Turkotek Lecture OutlinesThe Woven World -- Village & Tribal Weaving from the Caucasus and Central Asia
The lectures on Uzbek & South Persian Weavings have no accompanying outline because of lack of time to cover these subjects in the course. (Revised 7/97) Lectures 1 & 2: Introduction to rug weaving in western to central Asia I. Introduction A. Basic geography SLIDE - MAP 1. Largely high desert 2. Major sheep raising area 3. Western end of the silk road 4. Many nomadic tribal groups 5. Why I call it "the woven world" B. The elements of weaving: flatweaves 1. Plainweave and embroidery 2. Slit tapestry (kilim) SLIDE - KILIM STRUCTURE 3. Weft brocading SLIDES - SOUMAK STRUCTURES C. The elements of weaving: pileweaves 1. Structure; durability SLIDE - PILE STRUCTURE 2. Nomenclature of knots 3. Flat vs depressed warps (advantage of depression for fine designs) D. Materials 1. Wool a. Advantages (durable, cheap, resilient, can be glossy and tactile) b. Disadvantages (bugs eat it, white lacks "punch", limited palette with dark wools, limited tensile strength, dimensional instability) 2. Cotton a. Advantages (dimensional stability, really white) b. Disadvantages (expensive, limited
tensile strength, poor resilience) 3. Silk a. Advantages (dimensional stability, tensile strength, sheen and beauty when dyed, neutral color allows any palette) b. Disadvantages (very expensive, poor abrasion resistance) 4. "Vegetable" and synthetic dyes and their implications for dating; mordants; abrash II. The anatomy of rugs and bags A. Layout SLIDE - RUG ANATOMY 1. Field, borders, spandrels 2. Problem of turning corners 3. Variations to be encountered: PJR Ford uses layout for classification B. Terminology for sizes (carpet; runner or long rug; corridor carpet; dozar; prayer; cushion or pillow) III. Workshop, cottage industry and tribal weaving (Thompson's basis for classification) A. Basic characteristics of each B. Village + tribal = "ethnographic" C. Why "ethnographic" usually = "antique" (definition of antique) EXAMPLES: SOUMAK + KILIM PANEL; 19TH AND 20TH C. BAGFACES TO SHOW SYNTHETIC & NATURAL DYES AND KNOTS Lectures 3, 4 & 5: Caucasian Village Weavings I. Introduction and general characteristics of 19th century Caucasian weaving SLIDE - MAP A. Pile weaving; folk art and the kustar system: Czarist Russia takes control of the Caucasus between 1813 and 1828; rebellion against Russian control goes on untile 1860's; economy devastated; kustar system imposed in 1870 to re- establish rug industry B. Flatweaves; folk art and tribal weavings (to be covered later on) C. Some generalities about the aesthetics 1. Color a. Usually clear rather than "dirty" or mixed b. Mainly primaries; some greens; purple rare c. Dating from dyes: fuchsine and corrosive black/brown 2. Aesthetics of varying kinds a. Bold, barbaric: large scale motifs, long pile, coarse knots, contrasty, few colors SLIDE - KAZAK b. Primitive, charming: quaint motifs, medium pile, medium fineness, colors somewhat contrasty, busy SLIDE - SHIRVAN or GENJE c. Refined, elegant: small or medium scale motifs, very fine, color juxtapositions soft, many colors, overall impression of serenity SLIDE - SHIRVAN OR KUBA II. Pileweaves from villages of the western Caucasus A. The physical geography: Western Caucasus (Armenia and part of Azerbaijan) = Greater Caucasus. Very high altitude, alpine meadows B. Generally long pile, coarse weaving, bold/barbaric C. Major villages and districts 1. Kazak: long pile, coarse (typically around 50 knots/in in larger pieces) colors generally bright and contrasty, very clear reds, blues, yellows and greens SLIDES - KARACHOPT VARIANTS SLIDES - BORJALOU, LAMBALO, STAR, PINWHEEL, FACHRALO SLIDES - OTHER KAZAK VARIANTS 2. Karabagh (= Nagorny Karabagh). Armenian ethnic enclave within Azerbaijan; claimed by both. Religious conflict. Much nonsense written about appearance of crosses on Armenian rugs, just as much about moslem ban on human figures. Armenian inscriptions of names, initials, dates fairly common. Motifs somewhat finer than those of Kazaks, more "quaint" mixed with "bold" quality; colors often less clear, sometimes very much mixed. Sometimes "European". SLIDE - KARABAGH 3. Talish. Generally runners. Fleecy wool, very luxurious feel. Usually white borders with small rosettes, field sometimes bare (met hane), sometimes with just a few motifs. Peculiar structure with short supplementary wefts at edges every few inches. Capital of district, Lenkoran, is exception; will see a little later. Many Karabaghs are miscatalogued as Talish or Lenkoran rugs; feel of wool and supplementary wefts are diagnostic. SLIDES - TALISH III. Eastern Caucasus A. General: Much finer knotting, shorter pile and wider palette than western Caucasian pieces. Although many are identifiable patterns from certain villages, weavings can be so similar throughout east Caucasus that it is sometimes difficult to distinguish between Shirvan, Kuba, and Daghestan. Aesthetically, these are nearly always of the primitive or of the elegant class. B. Daghestan: Medium to short pile, finer than Kazaks but generally coarser than Kuba or Shirvan weavings. Classic rugs from this area have lattices for fields, so the lattice field prayer rugs from Shirvan and Kuba, particularly those with white or yellow grounds, are sometimes referred to as Daghestan prayer rugs. Among the sedentary tribal groups in Daghestan are the Avar, best known for kilims with relatively few colors besides red and blue and characterized by large, spidery motifs and a characteristic border. The slide shows a very interesting Avar pile rug. The dyes put it into the late 19th century by the conventional criteria, the design could be contemporary, the date woven in is 1913. SLIDES - AVAR RUG C. Shirvan: Finely knotted, typically more primitive than elegant, although there are exceptions. Often have white selvages, macrame end finishes. Lots of prayer rugs with inscribed dates; often possible to identify design with a town or village. Can have as many as 13 colors. SLIDE - SHIRVAN RUG SLIDE - SHIRVAN MAT SLIDES - SHIRVAN PRAYER RUGS SLIDES - MARASALI PRAYER RUG D. Kuba: Finely knotted, short pile, frequently of the elegant category. Can have many colors - up to 15 or so. Often have blue selvages and macrame ends, with a line or two of blue soumak stitching at each end. Many designs that can be identified with a specific village or town; often have very "Europeanized" designs. SLIDES - KUBA RUGS IV. Caucasian prayer rugs: an aside A. The 18th/19th century European fascination with Islam 1. "Mosques" in gardens of palaces 2. Turkish marches in Beethoven's 5th; Haydn's "Military"; etc. 3. "Orientalist" paintings B. Popularity of prayer rugs for collectors C. How to tell a Caucasian prayer rug made for prayer from the commercial? 1. The notion of premium rugs a. Fine weave, expensive materials - probably not speculative b. Excellent workmanship - probably locally selected weaver c. Pattern of wear d. Daghestan prayer rug SLIDE - DAGHESTAN PRAYER RUG IV. Attribution criteria and their reliability A. Geographic attribution from designs 1. General: the kustar system and village specificity 2. Lesghi stars SLIDE - LESGHI STARS ON RUG Widespread occurrence in Caucasus 3. Lenkoran medallions SLIDE - LENKORAN MEDALLIONS Occurrence on Turkoman tent doors as minor motif B. Date attribution 1. From inscribed dates 2. From dyes v. Side issue: Kaitag embroideries (Daghestan) A. Where made; embroidery style SLIDE - KAITAG EMBROIDERY B. Three types, by design/use 1. Weddings - formal Ottoman designs 2. Funerals - horse and rider; celestial maps 3. Protection of babies - sunburst and magical zoomorphs 1. EXAMPLES: ARMENIAN
INSCRIBED; DATED AVAR; DAGHESTAN PRAYER RUG Lecture 6: Tribal weavings: Caucasus and Northwest Persian I. The place of weaving among pastoral nomads A. Lifestyle of pastoral nomad 1. Migratory twice yearly - consequences SLIDE - YURT 2. Art forms available 3. Availability of wool B. General characteristics of nomadic weavings 1. Rugs, when made, not terribly big 2. Many weavings other than floor coverings for household/personal use 3. Functions of traditional weavings a. Utilitarian b. Talismanic c. Heraldic d. Gender division of labor II. Northwest Persian tribal weavings A. "Shahsavan" weavings 1. Historical background: weavings not defined until 1970's 2. Characteristics a. Techniques: mostly soumak or kilim b. Formats: mafrash, salt bag, khorjin c. Designs & colors: mostly borders SLIDES - MAFRASH, KHORJIN d. Dating: a very old Shahsavan mafrash SLIDES - YOUNG AND OLD
MAFRASH III. Caucasian tribal weavings A. Is Caucasus different than northwest Persia? Tabriz B. Some tribal/village groups distinguishable 1. From color and design SLIDE - "KAZAK" SALT BAG SLIDES - SALT BAGS SLIDE - "DICE" KHORJIN SLIDE - "FIRMAMENT" KHORJIN SLIDE -"PICTURE FRAME" KHORJIN SLIDE - KILIM CARGO BAG SLIDE - CICIM CARGO BAG COVER 2. From format SLIDE - "SILE" SLIDES - VERNEHS SLIDES - ANIMAL
COVERS EXAMPLES: SALT BAGS, MAFRASH, KHORJINS Lecture 7: Introduction to Turkoman Weavings I. Turkoman A. History; general, lifestyle B. General characteristics of Turkoman work: layout, colors SLIDE - TURKOMAN RUG 1. Formats a. Portrait and landscape bags SLIDES - JUVAL, TORBA, IGSALYK, MAFRASH, UK-BASH b. Tent doors SLIDES - ENGSI, GERMETSCH c. Trappings SLIDES - ASMALYK, DYZLYK, KAPUNUK, CROCKIE WORK d. Tent bands SLIDE - TENT BAND 2. Materials 3. How to distinguish tribes: knot types, color, warp depression, motifs 4. Date attribution C. Salor 1. History 2. Knot type (As-L 80% of time), density 3. Materials - silk 4. Motifs SLIDES - JUVAL, TORBAS D. Saryk 1. Characteristics - knot density and type 2. Materials - silk and cotton 3. Colors 4. Motifs SLIDES - TORBAS, JUVAL C. Chodor 1. General characteristics a. Colors b. Foundation materials c. Ertmann gul/borders SLIDES - SPOONBAG, JUVAL, TORBA, ENGSI d. Harsh wool e. Knot type (As-R) EXAMPLES: TENT BAND, SARYK
TORBA Lecture 8: Tekke Weavings I. General characteristics A. Knotting (As-R) and density B. Colors C. Motifs D. Materials (some silk; no cotton); nice wool II. Types of weavings A. Floor coverings B. Juvals Aside: ak-juvals and their function SLIDES - TEKKE AK-JUVAL C. Torbas D. Mafrash SLIDE - TEKKE MIXED TECHNIQUE MAFRASH E. Uk-bash F. Ensi G. Asmalyks SLIDES - TEKKE EMBROIDERED ASMALYKS H. Chyrpy SLIDES - TEKKE CHYRPYS I. Khorjin - to be discussed later on EXAMPLES: TEKKE AK-JUVAL AND
FRAGMENT, TEKKE CHYRPYS, KORAN BAG
Lecture 9: Yomud Weavings I. General characteristics A. Knotting (Sy) and density:Yomud subtribes B. Colors C. Motifs D. Materials - silk or cotton very rare, wool excellent II. Types of weavings A. Floor coverings SLIDES - CARPETS B. Juvals SLIDE - YOMUD JUVAL C. Torbas SLIDES - YOMUD TORBAS D. Mafrash SLIDE - YOMUD MAFRASH E. Spoon bags SLIDES - YOMUD SPOON BAGS E. Uk-Bash SLIDE - YOMUD UK-BASH F. Ensi G. Asmalyks SLIDES - YOMUD ASMALYKS H. Khorjin - to be discussed later on III. What can we learn from a weaver's mistake SLIDE - YOMUD TORBA EXAMPLES: YOMUD JUVAL;
"MISTAKE" TORBA; UK-BASH
Lecture 10: Ersari I. Ersari Weavings A. General characteristics 1. Palette 2. Knot type/density (As-R) 3. Motifs 4. Materials - cotton, rarely silk II. Types of weavings A. Floor coverings SLIDE - ERSARI CARPET B. Juvals and kyzyl juvals SLIDES - ERSARI JUVAL; FLATWEAVE JUVAL; KYZYL JUVAL C. Torba SLIDE - ERSARI TORBA D. Ensi E. Khorjin - to be discussed later on III. Beshir A. Lifestyle B. Motifs, layouts C. Prayer rugs SLIDES - BESHIR PRAYER RUGS D. Floor coverings SLIDE - BESHIR RUG E. "Ikat-derived" designs: what is ikat? SLIDE - IKAT CHAPAN 1. Juvals 2. Torbas SLIDES - BESHIR TORBAS, JUVAL, RUG F. Khorjin - to be discussed later EXAMPLES: ERSARI TORBAS;
JUVAL Lecture 11: Some Issues Regarding Turkoman Weavings I. When did they start making prayer rugs? A. Only Beshirs seem to be pre-synthetic, are clearly commercial SLIDES - ENSIS B. Only Yomud, Ersari, Tekke and Chodor examples known C. Designs typical of tribe of origin SLIDES - CHODOR; YOMUD PRAYER RUGS D. Prayer rugs were collectible very early E. Therefore, Turkoman prayer rug weaving probably started around 1875-1900 II. When did they start making khorjin? A. None reliably attributable to pre-synthetic period, but this is expected B. Examples from every tribe except Salor, also expected C. Common characteristics unique to Turkoman khorjin 1. Short, decorated bridge 2. Brocaded lower back 3. Closure system SLIDES - YOMUD, ERSARI, TEKKE, SARYK, CHODOR KHORJIN D. Probably were being made early, but none survived III. Date attribution in Turkoman weavings A. General criteria 1. Space 2. Drawing 3. Colors B. Specific examples: Yomud asmalyks SLIDES - POLE TREE, ASHIK ASMALYKS C. Specific examples: Yomud and Tekke juvals SLIDES - TEKKE AND YOMUD JUVALS IV. Contrasting Turkoman with Shahsavan/Caucasian tribal weavings A. Similarity in lifestyles B. Geographic proximity C. Shahsavan characteristics 1. Mostly flatweaves 2. Mostly borders 3. Primary colors palette 4. Cargo bags, salt bags, khorjin 5. No known torbas, juvals, ensis, uk-bash, spindlebags D. Turkoman characteristics 1. Mostly pile weaves 2. Usually defined field 3. Predominantly shades of red 4. Juvals, torbas, ensis, uk-bash, spindle bags, khorjin 5. No known cargo bags or salt bags EXAMPLES: OLD AND NEW TEKKE AND/OR YOMUD JUVALS Lecture 12: Belouch group I. Who are they and where? A. Belouch B. Timuri C. Aimaq II. Characteristics of Belouch group A. Motifs: frequently urban Persian SLIDES - BELOUCH RUGS B. Colors: very low contrast, dark, limited palette C. Wool: fleecy, silky D. Use of materials besides wool E. Flatweave ends F. Selvages III. Rugs A. Prayer rugs SLIDES - BELOUCH PRAYER RUGS B. Other IV. Khorjin and salt bags SLIDES - BELOUCH KHORJIN, SALT BAGS V. Dating Belouch weavings A. Used natural dyes, handspun wool, until 1940 B. Relatively isolated, commercially uninteresting until about 1975 C. Suggest that criteria includes "non-Persian" design for old age D. How old is a very old bird khorjin? SLIDE - BIRD KHORJIN 1. Bird is peculiarly Belouch 2. Border is not urban Persian 3. Traces of silk suggest indigenous, important purpose 4. Knot count within indigenous range 5. Therefore, probably authentically "old" 6. An aside: what kind of bird is it? a. Most authors call it peacock b. "Belouch" means cockscomb c. Rooster symbolizes authority to Belouch d. Note spurs e. Therefore, probably a rooster E. The "tobacco rug" design SLIDE - TOBACCO RUG a. Earliest photo of Belouch rug, 1891 (Shah awards tobacco monopoly to British, protest results, Qajar dynasty overthrown in 1896) b. "Tobacco Rebellion" leader sits on it in photo. In Teheran, outdoors. c. Therefore, this design dates to at least 19th c., and was clearly in the hands of urban Persians and clearly not strictly for Moslem ritual EXAMPLES: BIRD KHORJIN,
TOBACCO RUG, DOKHTOR-I-GHAZI PRAYER RUG Lecture 13: Uzbek Weavings and Embroideries Lecture 14: South Persian Village and Tribal Weavings Lecture 15: Visit to the Virginia Museum Lecture 16: Discussion of Fisher Collection Lecture 17: Student Show and Tell Lecture 17: Exam |
