Antique Rugs and Carpets. Caucasus.
Antique Rugs and Carpets. Caucasus.
The mountainous region between the Black and Caspian seas is inhabited by many ethnic groups, whose weaving traditions go back centuries. However, very little is known of the type of carpet produced here prior to the mid-17th century, although what emerges from this time is a clearly identifiable group of carpets based on a nomadic and semi-nomadic style of production. The designs incorporate both bold and finely drawn geometric motifs in bright, vivid, contrasting colours, and characteristically depict stylized animal and floral forms. These strong, geometric, individual renderings are highly prized by collectors, particularly examples that date from before c.1900. Later examples lack spontaneity, and are inclined to appear dull and stereotyped by comparison.
EARLY CAUCASIAN WEAVINGS
The oldest identifiable group of Caucasian carpets is the so-called “Kuba dragon” carpets, which appear to date from about the mid-17th century. The name “Kuba” is likely to be spurious, as it is now generally thought that these carpets were woven in the Karabagh district of the southern Caucasus and the Shirvan district of the eastern Caucasus. The dragon rugs represent a bold and powerful provincial rendering of Persian animal and vase carpet designs from, the towns of Tabriz, Kashan, and Kirman during the Safavid period (1501-1732). They incorporate stylized dragons and other motifs such as cloudbands, cranes, and phoenixes, which are associated with Chinese art and which also appear, naturalistically drawn, in Persian Safavid town production.
The overall design format with an endless repeat of animal and floral forms without a lattice arrangement also stems from the established format adopted by the Safavid court style. The degree of stylization of the drawing varies from carpet to carpet, with some carpets displaying motifs whose origins are barely identifiable. The production of large carpets, taking a characteristically long, narrow form and decorated with designs derived from classic production, virtually ceases by the mid-18th century.
LATER NORTH- AND EAST-CAUCASIAN WEAVINGS
Most Caucasian rugs date from the 19th century and were made in village workshops by weavers who combined a nomadic tradition, often based on an earlier Anatolian work, with formal designs based on the earlier dragon carpets or directly on Persian town influences. Northern and eastern Caucasian rugs are mostly on a cotton foundation or a combination of wool and cotton. The design repertory is endless, but there are certain consistent features in the group. The pile is in most cases tightly woven and closely wrapped, which allows for greater crispness and definition of design. The colours are jewel-like and vibrant. Kuba, Shirvan, and Dagestan are the three main districts where technically fine Caucasian rugs are produced. Within each district, particular towns are associated with carpet production: Perebedil, Chi Chi, and Seichur in Kuba, and Marasali and Akstafa in Shirvan are the best known. Dagestan rugs are named after the district.
Rugs from the village of Seichur are particularly distinctive; mainly in runner format, they usually feature a repeating “St Andrew’s cross” medallion in a typically formal arrangement, as seen in such earlier classic pieces as the “Holbein” rugs. The remaining field is often crammed with stylized flowering branches. White is rare as a background colour, with shades of blue and red being much more usual. Dark blue is particularly common in northern and eastern Caucasian rugs; small details are frequently picked out in brighter colours, and contrast strongly against the dark background. Visually appealing examples will, additionally, incorporate a background border colour that contrasts with the field colour. Prayer-rugs are typically woven with the mihrab, or prayer niche, consistently geometric in shape and very easily identifiable.
The north-easterly region of Dagestan is renowned for its well-made prayer-rugs with white or ivory grounds. The light ground is filled in with diagonal rows of multicoloured, stylized plants in a serrated lattice. Borders are typically in a contrasting colour to the ground.
LATER SOUTH- AND WEST-CAUCASIAN WEAVINGS
Bold and open designs epitomize rugs from the Karabagh and Kazak districts in the southern and western Caucasus, respectively. In contrast to that of rugs from the North and East, the wool pile is long and usually much more loosely woven, resulting in bolder, less detailed motifs. Designs are based upon earlier classic forms, both Persian and Anatolian. Good examples exhibit a fine balance between scale and colour contrast in the pattern details. Carpets are seldom produced, mainly owing to
the predominantly village-oriented nature of production, but also because the bold designs lend themselves to a smaller, rug-sized scale, as well as to runner formats. Bold prayer-rug designs are also found.
In establishing the quality of rugs from this area, it is important to look for bright, vibrant colours that are not brash or conflicting. Also look for lustrous wool in the pile and a good balance of design. Fineness of weave is not usually a factor in determining the quality of rugs from this region. Pieces made after 1880 may display harsh chemical dyes, with bright shades of orange and purple very noticeable. These were the first chemical dyes produced, c.1870, and do not harmonize with more traditional, natural colours. Shades of brown and charcoal are often used – these are prone to natural corrosion or oxidation due to the iron in the dyestuff. • MAN AREAS OF PRODUCTION the Kuba, Shirvan, Dagestan, Karabagh, and Kazak districts
• WEAVE mostly wool on a wool foundation although some finer pieces are produced on a cotton foundation
• SCALE most pieces are of rug size although runners and practical artifacts were also produced
• COLOURS jewel-like colours are characteristic for the field, especially red, blue, white, and sometimes yellow; avoid pieces in shades of orange as well as any examples with colour run; particularly beware of red bleeding into white
• DESIGNS these are almost always geometric; prayer-rugs arc typical of the area
• MOTIFS floral and animal motifs are typical
• COLLECTING pieces are usually identifiable by district or by village; rugs produced before 1900 are highly sought after by collectors; later examples tend to feature poor colour combinations and usually lack the individuality of earlier pieces; examples are copied in Turkey but colours arc likely to be pastel-based