Tabriz
Tabriz is one of the most important cities of Iran. It has a population
of one and a half millions and is the capital of the province of Eastern
Azerbaijan. Like Mashad on the eastern side of Iran, its present apparent
remoteness belies the fact that when the country was larger it had an
important role.
Indeed, before World War I, it was Iran's largest city. Much of the Caucasus belonged to Iran, which was administered from Tabriz. There are remains of mosques from the 15th century, but perhaps the most important landmarks are the bazaars, for trade has always been of great importance in Tabriz. Indeed, its geographical position meant that for a long time goods exported from Iran to Europe went via Tabriz, and the revival of the carpet industry in the 19th century is due largely to Tabriz merchants.
There are now a huge variety of carpets made in Tabriz, from extremely
fine to very coarse pieces. The weavers have great skill, and are aided by a
hook-like implement, which they use instead of the fingers for tying knots.
The warps and wefts are cotton, the pile wool, often with highlights of silk
in the fine pieces. The colours of the finer carpets are delicate and
refined. The coarsest qualities are brightly coloured and rarely exported. A
wide variety of designs are seen: copies of classical designs, re-workings
of old motifs, and pictorial or figurative treatments. The most famous
weaver was Hajji Jaliliz, who worked at the turn of the century.
Taiwanese
The apparent absence in Han Chinese culture of a tribal or village
weaving tradition, and of wool as anything but a commodity imported from the
‘barbarians’ to the north and west, precludes the possibility that the
design pool of ‘Chinese’ rugs from the northern workshops represents a
weaving language passed down through the centuries, the criterion by which
one may define a true tradition.
Given these strictures, I contend that Han China has never had a real weaving tradition, and that the identification of rugs from these workshops as simply ‘Chinese’, without further qualification is a fundamental error of conventional carpet studies. More accurate terminology should encompass the undeniable influence (if not origins) from the Turko-Mongol and Manchurian steppe hordes who contributed so greatly to Chinese culture as we understand it today.
(Picture) An early Han Period textile. The swirling forms and incredible
artistry are more reminiscent of contemporaneous textiles from the Altai
Mtns. than Han China. National Palace Museum, Taipei, Taiwan.
Tajabad
The village is one of many in the Hamedan district, which weaves rugs in
an unique style. Hamedan rugs are characterised by bold bright colours often
derived from vegetable dyes, geometric designs and a style of weaving which
partly exposes the warp threads on the reverse of the rug. The weaving is
solid and robust. The pile is generally wool, the warps and wefts cotton.
The weavers are very fond of primary colours - greens, reds, and blues, and
often use the un-dyed black, white and brown wool from sheep.
Talish
Carpets from the region of Talish are easily recognized by their long,
narrow shape. Typically, the long field is devoid of any decorative element
except colour --red or dark blue, in most cases. A running arrowhead motif
in a light colour might border the field. Sometimes, the long field is
decorated with orderly rows of Boteh.
Talish are easily recognized by their long, narrow shape and distinctive
design. They are woven by Tartars - pastoral nomads with the greatest skill
in rug making of all Caucasian people. The wool is lustrous, the length of
pile medium, and the knotting denser than either Kazaks or Karabagh. The
main borders are always on a natural ground, and the inner field is
sometimes left plain, usually blue less commonly red. More often the field
is filled with rosettes, small squares, or stars set in squares. The rich,
velvety thickness of Talish rugs is increased by stepped warp threads and
extra, short weft threads, generally blue.
Tapestry
Tapestries are among the most beautiful works of art from European
history. Wall hangings made from wool, silk, and gold and silver threads,
were as practical as they were decorative. They were also very durable.
Remnants of tapestries persist from the 7th century A.D., made by the Copts,
the early Christians living in Egypt. During the Middle Ages in Europe, and
particularly in France, enormous and beautiful tapestries were used to cover
humid castle walls. These hangings were the only decor for otherwise cold
and grey interiors and were the insulation sequestering warmth from the
fireplaces. They told brightly coloured stories, depicting hunting, battle,
mythological and biblical scenes, as well as every day life. Tapestries also
covered chests, beds and stools and were also integrated in clothing. In
fact, they filled nearly every conceivable need for comfortable and
dependable living conditions. The inventory value of royal, noble and
wealthy bourgeois families could be determined by the quality and quantity
of its tapestries.
Tapestries are made by weaving a thread horizontally in and out of a
longitudinal thread held taut on a loom. The longitudinal cord (of varying
thickness) is usually cotton and colourless (or natural). The horizontal
threads, on the other hand, are of many different colours. These are made of
wool, silk, gold and silver thread. As the wool is wrapped around each
cotton cord, the design and the material is formed simultaneously.
Tibetan
Due to political change in Tibet from 1959 through the early 60's,
thousands of Tibetans settled in the Kathmandu Valley after having made the
long trek through the Himalayan Mountains. For centuries, Tibetans have been
weaving and using carpets as bedding, saddle blankets and meditation mats in
monasteries. As a means to making a living in a new land, these hardy
Tibetan refugees received the support of the Swiss government and began a
cottage industry of carpet weaving. This industry was intended to sell rugs
to the growing tourist trade in Nepal. During this period, most of the
carpets produced were traditional designs in small sizes.
In the late 70's, floor-covering buyers from Germany came to Nepal and
began purchasing plain field (border only) designs in larger sizes. Within a
short period, the German market became the hub of distribution throughout
Europe. Due to the high demand of European buyers during the 1980's, Tibetan
carpet production in Nepal became the nation's second leading industry.
During this time, a few leading American importers began the importation of
Tibetan rugs made in Nepal, with specific design and coloration ideas for
the American market. To this day, Tibetan rugs have become a leading
commodity within the hand made floor-covering market in both Europe and the
United States, and continues to grow in popularity internationally.
Tunisia
Tunisia has a long tradition of weaving and is famous for its rugs,
mergoums, kilims, as well as other tapestries and woven products. Already in
the 5th century AD, the Greek poets complimented "the rugs and cushions of
Carthage" and tribute payments to the Caliph of Baghdad were made partly in
the form of Tunisian rugs. See Saudi Aramco World's online article
"Craftsman of Tunisia" for more information on Tunisian weaving.
In Kairouan, women do the weaving. They produce two
types of wool carpet - pile and short-nap. The short- nap carpets are either
of the mergoum style (a diamond pattern worked into a neutral ground), and
kilims (formed by alternate strips of natural-coloured wools. The pile rugs,
known as zerhivas consist of a central motif bordered by an arabesque
pattern. While there is some room for variation, most of these rugs follow
traditional designs and motifs. The zerhivas are more expensive than the
short-nap carpets and take much longer to make. Those made out of silk were
considerably more expensive but were beautiful.
Turkish Dushmalti
This type of carpet originates from the Taurus Mountain region. Due to
the cold weather climate here, the Dösemealti carpets are made with warm,
thick piles. The ram horns are a common symbol found within a Dösemealti
design, signifying power and strength. Red and blue colours are associated
with these pieces.
Turkish Karz
Not far from the Soviet and Iran frontiers lies Karz the capital of the
large Karz province north of Lake Van in the farthest north east end of
Turkey. This area is inhabited by a mixed population of Kurds, Turkish
(Caucasian Terekeme and Azerbaijani Turks) and until +/-1920 by Armenians.
Following Zipper & Fritzsche: “Karz takes its name from the
Turkish-Bulgarian tribe of the Karzak. In the 9th and 10th centuries AD Karz
was the capital of an Armenian principality. It belonged to Turkey until
1878, then to Russia until 1917, in 1918 to Trans-Caucasia, in the following
two years to Armenia and in 1921 it became again part of Turkey.”
Turkish Khotan
Khotan was an important city in Eastern Turkestan (western China) that
produced fine quality rugs in the 18th and 19th centuries. They are
sometimes referred to as Samarghand carpets because they were formally
bought and sold in the great bazaar of Samarghand. Designs are usually of
three medallions embedded on a red or purple field. Sizes are commonly 4x8
or 4 x 9ft.
Turkish Kysari
Made in surrounding villages of Kayseria and Sivas, Kysaris are noted for
the variety and originality of their designs. The materials used as well as
the quality of the rugs are generally high. Both silk and wool items are
produced.
Turkish Milas
Classical Milas carpets and rugs are those that can be said to have kept
the essentials of the original 16th century prayer rugs, with a usually
rectangular niche ("mihrâb") in their fore to indicate the spot where
the front of the faithful touches the rug at the moment of kneeling during
the prayer. The inner frame of this niche is garnished with plant motifs and
above the niche is a specially designed field called âlem, with
references to heavenly promises.
The type called "Ada Milas" is one of the oldest examples of classical Milas rugs. The name may have derived, according to different versions, from the queen Ada of Caria, a native of this very region and a contemporary of Alexander the Great, or from a hypothesis according to which this type of rugs was first woven by immigrants from the island of İstanköy (Cos), "ada" meaning "island" in Turkish, or from the stylized carnation bouquets (another signification of the word "ada") sometimes depicted as placed on a branch around the rug.
Many other such stylizations, such as cat's paws, soles,
notches, always depicted in an abstract manner, exist. These side
decorations always follow a repetitive order around the circumference of the
rug, and their row is called a "water bed" ("su yatağı").
Turkish Oushal
Oushak is a town of west central Turkey with a tradition of rug
production that began as early as the 15th century. At the end of the 19th
century, due to the demand for large room size rugs in Europe and the United
States, a production on a large-scale commercial basis began taking place
there. These coarsely woven rugs are virtually always pastel in tone. Some
designs consist of medallions, variations on Milas prayer-rug schemes, and
all over floral patterns.
Turkish Sivas
Sivas is a city of north central Turkey, which is a production site of
Turkish rugs based on Persian designs. Older rugs have wool foundation while
recent ones use cotton. Rugs can have either the asymmetrical or the
symmetrical knot.
Turkomen
The Turkmen are a tribe of immense importance. Most of them live in the
former Soviet Republic of Turkmenistan and in Afghanistan. The Iranian
Turkmen belong to three tribes: the Yomut, the Tekke and the Atabat. The
first two are most famous for carpets. Although originally nomadic, most
Iranian Turkmen are now settled, though they often keep a traditional round
tent standing near their modern brick houses. They speak a dialect of
Turkish.
Turkmen rugs are traditionally constructed of wool (pile and foundation)
and have limited colour schemes of reds, black and ivory, with other colours
and silk occasionally introduced. The typical design is of geometrical
'gulls': octagonal designs varying according to tribe. Traditionally, rugs
in other sizes have been made for specific areas of tents, as door hangings,
bag faces and so on. Tribal leaders have occasionally made very large
carpets as special commissions.
Turkomen Saryk
Early Sarouk Carpets are among the most beautiful of all Turkmen weaving.
Until the first part of the nineteenth century , when their territory was
far to the East around the Amu Darya , they retained a style that was very
specific to their own tribe. Little remains to show for this early period ,
when their work was almost entirely of wool , with the occasional use of
silk and white cotton for highlights. The designs were closely related to
the Salor but had fairly specific features of their own.
Distinct in their weaving is the dark blue plain weave edge and fringe on
bags, and the long plain weave Kilims ends to main carpets. Sarouk seldom
used more than six colours , all rather sombre in tone in recent years. The
field is a clear light red , red brown , purple red , dark brown , deep
purple or dark brown. Other colours used are orange , tan crimson , dark
blue , mid blue , blue green and yellow.
Turkomen Tekke
The Tekke became the most powerful Turkmen's tribe by allying themselves
with the khans of Khiva to gain control over the Yomut and the chodor , but
in turn they were subdued bye the superior forces of the Russians in 1885.
In early Tekke work , the gulls quartering the are joined in a geometric pattern , seemingly of ancient origin and recognizable in some fifteenth century Anatolian Holbein carpets. Like the Salor , the Tekke seldom used white cotton in the pile , since natural white wool was available. Unlike the salor , the dark outline of patterns is in a natural dark brown wool , often un-dyed, which fades to a lighter brown. In smaller pieces , the Tekke used brilliant cochineal-dyed magenta silk as highlights , and both synthetic and cochineal-dyed wool can be found together from about 1880.
A particularly recognizable feature of some Tekke main carpets is the
wide Kilims end , in the same colour as the field, with triple blue
horizontal lines. Sometimes this pattern is used as an end panel in the
pile.
Turkomen Yomut
Today the Yomut are the largest , most widely scattered of all Turkmen tribes, living a mainly
nomadic life in an area stretching west to the shore of the Caspian sea.
Alone among the Turbofans , they used their tribal gull almost as a decorative pattern or a curled edge palette , more like small medallions then the well spaced Turkmen gull pattern.
Several different gulls were used , either by the sub-tribes who are as
yet unidentified , or as variations on the Yomut main gal. A
bird motif like a flying eagle is common and in nineteenth
century border patterns there is also a running dog motif ,
known to the Yomut as a married woman finger. Yomut weaving has
much more blue than most other Turkmen work and for a short
period a vivid green was also used. Yomut gulls are often worked
in several colours , unlike archetypal Turkmen gull patterns
with a symmetrical use of different coloured gulls to archive a
diagonal pattern.
Turkomen Chodor
The early territory of the Chodor was in the north of Kazakhstan on the Caspian Sea , from where they
began to migrate in small groups , moving down to the khanate of Khiva in a steady trickle from the sixteenth
century . Finally the whole chodor tribe was located in Khiva from the eighteenth century.
The Chuddar use two principal gulls. One is the Tauk Noska gull with four pairs of stylized animals, like the gull of both their northern and southern neighbours the Yomut and the Ersari. The other and most common is the ertman gul used in a diagonal trellis arrangement which is very far removed from Turkmen tribal traditions.
The Chodar also empty a different treatment of gulls in the
field pattern , interlocking them to form an all over pattern.
The cheval and camel trapping show the half gul or ertman gul,
sometimes almost in a tile pattern with the gulls worked in a
vivid blue and not the typical Turkmen spectrum of reds.
Turkomen Ersari
The Ersari are probably the most numerous of
all Turkmen tribes and did not suffer the losses so damaging
to many other tribes during the unrest in the nineteenth
century. Originally their territory was on the north-eastern
shore of the Caspian Sea. Some classic tribal weaving of the
Ersari survives from the end of the eighteenth century , in
some of which the gul shape is integrated into an all-over
repeating pattern. The use of a clear green is also evident
in these pieces. Other designs which occur frequently are
flower heads arranged in traditional Turkmen gul patterns in
the field , with in a typical tribal format. The Ersari made
storage bags of a similar design to those of the Tekke ,
with horizontal stripes and decorative top and button panels.
Quite unlike other Turkmen work are the large Ersari rugs which use a particular
version of the Herati pattern as well as the well-known mina khani motif, which
is also often used on other weavings. Ersari rugs contain far more yellow than
any other Turkmen work and unusually their use of silk in the pile is not
confined to the cochineal dyed magenta silk but extends to yellow and blue as
well. The work of the Kizil Ayak is most closely related to that of the Ersari
of whom the form a sub group. However their engsis contain ertman panels from
the Chodar and their main carpets almost invariably feature a Tauk Noska gul
from the Yomut.
Turkomen Salor
The Salor are among the oldest recorded Turkmen tribes, mentioned by Makmoud of Kashgaria in the
eleventh century and by Rashid ad Din in the fourteenth
century as on the twenty four tribes of the Oguz.
All Turkmen weaving the work of the Salor has the
tightest , most dense knitting , so some carpets may split
or crack if folded carelessly, Salor weaving has a hard,
lustrous pile, which often includes a small amount of silk
more profuse use may indicate a later date. In common with
early Tekke weavings, the Salor use an obscure red dye made
from insects which appear not to be cochineal. Salor gulls
in older pieces show a family resemblance with the quartered
gulls of the Saryk and later the Tekke.
