History

The town of Tabriz does not reflect similar weaving patterns to the other towns in the area. History explains this. Tabriz was settled at the foot of volcano Sahand. The town was never devastated by natural disasters. It was ruled at various times by Genghis Khan, Timur, and Shah Ishmael I who began the legendary Safavid weaving dynasty. This ruling period from 1501-1736 was highlighted by the reign of Shah Abbas the Great (1586-1628) who cultivated the arts to their highest pinnacle. It was known as the Golden Age of rug making. As the Safavid Empire ended in the 1700's, the art of weaving decayed. The rekindling of the weaving greatness began in the early 1900's and has continued even until today. The weavers of Tabriz are known for their speed, and for their development of a special tool that permits them to weave and cut the knots at the rate of approximately 40 per minute. This is far above the average of 20 knots per minute for a skilled weaver. Today, the same traditions of weaving still endure, with wool still being spun by local people from local sheep and some dyes still being made from plants. What is clear is that tradition is unlikely to die out in the unforeseeable future, as there are groups of wandering nomads (like the QuashQai in Iran) who continue in their old ways as long as there is land for them to live on. The seminomadic folk of the villages are still weaving the same patterns and styles as they have always done and the famous centres of fine carpet production, like Hereke in Turkey and Kashan, Shaman, Qum, Tabriz and many other places in Iran. Even in war torn Afghanistan, carpet production is still going on, while fine carpets are also found in Russia, Pakistan, India and China. There has been a movement recently, however, of weavers taking factory jobs in the larger cities as the Middle East area becomes more westernized. This could leave a void in some weaving districts. As we enter the new Millennium, these unique treasures of the Orient and Middle East are still praised for their magnificent and incredible beauty. It is our mission to clean these rugs with the most practicable and diligent methods. In this way, we are helping to preserve a piece of history.

Old Tabriz

Tools

Comb The comb is used to slide and beat down the weft between rows of knots. This come, moved up and down the warp, pressing the knots in place, securing them before a new row is started.

Hook The hook is a knife-like tool that becomes very narrow on the tip. This tool has two purposes - the weavers use the tip for separating the warp strands while tying a knot and then pulling out the yarn through the warp strands. The side of the hook, which works like a knife, is used for cutting the yarn after each knot is tied.

Scissors Special scissors are used to cut the long or uneven pile as the carpet is woven.

Looms

VERTICAL VILLAGE LOOM

TRIBAL HORIZONTAL LOOM

Looms

WEAVING AN ISFAHAN ON A TOWN VERTICAL LOOM

VERTICAL SMALL LOOM

CAUCASUS

Кавказ

CAUCASUS

Tekke Bokhara / Turkmanistan Tekke The proper name of the Tekke people is Teke. Altough Tekke is the most communly used name. The Teke were part of the Salyr (Salor) of the Oguz Turks. When the Oguz split over the issue of converting to Islam the Teke/Salyr coveted to Islam and became part of the Seljuk/Oguz. The Salyr split in the face of the Mongol onslaught. What we know today as Salor are those that stayed in Turkestan and came under the sway of the Mongols. The Teke emerged again in the 16th century as part of the Sayin Khan-Salor. At this point the Salor/Salar split occurred. The Teke with the Salor stayed in Turkestan under the domination of the Uzbek Mongols. A significant part of the Salyr moved east under the protection of the Mogholistan Khans. They are now in China as the Salar. In the late seventeenth century the Salor confederation broke up which forced the three primary tribes of the confederation, the Salyr, the Saryk, and the Teke out of the Mangyshlak Peninsula and the Balkan Mountains. The tribes moved eastward and then south. this set off a series of incidents where the Saryk usurped the Salyr and then the Tekke/Teke usurped the Saryk. The Tekke/Teke were the dominant southern Turkmen tribe when the Russians came in. In Turkmen rugs we regularly see wefts made from hair as opposed to wool.They main motif is the Gull in an all-overdesign.

Daghestan Daghestan is located at Northeast corner of the caucasus and its varied tribes like Kuba, Shirvan, etc, are mainly moslems. The rugs from these districts wil be described separatly.

Daghestan

Azeri Chul (Karabagh)

CAUCASUS Eagle Kazak

Kazak Caucasian rugs are woven by tribal weavers of the region south of Russia, near the Caucasus Mountains, between the Black and Caspian Seas. This area includes the countries of Georgia, Armenia, and Azerbaijan. There are approximately 350 different tribes, speaking 150 different dialects in this area. Caucasian rugs, even though made by different weaving groups, still have very common characteristics. One common characteristic among Caucasian rugs is the positioning of similar shapes in different sizes next to one another. Another common characteristic is their colorful and bright palette. Colors of blue, red, purple, yellow, green, navy, black and beige can all be combined in one rug. The patterns are very geometric. The common designs tend to be stripes, crosses, squares, diamonds, hexagons, triangles, botehs, 'S' shapes (derived from old dragon designs), some very geometric animal figures such as crab and tarantula, and even sometimes geometric human figures.

Karabagh The name Karabagh translates to â&#x20AC;&#x153;Black Gardenâ&#x20AC;? in English, and it is interesting that many of the rugs from the area have black fields or borders decorated with flowers. Karabagh is primarily known for the production of geometrically designed rugs, but weavers also made many rugs in floral patterns with European influence, following the 19 Century colonial expansion into the region. Because of the resemblance of colors and styles some of the Karabagh rugs are mistaken as Kazaks. The most common errors are the Cloudband and so called Eagle or Adler Kazaks. These rugs were actually made in the Chelarberd district of Karabagh.

Karabagh Kuba Kuba rugs come in many qualities, but non-are sub-standard. Patterns can repeat themes from neighboring Perpedil, Konagkend, and Seichur, but a Kuba usually has a border with a variant of the "Running Dog", stars, carnations, and/or flowers. The field is usually a dark indigo. Warps are light or light brown, wefts are double and light, selvages double and light.

Antique Kuba

Turkey

Konya kilim This kilim was weaved in Konya, the master weaver was known as the best master on natural dyes. These are among the best Kilims around with hand spinned wool, natural dyes and Anatolian traditional design.

105

Turkey

Taspinar Taspinar is a small hamlet in the carpet weaving areas of the Nidge. Nidge is one of the main roads that cross the Taurus Mountains. Taspinar produces excellent carpet of a thick pile, knotted in high quality wool. They have a predominantly blue and red field enlivened by delicate motifs in lighter shades. The yarn is dyed with natural vegetable dyes by the Caucasian methods. Taspinar carpets are among the most beautiful of all Anatolian carpets. In the old Taspinar carpets the Persian influence can be seen which are plant figures and geometric designs used simultaneously. However, the rich colours and beautifully proportioned somewhat formal design prevent this unusual mixture from this pleasing the eye. Well cared for, old Taspinar have a wonderful silk like quality. As the lanolin in the wool rises to the surface it gives the pile a soft rich velvety sheen. New Taspinar are made in the same rich colours as old ones, but the designs are becoming more varied. Caucasian and nomadic pattern have become more regular in recent years. The knot density of Taspinar carpets is 140,000 per square meter.

106

Turkey

Kars Kars located near the Russian border in Turkey, produces carpets designed in the Caucasian style. The main motif used is the large cruciform. The quiet olive-green combined with a dull red-brown and lighter beige tones give the piece enormous warmth. The eight stylized trees of life in the corners are surrounded by a Caucasian calyx-and-leaf border and the guard stripes are called 'running dogs." The extremely valuable hand-spun mountain wool is used in the hand weaving and is especially prized by acknowledged buyers. Natural dyed wool is used with the dominate odours navy blue, red and cream. There are 200.000 knots per square meter in Kars carpet's and for this reason Kars carpets are so noted fine works of art.

107

Turkey

Karapinar The town Karapinar is located to the Eastern part of the great Konya-area. The name Karapinar means "The Black Spring-water" from the spring that today can be seen on the top of the city. From Karaman in the West to the Karacadag-mountains in the East, there have been produced rugs of a special type, originating from the period when the Turkish Karamanoglari-tribe had control over the area.That means from 1250 to 1446 when they were attacked by the Ottomans. The rugs we today call Karapinar were probably sold at the market-place in Karapinar, but woven in the area between Karaman and Karacadag. When I named the rugs "Karapinar", the women went angry and told that this type of rugs originates from Salor and have been woven there for as long as they can remember. They told that they are genuine Turkmens from the Salor-tribe, and they have built this village before the Ottomans arrived (probably in the 14th century). The circle-medallion pattern have changed since that time and today the pattern is more geometric, but still charming with a dominating centre-medallion and distinct pattern in the corners. The rugs with one medallion in the centre are probably even today used as prayer-rugs because they are found since long times in mosques.

Karapinar runner, Central Anatolia XVIII century

108

Zennur Bor

Zennur Bor at El Corte Inglés in Lisbon Zennur Bor is a carpet designer, teacher at the University of Istanbul and the only woman known to the author that is capable of weaving a rug from designing the rug, setting up the loom, tying the knots, to the final cut. The full job of weaving a rug is normally made by several people, for example: the loom is made and set up by the equivalent of a carpenter; someone else (Normally the master weaver) sets up the warp ; the weaver ties the knots and puts in the weft and the master levels the pile before cutting the rug off the loom. The author invited Zennur to come to El Corte Inglés in Lisbon on three occasions. She brought all she needed to weave a carpet from Turkey including the wood to set up the loom. In these three visits she made demonstrations on carpet weaving and knotted over one meter of a Turkish rug. This was documented in a video and it is amazing her dexterity which amazed all that watched her work. Some were lucky enough to learn how to tie the two main knots, the Turkish Ghiordes and the Persian Senneh.For future memory, I include the pictures and names of those that learned to tie the first knots on a Turkish rug. We thank Zennur Bor for her exceptional capacity to show to the world this magnificent art.

Showing how to weave António Alberto

110

Joaquim Domingos

Paulo Piteira

Tiago Gouveia

Vitor Carvalho

Índex

Page

Philosophizing Introduction Part 1 - General Information Oriental Loom and Tools Notorious Rugs Oriental Rugs History Tools Looms Knots Shapes of Rugs Size names Dyes Motifs Material and Tecniques Definition of age and repair Maintenance Main Production Centers Part 2 Rugs by Contry Afganistan Cáucasos China Índia Iran Paquistan Turkey Zennur Bor

1 2 3 4 5 7 12 14 16 17 20 20 22 26 28 29 30 37 39 45 53 61 69 89 95 110

Born at Rio Tinto Porto Portugal, Alberto Almeida first fell in love with oriental rugs, after leaving the directorship of a hotel in the late 70´s and starting a new life as manager of an art gallery in Manaus, Brazil. Surrounded by the most precious rugs soon it became an obsession to find out the roots of this magnificent art. After 30 years of research he believes that he is only at the beginning. He is however convinced that it was time to publish a book that if not academic, it at least has the merit to help beginners to learn to understand and appreciate the oriental rug technique, history and it's fabulous beauty.

My thanks to Tina Erika & Monica for putting up with me. Alberto Almeida

Isfahan Silk XVII Century Aprox. (231 cm. x 170 cm.)Sold at Christies for: $ 4 450 000

ORIENTAL RUGS ALBERTO ALMEIDA

Shah Abbas Rug

ARDABIL V&A Museum - London