|Subject||:||SALON 24 TRACING THE DESIGN OF RUG3|
|Date||:||08-24-1999 on 04:50 p.m.|
|Tracing the design of RUG3 - part one
Michael Wendorff in his August 09, 1999 post, pointed out the
similarities between the medallion of my rug
This rug has been recently sold by Sotheby's New York, lot 177, sale 7191, October1, 1998 with and an estimated date circa 1875.
Among other related examples we may cite:
Michael, also noticed the relationships in design of a distinctive
group of Eastern Anatolian Kagizman Kurdish rugs with a related central
medallion, one of them being illustrated in <font
color="0000FF">Serrare Yetkin " Early Caucasian carpets" in Turkey as
A close examination of the medallion clearly shows these similarities and especially the tille pattern.
Tracing the design of RUG3 - part two
Michael said " what may related the two groups is the six sided medallion and the interior elements found in the medallion…..and that this would help to place my rug in context.
I searched for other relationships in other published rugs using the six sided medallion with our without a 2-1-2 arrangement and related inner tile pattern decoration and collected them here.
? Lativ Kerimov Azerbaidjan carpet Vol III "Baku" carpet Baku group Pic
55 page 77 18th century Teze Pir Mosque
Tracing the design of RUG3 - part three
Wendell shared Michael thoughts saying " Daniel's rug does appear as a
variant of the design continuum of the Kazaks of the Yohe/Rudnick line
…While we can only speculate on how designs evolve, I believe these groups
as well as the Karachov Kazaks trace their lineage to the Holbein carpets
? Holbein large pattern Istanbul Türk ve Islam Museum N° 468 picture
256 from "Le Tapis Chretien Oriental" Volkmar Gantzhorm
All these considerations lead us to Serare Yetkin well developed considerations concerning the evolution of designs since the early Seljukides Turkoman's invasions during the eleven century, their evolution in Central and Western Anatolia through the Ming and Marby rugs of the 15th century, the Mamluk and Holbein carpets of the 16th century with their centralized design who evolved independently while Caucasian carpets (Dragon type followed by the Floral type) were under strong Persian influence. The decline of the Persian influence along the 18th century can be seen through the transformation towards geometric forms of the Floral type and the resurgence of Anatolian motifs transmitted by Anatolian nomads in the Caucasus during the 19th century. Please refer to Serare Yetkin Early Caucasian Carpets in Turkey vol 1 & 2 for more information's.
As for the previous post if someone would be interesting to see one of the referenced picture I would be pleased to post it him in aperture of a private Email
Cordially and thanks for your participation
|Subject||:||RE:SALON 24 TRACING THE DESIGN OF RUG3|
|Date||:||08-26-1999 on 12:17 p.m.|
|Dear Daniel: Thank you for all the leg work. Looking at these images consecutively I hope helps you to visualize what I was trying to describe in words. I believe this basic medallion became ingrained and adapted into several weaving traditions, among them Kurdish and Kazak. Though each group adapted the medallion in their own way, there is remarkable consistancy within each group's adaptation as well as in all of the different adaptive groups. Put another way, you can take all the Kagizman Kurd examples known, I am personally aware of at least ten, and see not just the identical unique border. You will also note consistencies in the outlining of the medallion, the juxtaposition of colors, the interior elements and overall format within this adaptive group of rugs woven by Kurdish weavers. Likewise, you can take all the known Kazak examples and see yet another distinct adaptive group. They all share certain qualities such as colors, drawing and shared design elements. Certainly the number of these rugs extant is sufficient to call them a group. In fact, I believe we have sufficient samples to accept that these are each adaptive groups. I think that each of these adaptive groups in turn arose not out of coincidence but because tribal or village weavers were exposed to and influenced by similar models or traditions, here the Holbein tradition, and adapted or expressed that tradition into something that each of these distinctive groups thought beautiful. I also think that these adaptive groups then may have given rise to the spate of later rugs woven with multiple medallions such as rug 3 which do not appear to be as old or careful in their drawing or creation (as measured by among other criteria the quality of wool and range of color). Of course, one could articulate an argument that rugs such as #3 are themselves an adaptive group separate from influence of the other groups I mentioned or that they all arose uniquely in a specfic time and place and any design continuity is coincidence. In any event, I personally doubt very much whether you can begin to understand anything about rug #3 without at least considering these other groups for what I refer to as "context." Thank you. Michael Wendorf|