Laine sur laine - Azerbaïdjan
|Article:||Tapis (Plus de lots)|
|Matériau:||Laine sur laine|
|État:||Dans l'ensemble en bon état avec des traces d'ancienneté et d'usure|
|Tapis nettoyé professionnellement:||Oui|
Mid 19th Century Azerbaidjan Karabağ Rug.It has very unusual desgin collectible piece ıt has good age early piece circa 1870s or early.All the colors are natural and in really good condition.It has some old restoration.
Karabakh has a long history as a centre of Azerbaijani arts and culture. Alongside the arts of stone dressing and metal working, weaving in the region also developed its own particular forms. The abundance of raw-materials, an important factor in the appearance and development of the craft, gave powerful impetus to its expansion. The devotion and expertise of the indigenous population to their art were especially apparent in their wool and silk weaving (galloon making).
The art of weaving can be traced back to the most ancient of days. Spindle heads obtained from archaeological sites of the Eneolith era indicate that ancient people living in the regions of Karabakh, Nakhchivan and Qazakh were engaged in the craft. Archaeological investigations carried out in the Karabakh region unearthed information about carpet weaving in Karabakh during the first Bronze Age. “Vessels with traces of weave found in barrows of the first Bronze Age, as well as spindle heads found at middle Bronze Age sites and hava (a tool used for carpet weaving) and other weaving tools discovered in Uzarliktepe also provide evidence”.1 Thus it seems clear that Karabakh developed as a centre of weaving in ancient times and was in at the origins of weaving in the Caucasus. Here the views of German explorer H. Ropers on Caucasian carpets are interesting. He noted that “Caucasian carpets were produced before those in Asia Minor and there is no doubt that the Caucasus is generally considered the homeland of oriental carpets. Thus woven artefacts, especially kilims (pileless rugs), were produced before fleecy carpets and they are currently produced mainly in the Caucasus”2.
It is a fact that Azerbaijani carpets comprise a large majority of Caucasian carpets. In this respect, and clarifying H. Ropers, it is possible to say that Azerbaijan, and especially Karabakh, is the homeland of the oriental carpet.
Their production techniques, variety of patterns and designs, diversity of colours and high styling made Karabakh carpets famous even in the Middle Ages. The epic Book of Dede Qorqud tells of thousands of silk carpets in the 7th century. The Arabian author Al-Mugaddasi, writing about the market in Berda city, noted that the carpets woven there had no equal3. Carpets of the Karabakh group were prominent among the Azerbaijani carpets exported to Europe from the 14th century and were well-known. Alongside other Azerbaijan carpets, those from Karabakh were prized by European painters as having great aesthetic value. We can see a Mugan carpet belonging to the Karabakh group in the pictures of Hans Memling Mary with the Child and Portrait of a Young Man. Carpets of the Tabriz and Shirvan (Shamakha) pattern, woven in the 16th century, along with a carpet called Goja (old man) woven in the 17th century in Karabakh, are displayed in the Metropolitan Museum of Art, New York. Carpets from the Azerbaijani carpet centres Tabriz, Sheki, Shamakha, Ganja, Quba, Baku and Qazakh are held in London’s Victoria and Albert Museum, the Louvre in Paris, metropolitan museums in Washington DC and in various museums and private collections in Vienna, Rome, Istanbul, Tehran and Cairo. Karabakh carpets have also graced art exhibitions in Paris, Vienna, Berlin, Petersburg and Moscow. In 1889 about 25 examples from the Shusha and Jabrail regions were displayed in a Caucasus exhibition. Muslim women from Shusha province demonstrated for visitors the process of weaving carpets on looms installed in the exhibition4.
One reason for the extensive development of carpet weaving among other domestic crafts and the high value placed on its products, was the brisk demand for them to adorn homes, palaces and public buildings. Carpets were a symbol of wealth in the Karabakh region. It is true that mothers preparing to marry off their sons especially enquired about the weaving skills of prospective brides. According to custom, among the carpets and rugs in a girl’s dowry there had to be something she had woven herself. The Karabakh village of Khangervend’s carpet-based economy had a major impact on its social attitudes. It was noted that there the birth of a girl was a cause of greater joy than that of a boy. Each family wove one carpet per month. Homes without the sound of a loom were thought of as unlucky or poor and families celebrated carpet cutting (finishing) day9. The village girls were well-known for their application to their art, as well as for their diligence and skills. For this, if for no other reason, they had no shortage of suitors. There was no more valuable dowry than the carpet weaving skills of the girls of Khangervend. They learned the craft from six years old; it was a vocation for life and beyond; even after they had cut their last thread, their tools: hook, comb, scissors and loom, were engraved on their tombstones. Carpet and rug products were created by both nomadic and settled populations and almost all districts of the Karabakh region were producers, the exceptions being mainly villages in and around the mountains. Indeed it was the main field of employment among the cattle-breeding people of the lowland districts. According to sources from the late 19th century, it was said that “women in almost all Muslim families in the Aghdam community were engaged in carpet manufacturing”10. Karabakh carpets were made in the districts of Shusha, Jabrail, Javanshir and Zengezur. Production here was more strongly developed than in other parts of the Southern Caucasus, both in volume and in diversity of design. One source said, “Carpet weaving in Shusha is seen as a domestic industry. The carpets are rarely woven to order. Everybody works for the free market. It is difficult to estimate the exact number of carpet masters; even the local district authority doesn’t know. It can only be said that the whole Muslim section of the city is engaged in the art.”11
Y. Zedgenidze, who carried out investigations in Karabakh in the 1890s, travelled the lands inch by inch and collected a wealth of information about carpet weaving. In his opinion the Karabakh masters of carpet weaving were Azerbaijanis. He wrote that very few Armenians were involved. Historical and everyday conditions also militated against the development of the art by Armenians: the art of weaving was passed to Muslims from Asia, thus Armenians were compelled to learn it from Azerbaijanis11.
It has one tear please from up side of the carpet and some old restoration but does not importand to much for this kind of early rugs.
Membre de Catawiki depuis le 23 janvier 2018, 22 évaluations reçues au total (11 au cours des 12 derniers mois)
|Score d'évaluation:||80% (11 évaluations)|
|(12 derniers mois)|
Perfect service, very beautiful carpet. Thank you.
Perfect! Thank you so much
Attention. Certaines parties de cette page ont été traduites automatiquement.Tutto perfetto!
Vestito molto bello e interessate. Disponibile e cordiale per dare informazioni sulla storia e tecnica del tessuto.
Davvero una bella esperienza.
Grazie, davvero grazie.
Attention. Certaines parties de cette page ont été traduites automatiquement.Stay away from this seller. He attempted to sell us a fake rug which was tested by experts who confirmed the carpet was a fake. Luckily Catawiki reimbursed us. We will certainly report this case.
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