Tribal and village rugs. The definitive guide to design, pattern and motif 2004101804, 9780500286722

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Contents Acknowledgments Introduction

1 Theme and Variation

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2 Anatolian Motifs

35

Western Anatolia

44

Bergama

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A-13 Hexagon and Floret

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A-14 Stepped Diagonal Stripe

A-15 Octagooaad Rosette

REFERENCES: l(EFl '. REN ES:

BrUggemann, W. , and H. Bohmer, Rugs of the Peasants and Nomads ofAnatolia, p. 237 Denny, Walter B., and Daniel Walker, The Markarian Album, pp. 87, 89 Eskenazi, John J., II Tappeto Orientale, p. 107 A-14 Stepped Diagonal Stripe. The stepped diagonal stripe is very common in Bergama rugs. The cross-shaped element in this example is often an eight-pointed star in other examples. A zigzag variation of this stepped motif occurs in JaffKurd border motifK-39.

Bausback, Franz, Antike Teppiche Sammlung, 1987-88, p. 22 Denny, Walter B., Oriental Rugs, p. 51 Eskenazi, John J., II Tappeto Orientale, p. 274 Hali, no. 31, p. 94 Zipper, Kurt, and Claudia Fritzsche, Oriental Rugs, Vol. 4, Turkish, p. 26

A-16 Cloud band Border

A-17 Reversing Angular Border

REFERENCES:

Denny, Walter B., and Daniel Walker, The Markarian Album, pp. 83, 85 Iten-Maritz, J., Turkish Carpets, pp. 87, 110 Yohe, Ralph S., and H. McCoy Jones, Turkish Rugs, pis. 30, 33, 35, 37

50

Anatolian Motifs

Western Anatolia

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MotifT-30 Ersari

MotifB-25 Baluch

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Eskenazi, John J., II Tappeto Orientale, p. 312 Hali, vol. 4, no. 2, p. 209 Hali, no. 34, Gallery p. 9 Opie, James, Tribal Rugs of Southern Persia, pp. 11 3, 115

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P-46 Mina Khani IV. The lattice is composed of hexagons. The stars are distorted and the other flowers are conventionally stylized.

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REFERENCES:

P-43 Mina Khani I. Version I approximates the classic Mina Khani pattern. Note the more curvilinear shape of the lattice and the differentiation of three flower types.

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REFERENCES:

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This universal pattern derives from the Herati pattern of the 17th or 18th century. Essentially, it consists of two or mo re flower blossoms connected by a diamond lattice. The fo ll owing collection of ten Mina Khani motifs permits so me co mpar isons. Motif P-43 is reasonably close to the lass ie versions. Ersari motif T-30 and Karabagh motif - 4 a re cl early related to the classic version. In comparing 13alu chi motifs B-23 through B-26 to Luri motifs P-43 th ro ugh P-46, one sees gradually diminishing emphasis of th e flowe rs and increasing emphasis of the lattice.

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Collins, Jr., John J., Flowers of the Desert, pl.18

The Lurs favor the Mina Khani pattern and use it creatively.

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REF ER ENCES:

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Motif B-24 Baluch

Persian Motifs

251

Luri Field Repeats P-47 Herati Pattern. Motif P-47 is a Luri interpretation of the Herati pattern. It is geometricized with the serrated leaves adopting a claw-like character. Note the random filler motifs. There is a comparison of Hera ti motifs preceding motif P- 71.

P-50 Boteh Lattice. Motif P-50 is on ly tentatively identified as Luri in origin. Both th e latti ce shape and botehs are unusual. The lattice could be a geometricized version of the lattice in Bakhtiari moti f P-22 shown below. Botehs are compared in the discussion of motif P-16.

Luri Field Repeats

REFERENCES:

Stone Collection

P-48 Stars. Regular diagonal coloring adds interest to this simple field repeat of eight-pointed stars or octagrams inside octagons. Octagrams-in-octagons are a common cle me nt in motifs. The Persian term for this element is jowz or "walnut." They appear as a field repeat in a 13th-century casl Anatolian rug. Here is a constellation including motif P-48 a nd other stars.

13th-century Eastern Anatolia

MotifT-29 Ersari

Motif P-48 Lurs

Motif A-106 Eastern Anatolia

REFERENCES :

Stone Collection

Motif A-34 M ilas

MotifB-43 Timuri

MotifC-14 Daghestan

Motif A-41 Western Anatolia

Motif P-38 Kham seh

P-4 7 Herati Pattern

P-48 Stars

P-49 Aina Kochak Lattice

P-50 Boteh Lattice

MotifT-24 Ersari

REFERENCES:

Eskenazi, John J., II Tappeto Orientale, p. 312 Hasso uri , Ali, Orienta/Rug Review, vol. 13, no. 5, p. 44 Mac Donald, Brian W., Tribal Rugs: Treasures of the Black Tent, p. 175

P-49 Aina Kochak Lattice. The Aina Kochak lattice consists of octagons containing kochak elements. Note the geometricized S-shapes in the interstices. This motif may be used in bag faces and rugs. Field repeats with similar elements are compared with motif B-48. The lattice is a popular field repeat among the Lurs. Both motifs P-48 and P-49 are based on octagons that could easily form a lattice. REFERENCES:

Collins, Jr., John J., Flowers of the Desert, pl. 15 Housego, Jenny, Tribal Rugs, p. 53

252

Persian Motifs

Persian Motifs

253

Luri Medallions P-51 Bird Medallion. Note the murgi (chicken ) in this medallion. There is some similarity of this medallion to Khamseh motif P-34 shown below. The specific execution of the chicken is almost identical. The stepped multiple outlining of the medallion has an eye-dazzling quality.

One of the elements in Serrated Diamond I is an octagon containing slanted rectangl es. Harald Bohmer refers to this element as the "eye motif." In Anatolian village weavings, it is termed karma goz or "black eye." It occurs in a 15thcentury Crivelli star rug, and is also found in Turkmen weavings, as well as the Persian tribal motifs cited below.

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Luri Medallions

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Lurs Motif P-52

Khamseh Motif P-38

Qashqa'i Motif P-72

Jaff Kurd Motif K-38

Crivel li Star Rug P-51 Bird Medal li on

REFERENCES:

REFERENCES:

MacDonald, Brian W., Tribal Rugs: Treasures of the Black Tent, p.177 Opie, James, Tribal Rugs, pp. 126, 127

P-52 Serrated Diamond I and P-53 Serrated Diamond II. A very similar motif has been found on rugs attributed to the Qashqa'i. Note the endles~ knots. These are discussed with eastern Anatolian motif A-100. Both medallions are used in a lattice possibly derived from vase carpet lattices of the 16th century. Here is a leaf or vine lattice from a 16thcentury vase carpet.

Bennett, Ian, Rugs and Carpets of the World, p. 63 Bohmer, Harald, Oriental Carpet and Textile Studies, vol. V, part I, p. 158 Hali, no. 99, ad p. 142 Erdma nn, Kurt, Oriental Carpets, pl. 16 , MacDonald, Brian W., Tribal Rugs: Treasures of the Black Tent, p. 136 Opie, James, Tribal Rugs of Southern Persia, p. 119 Stone Collection

P-54 Qashqa'i/Lurs Medallion. This medallion is found in weavings attributed to both the Qashqa'i and the Lurs. It occurs on many saddle bags and some rugs . REFEREN CES:

Baus back, Peter, The Old and Antique Oriental Art of Weaving, p. 119 Bausback, Peter, Alte und Antike Orientalische Kniipfkunst, 1981, p. 107 Black, David, and Clive Loveless, Woven Gardens, pis. 17-26

P-52 Serrated Diamond I

P-53 Serrated Di amond II

P-54 Qashqa' i/ Lurs Meda llion

254

Persian Motifs

Persian Motifs

255

Luri Borders P-55 Bird Head Border. Also kn ow n as "sun bird," this is a comm on bo rder motif in southwest Persian tribal rugs. It is used in rugs throughout the Mideast, som etimes as a fi eld rep eat. It is often found in soumaks, especially those of th e Shahsavan . In some versions, it is onJ y an o utline or silhouette. Motif P-55 is compared h ere w ith other version s of the bird head border.

P-58 Animal Head and Dia m o nd. T he foll owing sequence suggests a possible evolutio n o ( motif P-58. Kurdish village m o tif K-7 1 could eas ily deri ve fro m the Hera ti bo rder. See the discussion with m o ti f K-2 1. Qashqa'i m o tif P-76 could, in turn , derive from m otif K-7 1. Finally, Luri motif P-58 appears to derive from m otif P-76.

Luri Borders

P-55 Bi rd Head Bord er

MotifK-71 Kurdi sh Village

P-56 Trefoil Flower Motif P-55 Lurs

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Motif P-76 Qas hqa' i

Qa shqa'i

P-57 Split Leaf Border

Motif P-58 Lurs REF ER ENCES: MotifT-99Yomud

Kurd

Collins, Jr., John J. , Flowers of the Desert, pis. 15, 16 P-59 Animal Head Meander. Mo tif P-59 is ubiquito us and used as bo th a m ain and minor border. Often it is fo und o n bag faces . It m ay derive from a fl o ral m o tif as shown with Ka rabag h motif C-3 7. REFEREN ES:

REFERENCES:

Black, David, and Clive Loveless, Woven Gardens, pl. 29 Housego, Jen ny, Tribal Rugs, pis. 69, I 05 MacDonald, Brian W., Tribal Rugs: Treasures of the Black Tent, p. 178 Opi e, James, Tribal Rugs of Southern Persia, p. 139 P-56 Trefoil Flower. Note the delicate tendrils of this lovely fl oral bo rd er. It is relatively rare. The styliza tion has a contem po rary quality. It is used with field repeat motif P-46. REFERENC ES:

Op ie, James, Tribal Rugs of Sou thern Persia, pp. 11 5, 11 7 P-57 SplitLeafBorder. T he split leaf bo rder occurs in Cau casian rugs as well as southwest Persian rugs. It may be used as a field re peat as in m otif P-87. Co lo r variation adds interest to this bord er. See Shirva n motif C-99 for a co mp arison of split leaf borders.

P-58 Animal Hea d and Di am o nd

P-59 Animal Head Meander

Black, David, and Clive Loveless, Woven Gardens, pl. 29 Herrman n, Eberhart, Seltene Orietttteppiche IX, p. 148 Housego, Jenn y, Tribal Rugs, pl. 46 P-60Tri ang le and Ram's Ho rn Bord er

P-60 Triangle and Ram's Horn Border. T he triangle and ram's horn is another ubiquito us border motif. Generally, it is used as a minor border. See motif B-42. P-6 1 Pi cket Border REFERENCES:

Eiland , Jr., Murray L., Oriental RugsJi"om Pacific Collections, p. 74 Housego, Jenny, Tribal Rugs, pl. 12 Opie, James, Tribal Rugs of Southern Persia, pp. 123 , 137 P-61 Picket Border. Eve n tho ugh this m ino r bo rder suggests a line of spears, it probably has fl o ral origins. It is a ra re m o tif. REFERENCES:

Collins, Jr. , John J., Flowers of the Desert, pl. 26 Stone Collection

REFER ENCES:

Collins, Jr., John J. , Flowers of the Desert, pl. 13 Stone Collection

256

Persian Motifs

Persian Motifs

257

Qashqa'i Medallions The Qashqa'i of southwest Iran are a confederacy of tribes inhabiting Fars province. The largest tribes are ofTurkmen origin. The confederacy includes the Amaleh , Darashuri, Farsi Madan, Kashkuli Bozorg, Kashkuli Kuchek and Shishboluki tribes. The motif immediately associated with the Qashqa'i is the Qashqa'i medallion. Versions of this medallion are fo und on the rugs of other southwest Persian tribes, notably the Khamseh. The medallion probably derives from the pendants of medallions of Safavid rugs. See the comparison of pendants in the discussion of Bijar motif K-17. The earliest use of the medallion dates from th e beginning of the 19th century, motif P-62. This version is th e most floral and curvilinear. Later versions up l h ro ugh the 20th century are increasingly geometric and abstract. While lateral symmetry is consistent, vertical symm etr y increases in later versions of the medallion.

P-62 Qashqa'i Medallion I. Version I is the earliest form of th e medallion . Note the escutcheon of this motif compared to a similar 16th-century Persian medallion pendant.

REFERENCES:

Aschenbrenn er, Erich, Oriental Rugs, Vol. 2, Persian, p. 225 Bausback, Peter, Antike Orientalische KnUpfkunst, 1977, p. 143 Black, David, and Clive Loveless, Woven Gardens, pl. 6 Hali, vol. 3, no. 3, ad p. 16

P-64 Qashqa'i Medallion 111. Ve rsion III is from a late 19th-century rug. The fl o ral elements are completely stylized. Only their relative placement indicates analogous elements. Note how the medallion has begun to adopt vertical symmetry that is totally lacking in earlier versions.

Qashqa'i Medallions

REFE RENCES:

Bausback, Peter, Antike Orientalische Kni-ipfkunst, 1977, p. 145 Collins, Jr., John J., Flowers of the Desert, pl. 4 Gans-Rued in , E., Th e Splendor of Persian Carpets, p. 409 Opie, Jam es, Tribal Rugs of Southern Persia , pp. 29, 33

Stone, Peter F., The Oriental Rug Lexicon, p. 162

P-65 Qashqa'i Medallion IV. In this early 20th -century version of the medallion there is comp lete vertical and lateral symmetry. It is much more rectilinear than the oth ers. The origin al upper scrolling arms of the escutcheon are now boxes surmounted by animal heads. These floral elements have become zoomorphic. REFERENCES:

Collins, Jr. , John J., Flowers of the Desert, pl. 11 Dodds, Dennis R., and Murray L. Eiland, Jr., Oriental Rugs fro,~ Atlantic Collections, p. 231 Edwards, A. Cecil , The Persian Carpet, p. 293 Ston e Collection

P-63 Qashqa'i Medalli on II

P-62 Qa shqa'i Medalli on I

P-66 Qashqa'i Medallion V. There is further sim pli fication in t his early 20th -ce ntury version. The latera l po lygons filled with crosses in motif P-65 have been reduced to columns of crosses. Motif P-66 could not be recognized as the Qashqa' i medallion with out knowledge of the intermediate stages of its derivation. REFEREN CES :

Ston e Collection P-64 Qashqa'i Medallion Ill

P-63 Qashqa'i Medallion II. The medallion is beginning to ass ume a diamond outline. The central flower is vestigial, a nd leaves are less naturalistic. This medallion is from an ea rly 19th -century rug. REFE RENCES :

Bausback, Peter, Alte und Antike Orientalische Kni-ipfkunst, 1980, p. 11 7 Eiland, Jr., Murray L., Oriental Rugs from Pacific Collections, p.103

P-65 Qashqa'i Medallion IV

258

Persian Motifs

P-66 Qas hqa'i Medallion V

Persian Motifs

259

Qashqa'i Medallions P-67 Mughal Prayer Design. Here is the field of a Qashqa'i prayer rug derived from Mughal Indian models. The Indian originals date back to the 17th century. Such rugs may have been brought to Persia as the spoils of war after Persia's conquest of India in the early 18th century. An example is shown below. This motif is known as the "millefleurs" design.

P-69 Lion. Not quite the li on fro111 Rousseau's The Dream, but a candidate. As 111entioned in th e discussion of motif K-20, the lion is a freq uent 111otif in rugs of Persia, especially the rugs of Fars.

Qashqa'i Medallions

REFEREN CES:

Hali, vol. 3, no. 4, ad p. 30 Tanavoli , Parviz, The Lion Rugs of Fars, p. 56

P-70 Persepolis Design. Motif P-70 is based on the sto ne relief of Xerxes I at Persepolis or on French engravings

made of that relief. Faces are missing in the motif beca use the original monuments have been defaced. The winged emblem is that of the Zoroastrian deity Ahura Mazda. A related relief is shown below. Rugs with this motif date from the beginning of the 19th century. The nomadic Qashqa' i pass directly by Persepolis in their annua l migrations.

P-68 In dented Diamond

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REFERENCES:

REFERENCES:

Bausback, Peter, Alte und Antike Orientalische Kniipfkunst, 1976, p. 205 Hali, vol. 2, no. 4, ad p. 62 Herrmann, Eberhart, Seltene Orientteppiche III, p. 151 Op ie, James, Tribal Rugs of Southern Persia, p. 15

Bennett, Ian, Rugs & Carpets of the World, p. 230 Eiland, Jr., Murray L., and Murray Eiland III , Oriental Carpets: A Complete Guide, p. 155 Hali, vol. I, no. 4, ad p. 26 Hali, vol. 5, no. 3, ad p. 129 Opie, James, Tribal Rugs, p. 189 Tanavoli, Parviz, Hali, no. 80, p. 95 Wilber, Donald N., Hali, vol. 2, no. 3, p. 195

P-68 Indented Diamond. Motif P-68 was probably borrowed from rugs of urban design. Different versions of this motif are more or less curvilinear. A similar motif is found on rugs attributed to the Bakhtiari.

P-67 Mug ha I Prayer Design

REFERENCES:

Bausback, Peter, Alte und Antike Orientalische Kniipfkunst, 1980, p. 115 Hali, vol. 5, no. 4, p. 557 Herrmann, Eberhart, Seltene Orientteppiche III, p. 152 Herrmann, Eberhart, Seltene Orientteppiche VI, p. 146 Opie, James, Tribal Rugs of Southern Persia, p. 17

260

Persian Motifs

P-69 Lion

P-70 Persepolis Design

Persian Motifs

261

•

Herati Pattern Comparison Of the tribal and village versions of the Herati pattern included in this book, the Qashqa'i version is closest to the classic original. So, this universal pattern is considered with motif P- 71. The city of Herat in Afghanistan was formerly the capital of Khurasan during the development of the great carpet designs of 15th- and 16th-century Persia.

The Herati pattern may have developed here as derived from earlier vase carpets. In turn, the pattern was parent to the Mina Khani motif P-43, the Afshan motif C- 77, and the Harshang motif C- 78. These offspring have engendered yet other motifs.

Herati Pattern Comparison

Persian Herati motif 16th or 17th century

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Persian Herati motif 16t h or 17th century

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P-78 Shishbolu ki Border

Aschenbrenner, Erich, Oriental Rugs, Vol. 2, Persian, p. 223 Edwards, A. Cecil, The Persian Carpet, pp. 301,302 Opie, James, Tribal Rugs of Southern Persia, pp. 35, 37 Pope, Arthur Upham, A Survey ofPersian Art, vol. XII, pp. 1225, 1226,1228 P-79 Palmette Border

P-79 Palmette Border. Palmette and sickle leaf meander• ing borders probably derive from the Herati border. REFERENCES:

Bausback, Peter, Alte und Antike Orientalische Kniipfkunst, 1980,

266

REFERENCES:

p.-123

ollins, Jr., John J., Flowers of the Desert, pl. 7 Ga ns-Ruedin, E., The Splendor of Persian Carpets, p. 413 "South Persian Tribal Weaving;' Hali, Gallery, p. I 0

Ford, P.R. J., The Oriental Carpet, p. 44 Herrmann, Eberhart, Seltene Orientteppiche VIII, p. 171 Opie, James, Tribal Rugs ofSouthern Persia, p. 19

Persian Motifs

Persian Motifs

267

Shahsavan Medallions The Shahsavan are a gro up of Turkic-speaking tribes located in northern Persia along the Persian-Caucasian border, the Caspian Sea and in Moghan. Shahsavan means "those who love the Shah." These were tribes loyal to Shah Abbas, who charged them with the protection of Persi a's northern frontier. Most of their weaving consists of tlatwoven functional pieces. These are readily identifiable as Shahsavan. However, their pile weavings are few and the attribution of pile rugs to the Shahsavan is problematic. P-80 Calyx Medallion. The calyx medallion is a cruciform motif often used on Shahsavan soumak flatweaves and on a few pile pieces. It also occurs in Moghan and Kazak rugs. Th e yellow elements are flower calyxes. This medallion is often used with a version of the crab border motif C-20. Below it is compa red to Ezine motif A-40 with which it shares some features.

P-82AshikMedallion. The cruciform medallion is used on several rugs attributed to the Shahsavan. Cruciform motifs are compared with the discussion of motif C-90. This medallion is similar to Baku motif C-2 following. In the Shahsavan version, an ashik replaces the kaikalak. Baku adjoins the Moghan steppe where some Shahsavan live.

Shahsavan Medallions

P-8 1 Peacock

REFEREN CES:

Dodds, Dennis R., and Murray L. Eiland, Jr. , Oriental Rugs from Atlantic Co llections, p. 97 Lefevre & Partners, Catalog, March 1985, pl. 73

P-83 Memling Gui. Here is a straightforward rendition of this universal motif. Memling guls are compared in the discussion of motif C-51.

P-80 Calyx Medallion

REFEREN CES:

Dodds, Dennis R., and Murray L. Eila nd , Jr., Oriental Rugs from Atlantic Collections, p. I 00 MacDonald, Bria n W., Tribal Rugs: Treasures of the Black Tent, p. 100 Tanavoli, Parviz, Hali, no. 45, p. 36

REFERENCES:

Dodds, Dennis R., a nd Murray L. Eiland, Jr., Oriental Rugs from Atlantic Collections, p. 94 Fe nlon, Sharon, Oriental Rugs: An Exhibit from Area Collections,

p.14 He rrmann, Eberhart, Seltene Orientteppiche III, p. 68 Oriental Rug Review, vol. l 0, no. 4, ad p. 2 1 Tanavo li , Parviz, Hali, no. 45, p. 34 Wri g ht, Richard E., and John T. Werti me, Caucasian Carpets & Covers, p. 120

P-84 Octagon Medallion. The distinctive part of this medallion is the star-centered crossed rectangles. It is used on several Shahsavan rugs and rugs ofVaramin. This form of cross is very old, appearing in 17th-century western Anatolian rugs. It has some s1milarity to the TekkeChemche gul T-78. A rel ated version is used as the center of rosettes in motif P-45 as shown here.

P-83 Memling Gui

P-81 Peacock. Motif P-81 is a gaudy peacock and one of many Shahsavan interpretations of this popular bird. There is a comparison of peacocks (or roosters) with the discussion of motifB-15. REFERENCES:

Tanavo li, Parviz, Hali, no. 45, p. 37

,,.) REFER ENCES:

Balpinar, Belkis, and Udo Hirsch, Vakiflar Museum Istanbul: Ca rpets, p. 195 MacDonald, Brian W. , Triba l Rugs: Treasures of the Black Tent, p. 101 Tanavoli, Parviz, Hali, no. 106, pp. 84, 9 3 Thompson, Jon, Oriental Carpets, p. 79

268

Persian Motifs

P-82 Ashik Medallion

P-84 Octagon Medallion

Persian Motifs

269

Shahsavan Motifs

Other Tribal and Village Motifs

P-85 Shahsavan (?) Medallion. A rare and unusual motif, Fo rd tentatively attributes it to the Shahsavan while stating that it shows some Kurdish influences. Eagleton attributes a somber version to the Kurds of Bijar and states that the motif derives from a Bijar rose motif. It m ay have derived from a Bijar rose motif of the type shown here.

P-87 Vara.min. Varamin is a town southeast of Tehran. Kurds, Lurs, Turks and Arabs living in the surrounding plains area weave pile rugs. This geometricized split leaf field repeat is derived from a classic Persian motif as in motif K-12. See motif C-99 for a comparison of this motif used as a border. Following, a slightly more curvilinear version of the split leaf is used as a field repeat. lt has a

Shahsavan Motifs

pleasing internal symmetry lacking in motif P-87.

P-85 Shahsavan (?) Medallion

REFER EN ES:

Eag leton, William, An Introduction to Kurdish Rugs, p. 55 Ford, P.R. J., Oriental Carpet Design, p. 202 Hali, no. 111 , p. 30 Soth eby's, Fine Oriental Rugs & Carpets, Sale 4948, October 1982, pl.34

P-86 Boteh Border. According to Ford, this border is of unambiguous Kurdish origin. It frames th e preceding medallion, motif P-85. REFERENCES:

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P-86 Boteh Border

Other Tribal and Village Motifs REFERENCES:

C hri st ie's Eas t, Oriental Rugs and Carpets, Jun e 1981, pl. 124 Crayc raft, Michae l, Oriental Rug Review, vol. 9, no. 6, p. 15 Ston e Co ll ectio n Tanavoli, Parviz, Hali, no. 106, p. 93

Ford, P.R. J., Oriental Carpet Design, p. 202

P-87 Varamin

270

Persian Motifs

Pers ian Mot ifs

\

271

Other Tribal and Village Motifs

P-89 Karadja II. Med alli o n 11 is a simplified and geometri-

Karadja is a town near Heriz. Wea vers of this town and

cized version of Karadj a med a lli o n l. The octagram has become a hexagon and th e rose tte at the center of medal lion l is replaced by an ashik gul.

smaller villages in the immediate area use the same motifs. The weavers are of Turkish descent. Rugs of Karadagh, an area south of Caucasian Azerbaijan, carry the same motifs. These are probably earlier rugs than those of Karadja. Murray Eiland believes Karadja motifs derive from the Harshang pattern.

REFERENCES:

Eiland, Jr., Murray L., and Murray L. Eiland Ill, Oriental Carpets: A Complete Guide, p. 268 Lefevre & Partners, Catalog, April 1982, pl. 40 Myerscough, Thomas R. , A Photographic Study Guide for Oriental Rugs, p. 48

/

P-88 Karadja I. Karadja medallions I or II usually alternate with Karadja medallion III on rugs with a long format. Th ey are compared in the discussion of motif K-31. Note th e octag ram with arms at the center of this medallion. Kurd s use it in the center of motifK-64. Note the similarity o f th e central portions of motifs P-88 and Khamseh motif P-32 center below. The overall octagram shape of these two mo tif elements probably derives from a 16th-century a te rn Anatolian medallion shown below at the bottom.

Other Tribal and Village Motifs

P-90 Karadja III. Kurdish Surchi medallion K-31 evolved from this medallion. They are compared in the discussion of motif K-31. The Harshang flaming palmette may be the source of the Karadja III motif as shown in the following sequence. T he second motif is from a 19th-century Karadja rug. The fourth is from a 20th -century rug.

P-89 Karadja II

P-88 Karadja I

Harshang palmette

19th-century Karadja

t I

Motif P-90

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20th-century Karadja

REFERENCES:

Ei land, Jr., Murray L. , and Murray L. Eiland III, Oriental Carpets: A Complete Guide, p. 268 Lefevre & Partners, Catalog, April 1982, pl. 40 Myerscough, Thomas R., A Photographic Study Guide for Oriental Rugs, p. 48 P-90 Karadja Ill

REF EREN ES:

Eil and , Jr., Murray L., and Murray L. Eiland III, Oriental Carpets: A Complete Guide, p. 268 Hali, no. 93, ad p. 34 Lefevre & Part ners, Catalog, April 1982, pl. 40 Myerscough, Thomas R. , A Photographic Study Guide for Oriental Rugs, p. 48

272

Persian Motifs

Persian Motifs

271

7

Turkmen Motifs

Chaudor Ersa ri Sa lor Sariq Tekke Yomud Other Central Asian Motifs

On first impression, many Turkmen motifs seem the same: field repeats of lobed or octagonal shapes in shades of red. Because of this seeming similarity, small differences assume great importance. The precise features of guls, the way they are combined wi~h other motifs, the types of weavings in which they are used, the structure and colors of those weavings are all crucial in attribution. Understanding and using this information demands devoted study by scholars and collectors, and this commitment often inspires passionately held opinions by devotees. Controversy is endemic to Turkmen studies. Among these controversies are the: • derivation of guls and other motifs •

reliability of guls in attribution

•

tribal attribution of some groups of weavings

• extent of commercialism in Turkmen tribal weavings • specific function of certain weavings

The result is more lively debate and energetic involvement in the study ofTurkmen weavings than occurs in other oriental rug studies. Guls. Turkmen motifs may ultimately derive from thre sources. These are Eastern Asian or Chinese cultures, th e Hellenistic design tradition and indigenous crea tivity. Robert Pinner suggests that different tribes adopted different motifs from this common cultural resource and th at design variations subsequently developed as dialects of a common language. Some tribes, the Salor as the oldest, may have preserved the original forms of motifs more than other tribes.

Central to the study ofTurkmen motifs is the gul, a lobed, octagonal or stepped motif used as a field repeat. The largest and most important weaving of a Turkmen tribe is the "main" carpet. The guls thought to be most closely associated with the tribe, the major guls, are used as a field repeat on this carpet. To help you identify the distinguishing features of guls and related motifs and to help you appreciate their intricacy, they are shown as individual motifs rather than as field repeats in this chapter.

Much of the Silk Route passed through Turkmen territories. Tolls of Chinese silks were doubtless imposed on the merchants and the Turkmen weavers could easily have adapted Chinese motifs for use in their rugs. Shown here is a roundel from a 15th-century Chinese embroidery followed by the center of the Tekke gul, followed by a motif from a Konya border (motif A-69) dating to the 16th century. There is some similarity in the overall design of radiating flower calyxes. This sequence suggests the motif could have migrated ~onsistently from east to west.

Although the quartered guls have superficial similarity to European quartered heraldic shields, there is no clear historical relationship between these two.

/

Th ere is a distinction between major guls and minor guls. Major guls are used in Turkmen tribal main carpets. The minor guls used in main carpets are smaller than the major guls and are alternated in offset rows with the major guls. Generally, minor guls may be cut by borders of main carpets while major guls are not. Minor guls are used on the pile faces of bags, animal trappings and yurt door hangings of the tribe while its major guls are not usually used in these weavings. In comparing early and late weavings of the same tribe, one finds that in early weavings guls are presented more spaciously. Because of the clear area around each gul, guls may appear to emerge from or "float" on the surface of the rug. The Sal or practiced trompe-/' oeil. In the earliest Sal or pieces, a three-dimensionality was achieved by deliberately distorting guts, smaller at the bottom than at the top, so they appear to tilt toward the viewer. In later rugs, guls are more densely packed and they are somewhat vertically fl atte ned. Another difference between early and late rugs is that more borders are used in later rugs. These additional borders take up a greater proportion of the rug's area. As to the origin of guls, leading scholars agree on ancient hina as the source. Agreement ends there. Jon Thompson proposes the yun-chien or cloud collar as the origin while Murray L. Eiland, Jr. suggests Chinese silks with inwoven or embroidered floral roundels as the origin.

Jon Thompson classified guls according to their shape as lobed, octagonal, archetypal (joval) and rhomboidal. He related this classification to their derivation. The ancient Chinese cloud collar and examples of shapes are shown following:

Robert Pinner observed that if yo u don't I ike red, yo u wo 11 't like Turkmen rugs. The Turkm en co lo r pal en ' is lo mi nated by shades of red and brown. Madd er red is 0111 111 0 11 as are the different shades of madder produced by metalli c mordants. Shades of red include dark red, brick red, cochineal red or magenta and pink (usually silk). Browns range from a very dark brown, a liver or purple brown to medium brown. Although the ground color is usually red, dark indigo blue is used occasionally. Very dark indigo blue is regularly used for contrast and outlining. White, sea green and dark yellow are used sparingly for highlights. Rarely, a light blue and apple green are used. In Sariq rugs, white cotton may be used in the pile for highlights.

That some guls are associated with specific tribes is true. Some tribes preferentially use selected guls, but it is not clear that they are asserting tribal identity rather than merely using motifs within their traditional tribal repertoire. At some time in the distant past, guls may have served as emblems. However, the great extent of motif sharing among Turkmen tribes in the 19th and early 20th century makes it impractical to rely solely on this means of attribu tion. The table of shared Turkmen motifs (page 279) presents, in part, the types of weavings in which the same motifs are used by different tribes. The table shows the difficulty of using guls exclusively for attribution. The quartered guls include some form of a bird head element shown here.

Archetypal

Lobed

• Rhomboidal

Octagonal

According to Thompson's theory, archetypal guls and lobed guls derive directly from the cloud collar motif. Rhomboidal guls derive from archetypal guls. Octagonal guls derive from lobed guls.

Turkmen Motifs

That guls are truly emblematic of Turkmen tribes in a totemic sense is doubtful. Moshkova theorized that victori ous tribes forced defeated tribes to use guls of their victors. This practice, if verified, would support the gul as emblematic. Research shows so many exceptions to this theory that it lacks validity.

The palette. On close inspection, one discovers th at many guls are quite complex. As a focus of visual interes t, thi s complexity compensates for the very limited Turkm t.: 11 color palette. As few as five colors may be use I in .i Turkmen rug. Some variety is achieved by co lorin g i I •111 i cal elements of guls with different co lors.

The bird is a common element in Turkmen motifs. The animal in the Tauk Noska gul is thought to be a bird, motif T-4. It appears in Chaudor guls, motif T-11. It is used in borders, motif T-99. The bird appears complete in Tekke motifT-84. A design feature peculiar to Turkmen carpets is the elem. An elem is a horizontal pile panel outside the main border

The Turkmen. Turkmen are Turkic-speaking peoples inhabiting Turkmenistan, northern Afghanistan and northern Iran. Most are Sunni Muslims. They were once pastoral nomads and warrior-predators, but have been settled since the end of the 19th century. Turkmen trace their origin to the Oghuz, a Turkic people of the 11th century led by Oghuz Khan. This lineage and their language distinguish them from the Uzbeks, Kazakhs and Kirghiz of northeast Central Asia.

at the top and bottom of the rug. This panel is filled with a repeat of small elements.

Turkmen Motifs

There are many Tu rkmen tribes and their relationships (independent, sub-tribe, merged tribe) have not been sufficiently researched. In the absence of a written Turkmen language, the relationships and history of tribes are often ambiguous. The major tribes are the Chaudor, Ersari, Salor, Sariq, Tekke and Yomud. The oldest tribe is the Salor, the subject of 11th-century historical references. The largest tribe is the Tekke.

REFERENCES FOR THIS INTRODU CTION:

Eiland, Jr., Murray L., and Murray Eiland III, Oriental Carpets: A Complete Guide, pp. 218,219 Hali, no. 83, p. 92 Mackie, Louise, and Jon Thompson, Turkmen: Tribal Carpets and Traditions, pp. 62, 63 Pinner, Robert and Murray L. Eiland, Jr., Between the Black Desert and the Red, p. 11

As tribes settled in the late 19th century, rug production increased greatly with exports to the West. Rug weaving was women's work and a cottage industry providing major economic support for the Turkmen. Exports included tens of thousands of Ersari and Tekke main carpets, ensis used in th e West as scatter rugs and bags used as pillows or stripped of th eir backs and used as mats. Turkmen pile weavings were even used to upholster couches, ottomans and stuffed chairs. This large-scale export ended with the beginning of th e First World War. Regarded as household expendables, the vast majority of these weavings have been lost. Occasionally, a prize from an attic or basement appears on the market.

\

KAZAKHSTAN

KYRGYZSTAN UZBEKISTAN

Kara Kum Desert

TURKMENISTAN Ashkhabad

Bukhara Samarkand

Tashkent

TAJIKISTAN Dushanbe

Merv Sheberghan

Mash ad

Teh ran

IRAN

Pen de Herat

Maimana

AFGHANISTAN

Central Asia

Rugs on t he six pages following Tab le V: Page 280 Tekke joval face.See motifT-68. Page 281 Sariq ma in carpet.See motifT-66. Page 282 Tekke sma ll rug.See motifT-75. Page 283 Ersari ensi.See motifT-32. Page 284 Beshir prayer rug . See motifT-45. Page 285 Ersari main carpet See motifT-18.

Turkmen Motifs

TABLEV SHARED TURKMEN MOTIFS

TRIBE

Carpet

Chaudor

Ersari

Torba

Sal or

Joval

Sariq

Joval

Tekke

•

• • •• Carpet

Carpet

Carpet

Carpet

Torba

Joval

Torba

Torba

Torba

Torba

Asmalyk

Asmalyk

Torba

Carpet

Joval

Torba

Torba

Torba

Torba

Torba

Other

Joval

Torba Other

Other Yo mud

Asmalyk

Asmalyk

Carpet

Torba

Carpet Joval

In this table of shared Turkmen motifs, guls or motifs are shown in the top row and tribes listed in the lefthand column. The cells show the types of weavings in which the gul or motif is used by each tribe.

Joval Other Torba Joval Carpet

Chaudor Main Carpet Guls Chaudor Main Carpet Guls

The Chaudor Turkmen inhabit the Khiva and Urgench areas of Turkmenistan. The ground color of their pile weavings is often a distinctive deep purple-brown. The earliest Chaudor main carpets have a rose red ground. White occurs more frequently than in other Turkmen weavings.

MotifT-4 Chaudor

MotifT-91 Yo mud

MotifT-53 Sa lor

MotifT-103 Karakalpak

T-1 Ertman Gul. There are different forms of the Ertman gul. This partially stepped ogive is the one used in Chaudor main carpets and on some jovals. Ertman guls terminate with kochaks and occur within a diamond lattice. Ertman or ortman is Turkmen for "covering." Ortmek is Turkish for "covering." REFERENCES:

Ba usback, Peter, Antike Orientalische Kniipfkunst, 1977, p. 183 Herrmann, Eberhart, Seltene Orientteppiche III, p. 174 Loges, Werner, Turkoman TribalRugs,pp.109, 110 Tzareva, Elena, Rugs & Carpets from Central Asia, p. 165 T-2 Ertman Gul. Here is an alternate form of the Ertman gul that also occurs in main carpets. Three ashiks replace the tree form in motifT-1. Note the reversing animal heads of the type used in the Tauk Noska gul.

Tauk noska is Turkic for "chicken amulet." The origin of the two-headed animal in the Tauk Noska gul is speculative. It may derive from early Islamic textiles. Robert Pinner cites 11th-century Luristan bronzes as a possible source. A 16thor 17th-century west Anatolian rug contains two-headed animals and octagons that may have evolved into the Tauk Noska gul in the hands ofTurkmen weavers.

REFERENCES:

REFERENCES:

Eiland, Jr., Murray L., and Murray Eiland III, Oriental Carpets: A Complete Guide, p. 238 v-, Herrmann, Eberhart, Seltene Orientteppiche III, p. 175 Tzareva, Elena, Rugs & Carpets from Central Asia, p. 167

Mackie, Louise, and Jon Thompson, Turkmen: Tribal Carpets and Traditions, p. 120 Pinner, Robert, and Murray L. Eiland, Jr., Between the Black Desert and the Red, p. 73 Spuhler, Friedrich, Oriental Rugs in the Museum of Islamic Art, Berlin, p. 169 !

T-3 Ertman Gul. Motif T-3 is, perhaps, the oldest form of the Ertman gul used in Chaudor main carpets. It too includes the animal head element from the Tauk Noska gul.

---....

T-5 Gul. Occurring in both main carpets and jovals, this gul usually alternates with motif T-1.

REFERENCES:

Denny, Walter B., Oriental Rugs, p. 97 Lefevre, Jean, and Jon Thompson, Central Asian Carpets, pl. 16 Mackie, Louise, and Jon Thompson, Turkmen: Tribal Carpets and Traditions, p. 127 T-4 Tau.le Noska Gul. Mackie and Thompson suggest that the Tauk Noska gul is the earliest gul used on Chaudor main carpets. They believe the Chaudor adopted the Ertman gul, first used on bags, as a later main carpet ornament. Following is a comparison ofTauk Noska guls.

T-1 Ertman Gui

T-2 Ertman Gui

T-4 Tauk Noska Gui T-3 Ertman Gui

REFERENCES:

Herrmann, Eberhart, Seltene Orientteppiche VI, p. 190 Lefevre, Jean, and Jon Thompson, Central Asian Carpets, pl. 15 T-6 Gul. MotifT-6 is used in jovals, torbas and camel trappings. Note the central ashik containing animal heads on a double-pointed arrow. This element is used as a field repeat as shown in motifT-11. This gul, in blue, has been used in a Yomud torba. REFERENCES:

Eskenazi, John J., Il Tappeto Orientale, p. 398 Loges, Werner, Turkoman Tribal Rugs, p. 117 Mackie, Louise, and Jon Thompson , Turkmen: Tribal Carpets and Traditions, p. 124 Munkacsi, Kurt, Hali, no. 77, p. 107 T-SGul

Turkmen Motifs

T-6Gul

Turkmen Motifs

Chaudor Joval and Torba Guls

Other Chaudor Motifs

T-7 Gul. MotifT-7 includes four stylized birds on either side of the central axis. The body of the "birds" consists of a group of domino-like rectangles. No one has proposed a derivation for this stylization. Perhaps it is a transplanted flower. Note the ashiks containing bird heads. Multiple outlining elevates and three-dimensionalizes this motif as if it were a shield or plaque. This gul may be colored red. See motif T-9. Munkacsi dates jovals with this gul to as early as 1780.

T-11 Ensi Motif. Chaudor ensis may have this field repeat. The ashik containing bird heads is also an element in motifs T-6 and T-7. The ashiks are colored to emphasize diagonals.

Chaudor Joval and Torba Guls

REFERENCES:

Bausback, Peter, Antike Orientteppiche, 1978, p. 435 Munkacsi, Kurt, Hali, no. 77, p. 107

A similar bird head element is used as a field repeat in a Quchan Kurd rug as follows.

T-8 Gul. Chaudor star-centered guls of this type may be olored blue. They appear in jovals and camel trappings. In earl y forms, triangles replace the diamonds. Munkacsi dates jovals with the ea rliest form of this motif to 1850. The central eight-p inted star is a common feature ofTurkmen guls. It occurs in Ersa ri motifs T-19 and T-29, Salor motif T-55, Sa riq motifT- 70, Tekke motifs T-77 and T-80 and Kazakh motifT-106. One of the more interesting versions consists of this star within a star within an octagon from Arabatchi motifT-34. Stars in octagons are discussed with motif P-48.

REFERENCES:

Herrmann, Eberhart, Seltene Orientteppiche X, p. 200 Mackie, Louise, and Jon Thompson, Turkmen: Tribal Carpets and Traditions, p. 126 Munkacsi, Kurt, Hali, no. 77, p. 104

T-7Gul

T-8Gul

T-9 Half Gu i

T-10HalfGul

Other Chaudor Motifs REFERENCES:

T-9 Half Gul. Motif T-9 is half of the gul in motif T-7. It is halved at the internal border of the field of a joval or torba. RE FERE NCES:

Eske nazi, John J., JI Tappeto Orientale, p. 398 Loges, Werner, Turkoman Tribal Rugs, p. 117 Mackie, Louise, and Jon Thompson, Tu rkmen: Tribal Carpets and Traditions, p. 124

Baus back, Peter, The Old and Antique Oriental Art of Wea ving, p.139 Ford, P.R. J., Oriental Carpet Design, p. 196 Mackie, Louise, and Jo n Thompson, Turkmen: Tribal Carpets and Traditions, pp. 123, 129

T-10 HalfGul. MotifT-10 is half of the gul in motifT-1. It is halved at the internal border of the field of a joval or torba. REFERE NCES:

Bausback, Peter, Antike Orientteppiche, 1978, p. 435 Herrmann, Ebe rh art, Seltene Orientteppiche VJ, p. 190

Turkmen Motifs

T- 11 Ensi Motif

Turkmen Motifs

Chaudor Borders T-12 Ashik Border (Main Carpet). Linked hexagons co ntai n ashiks of alternating co lor in this border. Note the similarity of these ashiks to those in motif T-13. This is a common Chaudor main carpet border.

T-15 Flower Border (JovaJ and Torba). Color variation lends interest to this simple styli zed flower border. It is used as a joval border by the Arabatchi. Yomud border motif T-101 further simplifies this flower, as compared here.

Chaudor Borders

T-12 Ashik Border (Ma in Carpet)

REFERENCES:

Eiland, Jr., Murray L., Oriental Rugs from Pacific Collections, p. 145 Eskenazi, John J., II Tappeto Orientale, p. 400 Herrmann, Eberhart, Seltene Orientteppiche VII, p. 174 Loges, Werner, Turkoman Tribal Rugs, p. 11 2

T-13 Ashik and Hooked Meander Border (Main Carpet). Motif T- 13 is a hooked meander border closely related to Yomud motif T-97 shown below. Instead of kochaks, th e as hi ks co ntain curled leaves. Hooks on the meander have be o me triangles, suggesting screw- like threads. The ba rberpol e st ripes are known as giyak, Tur Ian en for "diagonal." See motif T-97 for a comparison of meander and url ed leaf borders.

~

"':J 17

--..

--.. T-13 Ashik and Hooked Meander Border (Main Carpet)

REFERENCES:

Bausback, Peter, Antike Orientteppiche, 1978, p. 435 Herrmann, Eberhart, Seltene Orientteppiche III, p. 174 Herrmann, Eberhart, Seltene Orientteppiche VT, p. 190 Loges, Werner, Turkoman Tribal Rugs, p. 175 T- 14 Kochanak Border

T-16 Diamond Border (Joval and Torba). Mackie and Thompson suggest this simple geometric border may derive from appliqu e work. The m oti f is also used in the weavings of the Arabatchi, Sariq, Salor and Tekke. Here it is compared to a similar border from a Quchan Kurd saddle bag.

-

~-

~

T-15 Flower Border (Joval and Torba)

T-16 Di amond Border (Joval andTorba)

REFERENCES:

Ba usback, Pete r, Antike Orientteppiche, 1978, p. 433 Herrmann, Eberhart, Seltene Orientteppiche III, p. 175 Loges, Werner, Turko man Tribal Rugs, p. l l 0 Tzareva, Elena, Rugs & Carpets from Central Asia, p. 167

T-14 Kochanak Border. This is a common Turkmen border used, as well, in the weavings of the Ersari, Salor, Sariq and Tekke. It occurs most often in jovals, torbas and anim al trappings. The same border is fo und in a 16th- or 17th-century western Anatolian rug. Kochak borders are compared in the discussion of motifC-101.

REFERENCES:

Mackie, Louise, and Jo n Thompson, Turkmen: Tribal Ca rpets and Traditions, p. 126 Moshkova, V. G., and Geo rge W. O'Banno n, Carpets of the People of CentralAsia, p. 258 • O'Ban non, George W., Vanishing Jewels: Central Asian Tribal Weavings, p. 116 Pinner, Robert, and Michael Fra nses, Turkoman Studies I, p. 142 Stanzer, Wilfried , Kordi, p. 171

REFERE NCES:

Balpinar, Belkis, and Udo Hirsch, Vakiflar Mu seum Istanbul:

Ca rpets, p. 209 Eskenazi, John J. , II Tappeto Orientale, p. 398 Loges, We rn er, Turkoman Tribal Rugs, p. 116 Pin ner, Robert, The Rickmers Collection, p. 81

Turkmen Motifs

Turkmen Motifs

Ersari Main Carpet Guls The Ersari live in the Amu Darya river vall ey in northern Afghanistan and Turkmenistan. Of th e many Ersari subtribes, the Kizil Ayak and Dali are among the most familiar. The Chub Bash,Arabatchi and Saltig may also be subtribes. The Ersari motif repertoire is larger than that of any other Turkmen tribe. For this reason, rugs of ambiguous origin have been attributed to the Ersari. The main carpet octagona l guls of the Ersari may be referred to as fi l-pai, Persian for "elephant's foot." T-17 Trefoil and Diamond. Note the trefoils or clover-like elements in the perimeter of this motif and in motifs T-18, T- 19, and T-20.

T-18 Trefoil and Star Flower. Th e central element of this gu l is a star flower. In Ersari rugs, the star flower may serve as a minor offset motif between large octagonal guls. Th is is one of the more common forms of the gulli gul and possibly one of the oldest. REFE RENCES:

Bausback, Peter, Alte undAntike Orientalische Kniipfkunst, 1979, p.153 MacDonald, ~rian W., Tribal Rugs: Treasures of the Black Tent p.SS

Stone Collection

T-19 Trefoil and Memling Gui. The gulli gul of motif T-19 contai ns a Memling gul. The Memling gu l also serves as a minor offset motif between large octagonal guls. Memling guls are compared with motif C-51. REFER ENCES ::

Eiland , Jr., Murray L., Oriental Rugs from Pacific Collections, p. l59 O' Bannon, George W., Afghanistan journal, no. 3, 1977, cover, p. l 15

Guls with thi s trefoil may be termed "gulli guls." There are many gul li gul variations where different elements are used in the center of the gu l. In the late 19th century, Afghanistan exported thousands of Ersar i main carpets with gulli guls. The central element of this motif has some similarity to Khamseh motif P-32, here slightly distorted .

Ersari Main Carpet Guls

T-17Trefoil and Diamond

T-18Trefoil and Star Flower

T-19Trefoil and Memling Gui

T-20Trefoil and Cross

T-2 1 Taghan Gui

T-22 Temerch in or Onurga Gui

T-20 Trefoil and Cross. Trefoils occupy the center as well as the perimeter of this gulli gul. Motif T-20 may be associated with the Dali subtribe of the Ersari. REFER ENCES:

Bausback, Peter, Antike Orientalische Kniipjkunst, 1977, p. 192 Ford, P. R./., The Oriental Carpet, p. 186 Parsons, R. D., Oriental Rugs, Vol. 3, Afghanistan, pp. 64, 68

T-21 Taghan Gui. Taghan is a vill age in Afghan istan . This motif suggests forks to some Western viewers. It more li kely represents feathers. Parsons attributes an example to the Sa ltig. REFER ENCES:

Ford, P. R. J., The Oriental Carpet, p. 186 Loges, Werner, Turkoman Tribal Rugs, p.142 O'Bannon, George W., The Turkoman Carpet, pp. 63, 122 Parsons,'R. D., Oriental Rugs, Vol. 3, Afghanistan, pp. 68, 71

REFEREN CES:

Bausback, Peter, Antike Orientalische Kniipfkunst, 1976, p. 281 Eiland, Jr., Murray L., and Murray Eiland 11 I, Oriental Carpets: A Complete Guide, p. 243 Eskenazi, John J., fl Tappeto Orientale, p. 405 Lefevre, Jean, and Jon Thompson, Central Asian Carpets, pl. 26

Turkmen Motifs

T-22 Temerchin or Onurga Gul. The Temerchin gul is used in Sariq main carpets. See motifT-66. It has been described as overlapping angel fish, a pine tree and a backbone (onurga or "vertebrae"). Ford attributes an example to the Dali subtribe. REFE RENCES:

Bausback, Peter, Alte und Antike Orientnlische Kniipfkunst, 1979, p. 151 Ford, P. R. J., The Oriental Carpet, p. 187 O'Bannon, George W., Th e T11rko111011 orpet, p. I 22 Tzareva, Elena, Rugs & Carpets fro111 Ce11tml Asia, p. 135

Turkmen Motifs

Ersari Medallions

Ersari Field Repeats

T-23 Charshango. Charshango is a town in Afghanistan occupied by the Charshangi subtribe of the Ersari where this motif is used in local rugs. Rugs with this motif have been attributed to the Kizil Ayak subtribe of the Ersari. A village in Turkmenistan is named Kizil Ayak. Kizil Ayak means "red foot" in Turkic. The Kizil Ayak use the Tauk Noska gul in their main carpets. This motif is referred to as the Darvaza gul and is also used in Salor wcavings (motif T-54 shown below).

T-26 Botehs. The oldest Ersari rugs have guls. Later rugs have floral motifs and botehs of Persian origin. This serrated boteh field repeat occurs in rugs and bag faces and is fairly common. Note that it is a boteh within a boteh . Botehs are compared in the discussion of motif P-16. Rugs with this motif have been attributed to Ersari ofBeshir. REFEREN CES:

Eiland, Jr., Murray L., Oriental Rugs from Pacific Collections, p. 160 Hali, vol. 5, no. 3, ad p. 6.8 Herrmann, Eberhart, Seltene Orientteppiche X, p. 211 Loges, Werner, Turkoman Tribal Rugs, p. 158 Tzareva, Elena, Rugs & Carpets from Central Asia, p. 138 T-27 Tulips. There is a chessboard alternation of red and white in the rectangles of this motif. Some versions have been attributed to Beshir Ersari. Other Ersari chessboard motifs are compared below.

....

.... ,:




:I> OQ

.... Ersari Field Repeats

REFERENCES:

Dovodov, N., Carpets and Carpet Products of Turkmenistan, p. 60 Ford, P.R. J., The Oriental Carpet, p. 188 O'Bannon, George W. , The Turkoman Carpet, p. 123 Parsons, R. D., Oriental Rugs, Vol. 3, Afghanistan, p. 74 T-24 Bukhara (?). Motif T-24 is an octagram in an octagon. These are compared in the discussion of motif P-48. Hans Konig argues that some rugs with this motif are not tribal Ersari, but were woven in Bukhara. The octagramin -octagon dates back to 13th-century Anatolian rugs. REFEREN CES:

Foster, Olive Olmstead, Hali, vol. 2, no. 1, p. 55 Hali, vol. 3, no. 4, ad p. 11 Herrmann, Eberhart, Seltene Orientteppiche IV, p. 251 Konig, Hans, Hali, vol. 2, n~, p. 281 T-25 Cross. Used on long rugs, this motif is densely repeated, producing a tesselated appearance. Indeed, it suggests a contemporary tile. REFERENCES:

Bausback, Peter, Antike Orientalische Knupjkunst, 1976, p. 279 Bausback, Peter, Antike Orientteppiche, 1978, p. 521

REFERENCES:

Herrmann, Eberhart, Seltene Orientteppiche JV, p. 247 Herrmann, Eberhart, Seltene Orieni-teppiche IX, p. 195 Loges, Werner, Turkoman Tribal Rugs, p. 157 Spuhler, Friedrich, and others, Old Eastern Carpets, p. 215 T-26 Botehs

Turkmen Motifs

T-27 Tulips

Turkmen Motifs

Ersari Joval and Torba Motifs T-28 Zigzag Motif. This dramatic motif probably derives from Tur km en ikats. The alterna te use of yellow and white three- dimensionalizes the jagged bands. In addition to jovals, this motif occurs on a rug attributed to Bukhara, an ancient production center for ikats. This zigzag design is common in ikats. It is found in the ikats of Bukhara, Indonesia and India and is probably inherent to the ikat process and structure. An example ikat fabric follows. See motifT-46.

The overall shape of these medalli ons is quite old, appea ring in 16th- or 17th-century eastern Anatolian rugs as shown here.

Ersari Joval and Torba Motifs

REFERENCES:

llEFER ENCES :

Es kena zi, Jo hn J. , IL Tappeto Orientale, p. 408 Herrmann, Eberhart, Seltene Orientteppiche V, pp. 174, 182 O'Bannon, George W., Vanishing Jewels: Central Asian Tribal Weaving, p. 102 Straka, Jerome A., and Louise W. Mackie, The Oriental Rug Co llection ofJerome and Mary Jane Straka, p. 40

T-29 Octagram and Star Medallion. Fro m the center outward, this is an octagram within an octagon within an octagram within an octagram. Note how the lateral arms with terminating brackets are repeated. Border motifT-42 often frames this motif. The octagram and star medallion is also used by the Arabatchi on torbas and anim al trap pings, as shown below.

Denny, Walter B., Oriental R1;1gs, p. 100 Herrmann , Ebe rh art, Seltene Orientteppiche V, p. 174 Loges, Werner, Turko man Tribal Rugs, p. 16 l O'Ban no n, George W., Vanishing Jewels: Central Asian Tribal Weaving, p. 110 T hacher, Amos Bateman, Turko man Rugs, pl. 44

T-28 Zigzag Motif

T-30 Mina Khani (Beshir?). H ere is a fi eld repeat that exemplifies the Persian floral influence in Turkmen weav in g. Mackie and Thompson suggest that settled Turkrn en are more subject to exter~al design influences than nom adic Turkmen. Border motif T-40 usually frames this motif. There is a comparison of Mina Khani motifs with the discussion of motif P-43 . REFERENCES:

Eskenazi, John)., IL Tappeto Orientale, p. 412 Herrma nn, Eber hart, Seltene Orientteppiche VII, p. 182 Mackie, Louise, and Jon Thompson, Turkmen : Tribal Carpets 1 and Traditions, p. 177

T-29 Octagram and Star Medallion

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Turkmen Motifs

Turkm n Motifs

Ersari Joval and Torba Motifs T-31 Kejebe Motif. A kejebe is a tent-like litter for the bride carried on the back of a camel in a Turkmen wedding procession. The gable elements are supposed to represent the kejebe in this torba face . Analogous elements are lappets discussed with motif A-49. This motif has a central horizontal line of dyrnak guls. These also occur in the weavings of the Chaudor and Yomud, motifs T-89 and T-90. Variants of the dyrnak gul are compared here to motifT-31.

T-33 Arabatchi Gui (Joval). T he Arabatchi Turkmen inhabit the Amu Darya regio n of central Turkmenistan. Researchers have not conclusively resolved whether or not the Arabatchi are a subtribe of th e Ersari or the Chaudor or are completely independent. Their weavings are quite rare. This gul is very similar to the Tekke main carpet gul motif T-75 shown below.

Ersari Joval and Torba Motifs

T-3 1 Kejebe Motif

Other Ersari Motifs

REF ERE NCES :

REFERE NCES:

Bausback, Peter, Alte undAntike Orientalische Kniipjkunst, 1979, p. 152 Loges, Werner, Turkoman Tribal Rugs, p. 162

Other Ersari Motifs T-32 Ensi Motif. An ensi is a curtain hanging over the entra nce to a Turkmen yurt. These were imported to the West in large numbers in the early 19th century for use as scatter rugs. This motif is from the central portion of an ensi. The center column is the almond blossom motifT-42. This divides panels containing a common branching motif referred to by Moshkova as ensi nagish. The fringed Cshapes flanking the central stripe are referred to as bovrek by Robert Pinner. The two bracketing horizontal bands are versions of the curled leaf motifT-62. REFERE NCES:

Herrmann, Eberhart, Seltene Orientteppiche V, p. 173 Loges, Werner, Turkoman Tribal Rugs, p. 145 O'Bannon, George W., The Turkoman Carpet, p. 64 Stone Collection Turkmen Motifs

Bausback, Peter, Alte undAntike Orientalische Kniipjkunst, 1979, p. 132 Dodds, Dennis R., and Murray L. Ei land, Jr., Oriental Rugs from Atlantic Collections, p. 180 Herrmann, Eberhart, Seltene Orientteppiche !TI, p. 169 Loges, Werner, Turkoman Tribal Rugs, p. I78 Mackie, Louise, and Jon Thompson, Turkmen: Tribal Carpets and Traditions, p. 131 Moshkova, V. G., and George W. O'Bannon, Carpets of the People of Central Asia, p. 298

T-33 Arabatchi Gui (Joval)

T-34 Arab atch i Min o r Gui (Joval). Motif T-34 is a minor gul used with motifT-33 on Arabatchi jovals. The complex geometric design of the central portion is especially attractive. The central diamond lattice octagon occurs in a 17th- century western Anatolian rug. This motif is compared with other C-bracket motifs in the discussion of motif C-1. Its similarity to the central part of Ba luchi motif B-13 has been suggested. REFERENCES:

Balpinar, Belkis, and Udo Hirsch, Vakiflar Museum Istanbul: Carpets, p. 20 I Baus back, Peter, Alte und Antike Orientalische Kniipjkunst, 1979, p. 132 Dodds, Dennis R., and Murray L. Eiland , Jr., Oriental Rugs from Atlantic Collections, p. 180 Herrmann, Eberhart, Seltene Orientteppiche III, p. 169 Mackie, Louise, and Jon Thompson, Turkm en: Tribal Carpets and Traditions, p. 131 Moshkova, V. G., and Geo rge W. O'Ba nnon, Ca rpets of the People of Central Asia, p. 298

T-32 Ensi Motif

T-34 Arabatchi Minor Gui (Joval)

Turkmen Motifs

Ersari Borders T-35 Diamond and Cross. This border frames many Ersari main carpets. The cross is sometimes replaced by a diamond.

T-40 Rosette (Herati?) Border. Used on rugs and jovals, this border often frames the Mina Khani motif T-30. Moshkova classifies it as Beshir. Herati borders are compared in the discussion of mot if K-21.

REFERENCES:

REFEREN CES:

Bausback, Peter, Alte und Antike Orientalische Kniipjkunst, 1979, pp. 151, 153 Eskenazi, John J., II Tappeto Orientale, p. 405 MacDonald, Brian W., Tribal Rugs: Treasures of the Black Tent, p. 55

Eskenazi, John J., Tl Tappeto Orientale, p. 412 Herrmann, Eberhart, Seltene Orientteppiche VII, p. 182 Loges, Werner, Turkoman Tribal Rugs, p. 149 Mackie, Louise, and Jon Thompso n, Turk men: Tribal Carpets and Traditions, p. 177 Moshkova, V. G., and George W. O'Bannon, Carpets of the People of Central Asia, p. 316

T-36 Kochakand Star. The kochak and star is a major border motif. It is related to the Aina Kochak motif T-80 as shown here. See motif C-101 for a comparison of kochak borders.

Ersari Borders

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T-35 Diamond and Cross

T-36 Kochak and Star

T-41 Concentric Cross. Th is border is used on rugs and tor bas. REFERENCES: T-37 Stepped Gab le

Bausback, Peter, Alte und Antike Orientalische Kniipjkunst, 1981, p. 145 Loges, Werner, Turkoman Tribal Rugs, p. 162

T-42 Gul-i-badam, Dshudur or Almond Blossom Border. A very common border used in ensis, torbas, and main carpets, it evidences a later Persian floral influence. Karabagh border motif C-37 following may be a geometricized version of this border.

T-38 Bracket Diamond

T-39 Square and Star

REFERENCES:

Loges, Werner, Turkoman Tribal Rugs, p. 141 O'Bannon, George W., The Turkoman Carpet, p. 63 Parsons, R. D., Oriental Rugs, Vol. 3, Afghanistan, p. 68

T-37 Stepped Gable. The stepped gable border is used on carpets, jovals and torbas. Moshkova refers to it as the sari gira border. REFERENCES:

Bausback, Peter, Alte und Antike Orientalische Kniipjkunst, 1979, p. 152 Loges, Werner, Turkoman Tribal Rugs, p. 165 Tzareva, Elena, Rugs & Carpets from Central Asia, p. 138

T-38 Bracket Diamond. A diamond in brackets serves as a simple main border.

REFERENCES:

Herrmann, Eberhart, Seltene Orientteppiche IV, p. 247 Loges, Werner, Turkoman Tribal Rugs, p. 161

T-43 Sainak. The Sainak motif is very common as an outer border on ensis. It may adopt different configurations. See motif T-29. Its origin may be Anatolian as an element in motif A-19 shown below. •,

T-44 Soldat Min or Border. The Soldat border is a very common minor border or guard stripe.

T-40 Rosette (Herati?) Border

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T-41 Conce ntric Cross

T-42 Gul- i-badam, Dshudur or Almo nd Blossom Border

REFERENCES:

Eskenazi, John J., II Tappeto Orientale, p. 404 Lefevre, Jean, and Jon Thompson, Central Asian Ca,pets, pl. 26

T-39 Square and Star. A variety of different elements may be introduced between the squares of this border. This motif is quite similar to Salor border T-63.

T-43 Sainak

T-44 So ldat Mi nor Border

REFERENCES:

O' Bannon, George W., Afghanistan Journal, no. 3, 1977, cover, p.115,116

Turkm en Motifs

Turkmen Motifs

Ersari/Beshir Medallions and Field Repeats Ersari/Beshir Medallions and Field Repeats

Beshir is a town located on the Amu Darya river in west Turkestan. Ersari Turkmen inhabiting the region and northern Afghanistan weave rugs labeled as Beshir. Many of these rugs exhibit Persian design influence in their use of the Mina Khani and Herati patterns. Other rugs are inspired by ikat designs and large medallion rugs are often in a 2-1-2 or quincunx design. Rugs with these motifs may actually have been woven in the city of Bukhara. The fact that these are large-format rugs generally inappropriate for use in a yurt supports the view that they are of urban production for urban use.

T-45 Mihrab. The Ersari weave many prayer rugs of this co ncentri c mihrab design or variations. These are largely workshop products, perhaps originating in Bukhara. The ce ntral mihrab is surrounded by a pomegranate tree. Bouquets in vases ascend the central axis. The mihrabs are crowned by kochaks. The "head and shoulders" mihrab probably derives from Anatolian models. Mihrabs are compared in the discussion of motif A-31. REFERENCES:

Bausback, Peter, The Old and Antique Orienta/Art of Weaving, p. 149 Eskenazi, John J., II Tappeto Orientale, p. 411 Herrmann, Eberhart, Seltene Orientteppiche X, p. 208 Mackie, Louise, and Jon Thompson, Turkm en: Tribal Carpets and Traditions, p. 186

T-46 Dented Rhombus. A Beshir motif based on ikat designs, the dented rhombus is used on rugs and torbas. It has been copied by the Aimaq or Baluch. Silk ikats of tiedyed warps were woven by Uzbeks and Tajiks for use in robes. The technique produces a distinctive warp-wise "smea ring" of the design that is copied in some rugs. See motif T-28. Ikats were imitated, as well, in 17th-century Persian silk fabrics. An example ikat is shown foll owing.

REFEREN CES:

Bausback, Franz, Antike Teppiche Sammlung, 1987-88, p. 193 Bier, Carol, Woven from the Soul, Spun from the Heart, pp. 163, 165 Eskenazi, John J., II Tappeto Orientale, p. 407 Herrmann, Eberhart, Seltene Orientteppiche VI, p. 210 Lefevre, Jean, and Jon Thompson, CentralAsian Carpets, pl. 19 Loges, Werner, Turkoman Tribal Rugs, p. 169

T-47 Cloudband. Whether this motif is actually based on the Chin ese cloudband is questioned. An interesting feature is the way in which the bands are framed in miniature white crosses. Large octagonal medallions of the type shown in the discussion of m otif T-49 are sometimes superimposed on this cloudband motif.

T-45 Mihrab

T-46 Dented Rhombus

REFERENCES:

Bausback, Peter, The Old and Antique Oriental Art of Weaving, p. 151 Herrmann, Eberhart, Seltene Orientteppiche VII, p. 181 Lefevre, Jean, and Jon Thompson, Cent;al Asian Carpets, pl. 23

T-48 Ikat Motif. Motif T-48 is another ikat-derived motif. In comparing the ikat itself and motifs T-46 and T-48, one can see the small crosses on stalks as a common element. REF ERENCES:

Bausback, Peter, Antike Orientteppiche, 1978, p. 517 Herrmann, Eberhart, Seltene Orientteppiche V, p. 178 Mackie, Louise, and Jon Thompson, Turkmen: Tribal Carpets and Traditions, p. 196

T-47 Cloud band

Turkmen Motifs

T-48 lkat Motif

Turkmen Motifs

Ersari/Beshir Field Repeats T-49 Herati Pattern. Motif T-49 is used in rugs and jovals. Note how the white outlining "lifts" the elements from their background. Large octagonal medallions as shown below are sometimes superimposed on this motif in a 2-1 2 arrangement. The Herati pattern is compared in a discussion preceding motif P-71.

Ersari/Beshir Field Repeats

MotifT-5 1

Ersari/Beshir Borders T-50 Circle and Cross. This motif has a modern industrial simplicity. It usually frames prayer rug motif T-45. It may derive from the pomegranate element in motifT-45, below.

Motif P-18

Beshir motif

l(i,J'EREN CES:

Dovodov, N ., Carpets and Carpet Products of Turkmenistan, p. 67 Eske nazi, John J. , II Tappeto Orientale, p. 413 Sto ne, Peter F., The Oriental Rug Lexicon, p . 38 Straka, Jero me A., and Louise W. Mackie, The Oriental Rug Co llection ofJerome and Mary Jane Straka, p. 3 7 Tzareva, Elena, Rugs & Carpets from Centra l Asia, pp. 13 7, 150

Baluchi motif

REFERENCES:

Herrmann, Eberhart, Seltene Orientteppiche VII, p. 181 Lefevre, Jean, and Jon Thompson, Central Asian Carpets, p l. 20 Moshkova, V. G., and Geo rge W. O ' Bannon, Carpets of the People of CentralAsia, p. 307

T-52 Hooked Ashik. The hooked ashik border frames the cloudband motifT-47. Where borders consist of rectangular panels, Turkmen weavers often introduce a barberpole stripe or giyak between each panel. This is true of motifs T-39, T-51 and T-52. This hooked ashik or star is unusual. The closest analogous motif occurs in Yomud tent bands as shown here. The third motif is a distantly related Ersari medallion.

T-49 Herati Pattern

Ersari/Beshir Borders

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