After nearly 12 years in Turkey
and a lifetime of loving weavings and embroideries, I’m hardly an expert
despite a formal textile education. In a city like Istanbul,
I’m surrounded by generations of rug merchants who could offer the equivalent
of a PhD in techniques, styles and the various regions from which their wares
come. While I’ve met a few visitors to our shop who have astounded me with
their knowledge, most people know next to nothing. I play the role of
enthusiast, trying to open eyes to the beauty and history within each unique
piece.
Like this Shiraz carpet from Iran, for example. What attracts me most about this piece are the colors – a warm chocolate brown combined with two vibrant shades of turquoise, instead of the usual deep red and blue. These hues are offset by the rich indigo – a more typical color, though here it’s only used as a backdrop for the central field. Best is the strong acidic green used to highlight most of the motifs, though a fairly rosy pink is less successful and fortunately not used much against the brown. This weaver was not tentative about departing from tradition in terms of colors, which seem quite modern to my eye.
It’s logical that settled tribal weavers near Shiraz,
this southwestern city of roses, poets and nightingales, would choose to create
a lyrical garden full of floral, water and mountain motifs. These are arranged
in an abundant but formal manner for most of the design, though the flowers playfully
scatter at each end. The borders, like the tightly fitting triangular mosaic
work for which the city is renown, contain the gardens in a series of narrow
and wide boundaries. The remnants of Persepolis
and Darius the Great’s Palace are only 70 km away. I like to think the stylized
trees of life recall the Lebanese cedar beams and those funny motifs floating
on the indigo ground are stylized animals, inspired by the palace’s two-headed
animal sculptures.
Lastly, I’m attracted to the Turkish and Kurdish geometry of
this piece, even though it’s single knotted in the Persian style, The center diamond-shaped lozenges,
typical of the Shiraz style, have stylized crosses at their centers, symbols
that have been used as far back as Catalhoyuk in Central Anatolia. This ancient
motif protects against evil by dividing it in four pieces. The outermost border
reminds me of the stylized bands of folk dancers that ring the outside of Kurdish
kilims, heads and shoulders together, binding the community together with
movement and music.
What do you see in
this carpet?
