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The World's Most Famous Museum Carpet: The Ardabil

LONDON; July 17, 2010 – The world's museums are full of splendid carpets but the most famous of all is the Ardabil.

One big reason is simply its size: 38 feet long (11.5 meters) by 18 feet wide (5.5 meters).

That is so large that the curators of the Victoria and Albert Museum in London had to make a choice.

They could either keep it on permanent display or not display it at all, because it would be far too much work to just bring it out occasionally.

So, the V&A built a special gallery for it where it is spread in its full glory across the floor and is protected by a glass box.

The Arbabil draws huge numbers of visitors every year and that brings us to the second reason for its fame.

It has a stunning floral medallion design whose center seems to radiate like a sun, transforming the world around it into a sacred-feeling space.

There are very few people who do not feel its power.

On the carpet is an inscription which reads:

I have no refuge in the world other than thy threshold.

There is no protection for my head other than this door.

The strength of the carpet is no accident.

It is one of a pair of matching rugs woven around 1539-50 for a shrine to the spiritual father of Persia's Safavid Empire. It was intended to be, and is, a symbol of power, respect, and holiness on an imperial scale.

How the Ardabil survived almost 500 years and finally came to a London museum is a fascinating story in itself.

But telling it means first describing the origins of the Safavid Empire and the man whose shrine it was made for.

The shrine, in the northwestern city of Ardabil, not far from Tabriz, honors Shaykh Safi al-Din, who died in 1334.

The Shaykh was a plain-living Sufi mystic who inspired a large following at a time when Tabriz was the center of a powerful Turkic state.

His followers remained loyal to his family after his death and the movement grew until, 150 years later, one of its leaders was strong enough to launch a revolution.

That leader was Shah Isma'il, who seized Tabriz in 1501 and, within a decade, all of Persia.

He and his followers, known as Qizilbash (Redheads) for their distinctive turbans with a tall and slender red cone, were messianic warriors who made their brand of Islam, which by now had become mainstream Shi'ism, their empire's state religion.

Ismail and his warriors were Turkmen and spoke a Turkic dialect close to today's Azerbaijani.

But they also were fluent in Persian, the empire's administrative language, making them acceptable to much of the landed gentry.

They dubbed their empire the Safavid – after Shaykh Safi – and it lasted until 1722.

The Safavids inherited the court workshops of Tabriz, Herat, and other leading cities from Persia's previous dynasties and soon began creating their own royal masterpieces.

The design of the Ardabil carpet, woven under Ismail's son, Shah Tahmasp, shows many of the artistic trends already evident in the earlier Timurid era.

Most striking are the resemblance of its medallion design to the format of contemporaneous book covers and the resemblance of its floral pattern to floral designs in miniature paintings.

Here is a miniature painting by one of the most famous artists of Shah Tahmasp's time, Mirza Ali.

It depicts the musician Barbad who hid in the branches of a tree to audition for one of Persia's legendary early shahs after he had been barred from the court by the ruler's jealous leading singer.

The artist has given the figures from ancient times the distinctive Qizilbash turbans of the Safavid court.

Many art historians believe that some miniature paintings not only inspired carpet designs but that some illuminators may also have directly designed carpet patterns.

That is because leading court artists freely crossed between artistic disciplines to help create or influence a unified "court style" identified with a particular monarch.

According to E. J. Brill's comprehensive First Encyclopedia of Islam (published 1913 – 1936), "under Shah Tahmasp excellent painters were employed to sketch carpet cartoons and they introduced human figures and genies into the designs, especially of the large hunting carpets." (see Portable Paradises: The World Of Safavid Garden Carpets)

Interestingly, Shah Tahmasp himself was an accomplished amateur artist who is often said to have designed carpets. He was trained, like many Persian nobles in "the arts of the book," including calligraphy and illustration, and kept a retinue of artists around him.

The twin Ardabil carpets were woven, most likely in Tabriz, when Shah Tahmasp undertook the expansion of the shrine in the late 1530s.

The goal was to expand it as a place of pilgrimage but also, some historians believe, to provide a burial chamber for Tahmasp himself.

Here is a diagram of the floor plan of the Ardabil shrine showing the two carpets' placement.

In fact, Tahmasp was not buried at the shrine, but the idea of creating a mausoleum might help account for the inscription which appears on both carpets.

The inscription (quoted above) is a couplet by the fourteenth-century lyric poet Hafiz. Under it appears the name of the master artist who apparently oversaw the massive weaving project, Maqsud of Kashan.

But how did one of the splendid Ardabil carpets come to rest in a London museum?

In fact, both of them arrived in England around 1893 virtually in tatters. For centuries they had withstood heavy wear in the shrine but as Persia's fortunes rose and fell both they and the shrine were badly neglected.

Carpet historians believe – though no documents prove it -- that both pieces were sold around 1890 to the English carpet producer Ziegler & Co., which had workshops in the northwestern Iranian city of Sultanabad.

The shrine's curators are presumed to have sold the carpets to pay for repairs to the building after it suffered heavy earthquake damage

A British carpet broker then acquired both pieces and used parts of one to repair the other. The result was one 'complete' carpet and one incomplete.

The complete carpet came to the attention of the V&A. There, William Morris, the pioneer of the British Arts and Crafts Movement and one of the V&A's Art Referees, pressed hard for the museum to buy it.

The V&A did so partly by using a public subscription to raise the then vast sum of £2,000.

The existence of its incomplete twin was kept secret by a succession of private owners for many years. It was only revealed publicly in 1931 at an exposition in London.

The "secret" carpet – smaller than the V&A's and borderless – eventually passed into the hands of American industrialist J. Paul Getty and from there to the Los Angeles County Museum of Art.

It too, is a marvel but due to the ironies of fate, must live forever in the shadow of its better-known twin.

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Portable Paradises: The World Of Safavid Garden Carpets

TABRIZ, July 3, 2010 – There are few things more appealing than a portable paradise.

So appealing, in fact, that in the early decades of the Safavid dynasty in Persia, portable paradises were not only created, they were taken to the highest level of royal art.

The paradises were lush gardens full of trees and animals and they were portable because they were carpets.

They could be rolled out at will in a noble's tent as he campaigned in dry and parched landscapes and instantly the setting would be transformed into a dreamscape of the highest refinement.

The Safavid paradise carpets contained forests of cypress trees and flowering trees teeming with leopards, lions, deer, peacocks, and flying birds. There were fantastic creatures as well, including Chinese phoenixes and sometimes houris.

Some of the carpets were with medallions and some without. When there was a medallion, it might be transformed into a pool with ducks floating on its surface.

How appealing the gardens were can be easily seen in the picture of one of them above. It is a part of a carpet that today exists in two halves, one in a Paris museum and one in Cracow.

Exactly why so much attention and expense was lavished upon garden carpets at this moment in Persia's long history is unknown. But the answer may be in the fact that the times were tumultuous and the first Safavid Shahs, who were still consolidating their empire, had to spend much of their lives in the field.

Here is a photo of a now lost fragment of another Persian carpet which once belonged to Hungarian tycoon Baron Hatvany. It was lost in the turmoil of the 1930s.

The central medallion of the carpet fragment depicts the encampment of a shah on a military campaign or hunting party. The garden around it is fanciful but the details of the royal pavilion are true to life.

Venetian traveler Michele Membré described the encampment of the second Safavid Shah – Shah Tahmasp - in his account 'Mission to the Lord Sophy of Persia (1539–1542).' He describes a ruler who spent so much of his time campaigning that it was his camp, not the capital city, that was the focus of royal life:

“The tents which Shah Tahmasp had in his company were many, according to what I was able to count with my own eyes he seemed to have 5,000. Of horsemen, as it seemed to me, he had 14,000 in number, without counting servants. Of horses and mules he had so many that they could not be counted. All the plains were full of animals.”

He goes on to say that the royal tents or pavilions were “made of sticks of gilded wood in the form of a dome and covered with scarlet. Upon the cloth is foliae, cut out and sewn with silk. Within, on the ground there was a red felt, lined with a kind of wool canvas, and over the said felt there were very fine carpets of silk, on which appeared figures of many animals and foliage.”

The complex of royal pavilions included an audience chamber -- or divan -- a bath, sleeping quarters and not far away a tent for the miniature painters who were part of the Shah's retinue. The presence of the painters allowed the Shah, who was an amateur painter himself, both to enjoy painting as a pastime and to receive reports on the progress of the royal illuminated manuscripts he commissioned.

In other words, this was a time not only of portable paradise carpets, but of portable court life in toto. The miniature painters whose company the Shah enjoyed produced what was the most valued art of all: illustrated books of poetry or tales of past kings. The books, too, were a moveable feast for the eyes.

Here is a miniature painting showing precisely the sort of royal encampment seen in the medallion of the garden carpet and described by the Venetian traveler. The painting is part of Shah Tahmasp's Shahnameh, the book he commissioned to illustrate the poet Firdawsi's epic saga of Persia's kings. It was painted circa 1525.

It is interesting to note that the first two Safavid shahs – Shah Ismail and his son Shah Tahmasp – were so busy campaigning that they, in fact, largely neglected their official capitals.

Art historian Sussan Babaie describes how much so in the book "Hunt for Paradise: Court Arts of Safavid Iran 1501-1576" that accompanied a major exhibition of early Safavid art in New York in 2003/2004.

She writes that “in the historiography of late medieval and early modern Persianate architecture, the 16th century appears to be an anomaly. No single building from the period, for example, could remotely compete with the monumental achievements in the arts of the book (the Shahnameh of Shah Tahmasp) or of weaving (the Ardebil carpet).”

One reason why both Shahs may have neglected their capital Tabriz was that it was on the frontline of their continual struggles with the Ottoman Empire.

The Ottomans captured and looted the city several times, so making investments in the usual fixed forms of royal art – large monumental buildings – was decidedly risky. Tahmasp finally moved the capital to the safer city of Qazvin but remained more interested in the portable arts than in architecture.

At the same time, both of the earliest Safavid shahs may have preferred the relative privacy of portable art for both religious and political reasons.

Babaie notes that "the war-ravaged state of affairs in the newly minted empire and the messianic zeal of the young Ismail whose dream of establishing a divinely inspired utopian empire on earth precluded public displays of wealth and consumption." The same may have true for his son.

Later Safavid Shahs settled down to a more traditional royal life and built great monuments. Most notable of all was Shah Abbas I, who moved the capital to Isfahan in 1598 and created a model of urban beauty.

But throughout the Safavid period, which lasted until 1736, garden carpets remained highly popular. So much so, that their changes in design to some extent reflect the changes in Safavid royal life itself.

Here is a carpet from the 1600s which contrasts dramatically with those of the century before. The free-ranging forest dreamscape has given way to an orderly orchard with irrigation canals and a central pool.

The carpet, named the “Wagner” Garden Carpet after a German collector, is said to be reminiscent of the royal gardens in Isfahan. It is filled with fruit trees, leopards, gazelles, and even pigeons and butterflies, but it is definitely not portable. Its size is immense: 5.5 meters by 4.3 meters.

It would be wrong to leave the subject of garden carpets without noting that – while they reached a peak of refinement in the Safavid era – both gardens and their depictions have always been part of Persian culture and remain so today.

The first recorded garden carpet can be traced back to the 6th century AD and the Ctesiphon Palace of the Sassanian King Khosrow I.

His carpet – in fact a huge embroidery – used multi-colored jewels to depict flowers and stones bright as crystal to depict running streams. The branches of the trees were of gold and silver thread and leaves were of silk. Unfortunately, the carpet was destroyed in the Arab conquest of Iran, when it was torn up and shared out as war booty.

Here is a photo of another garden carpet, from the second half of the 16th century. It is the Mantes carpet, named after the Church of Mantes outside of Paris where it was discovered before being moved to the Louvre Museum.

Interestingly, the use of the word "paradise" in connection with a garden can be traced back very far indeed – to the time of Cyrus the Great.

Around 540 BC, Cyrus built the largest and most beautiful garden ever recorded at his capital Pasargade, northeast of Shiraz. It was enclosed to keep certain animals in and others out and had rows of fruit trees, shrubs and flower beds. Some of its stone watercourses survive to this day.

Cyrus called his garden a “Paradaiza,” or literally an "enclosed park." The word passed into ancient Greek and from there into most European languages.

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Hungary’s Private Collectors Exhibit Their Carpets In Budapest

BUDAPEST, June 19, 2010 – Hungary’s Rug Society is hosting an extraordinary look at carpets in Hungarian private collections this summer.

The exhibition, which began on the first of June and has been extended due to popular interest to the end of August, is jointly sponsored by Budapest’s Jewish Museum, which is the venue.

The 35 carpets on display include both carpets kept in Hungary and several brought in by Hungarian rug collectors living abroad.

One of the most striking pieces is a 17-century Kula carpet (above) contributed by the family of the famous carpet collector Edmund de Unger, who fled Hungary in 1948. His son Richard flew in specially with the carpet, which is rarely seen outside the family home in London.

Another extraordinary piece is a 19th century Isfahan Paradise carpet (right) contributed by a collector of Hungarian origin living in New York. The collector has not revealed his name publicly.

The exhibit was opened by Hungary’s Culture Minister Gabor Gorgey, who himself has more than a passing interest in carpets.

Gorgey has written a well-received novel telling the tumultuous history of Hungary from 1940 to 1956 by following the fate of an Isfahan Hunting Rug belonging to a fictional Jewish family.

The novel, called “The Hunting Carpet,” tells how the carpet – like Hungary itself – changes hands from the family, to the fascists, and finally in 1956 (the year of the Hungarian Revolution) to a Soviet general. The novel has been re-printed five times since it was first published in 1988.

Still other fascinating carpets at the exhibit are several Tranyslvanian carpets (below) contributed by collector of Hungarian origin living in Transylvania, now in Romania.

Historically, much of the focus of Hungarian rug collecting has been in Transylvania, where families bequeathed rich Ottoman rugs to the area’s protestant, and sometimes Catholic, churches. Transylvania, which was a vassal state of the Ottoman Empire for 150 years, became part of Romania after World War I.

The fact that the show brings together so many carpets from private collections inside and outside of Hungary is a tribute to the zeal of the Rug Society.

The group, known as “Ten” for the original number of its founders in 2007, wants to re-introduce the Hungarian public to oriental carpets after interest in them all but disappeared during the communist era.

Denes Sandor, one of the group’s founders in 2007, says the current exhibit is the largest to date and the first in the capital. For the first exhibit, in 2007, the group chose a small town, for the second, in 2008, the university city of Szeged.

Sandor would like to revive the days when Hungary was one of the most active places in the Western world for carpet enthusiasts and the home of a number of “firsts.”

Among those firsts was the formation of Budapest’s Carpet Lovers Society in 1923, which debuted with an exhibit of 149 privately held carpets. That was a decade earlier than the formation of the New York-based Hajji Babba Society in 1933.

Going back further, the Museum of Applied Arts in Budapest was the first major museum ever to hold a single-theme oriental carpet exhibit – showing 352 Ottoman Turkish pieces – in 1914. That was when major carpet exhibitions were still very much a novelty and had taken place previously only in Vienna (1891), Stuttgart (1909), and New York (1910).

Here is a photo of the current exhibit at the Jewish Musuem, where oriental carpets are displayed in two of the halls and Jewish textiles in a third.

The huge historical – and growing present – interest in oriental carpets can’t help but make even Hungarian collectors sometimes wonder why rugs so fascinate their countrymen.

Sandor says most people assume it must be because the Ottoman Empire directly occupied much of the central region of Hungary for a century and-a-half. But he believes the ties to carpets go much further back than that: to the Hungarians’ own nomadic origins on the Eurasian steppes.

He argues that before the Hungarians, who were renowned horsemen, settled in Hungary some 1,000 years ago, they would likely have had the same carpet culture as other steppe peoples, including using carpets to cover the floors of yurts.

The Hungarian language today remains a Finno-Urgic tongue, so such cultural echoes might not be so distant as they seem. And, says Sandor, that would at least explain why other European nations under long Ottoman rule – such as Greece or Serbia – have never shown as much enthusiasm for carpets as has Hungary.

Here is yet another fascinating carpet on display at the current exhibition.

It is believed to have been woven in Hereke, Turkey, for Mohammad-Reza Shah Pahlavi’s celebration of 2,500 years of the Persian monarchy in 1971.

One clue to the carpet’s identity is its unusual motif of peacocks – the symbol of the Pahlavi dynasty. Another is the border motif of lions holding a sword in the right hand – the same symbol used on the flag of Iran prior to the 1979 Islamic Revolution.

No discussion of carpets in Hungary would be complete without the extraordinary and tragic story of the Gold Train of 1945 – a tale which the location of the current exhibit in the Jewish Museum cannot fail to bring to mind.

During the 1930s and 40s, Hungary’s Nazi-allied government required Jews to deposit all their valuables – including their collections of carpets – in the national bank.

The majority of Jews were later sent to concentration camps but their seized property remained in the vaults until the end of the war. Then, as the Russian army approached, the fascists assembled a 40-wagon train to remove the goods to Germany.

The train was ill-fated from the start.

As it meandered through Hungary and Austria, anonymous trucks pulled up beside it to unload its gold and vanish.

Next, it was seized by Allied troops, first French then American.

Finally, most of its remaining valuables were sent to a military warehouse in Salzburg. From there, they went on to furnish U.S. officers’ homes during the occupation of Germany or were sold in U.S. military exchange stores.

The value of the paintings, jewels, porcelain, and carpets on the train – based upon the existing documentation – would be in the billions of dollars today. Yet most of them disappeared without a trace.

The events remained all but forgotten until 2005, when a U.S. court ruled that Washington should pay $ 6 million in compensation for the stolen property. Given the difficulty of knowing who exactly lost what, the payment was made to Jewish organizations rather than to surviving families.

The Gold Train and the tragic personal stories behind it amount to an inestimable loss for Hungary in every respect, including its once thriving carpet culture.

But the exhibit taking place in Budapest now is evidence that Hungarian collectors can still exhibit some astonishing pieces. And their pieces, plus those in the country’s famous museum collections, provide every reason for rug lovers to again regard Budapest as a carpet capital.

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Exhibition in the Jewish Museum

The First Turkish Carpet Exhibition In The West, by Ferenc Batari, Hali

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Two New Czech Postage Stamps Commemorate Caucasian Carpets

PRAGUE, June 5, 2010 -- It's a rare event when a European country issues a postage stamp commemorating oriental carpets.

But this year the Czech Republic has issued two.

The pair of stamps depicts 19th century Karabakhs, from the Caucasus area of the same name.

One stamp (above) shows a Chelaberd.

The Czech post office described it this way:

"Chelaberd is the best known carpet pattern woven in Karabakh. It is also known by an older designation, Eagle Kazak, which comes from interpreting its main motif – a large, medieval-looking medallion radiating beams – as a two-headed eagle. The oldest carpets of this type have an almost square format, a single dominant medallion, and an unusually expressive bright coloring. It is to this small group of carpets that the piece depicted on the stamp belongs."

The second stamp shows a Kasim Usak.

Here is the accompanying description:

"Kasim Usak carpets are considered by professionals and amateurs alike to be Karabakh carpets from the Trans-Caucasus. Nagorno-Karabakh is a mountainous land located in western Azerbaijan not far from the Armenian border. Individual types of Karabakh carpets are named according to their village of origin. As with other Karabakh carpets, Kasim Usaks are notable for bright coloring, typically flowered borders, and large geometric forms in the center field. The Kasim Usak shown on this stamp is from the 19th century."

The stamps, which were issued in April, are a reminder of the rich collections of Caucasian carpets held by the Czech National Gallery and the National Museum and the importance both curators and the public put upon them.

Most of the Caucasians in the collections are village and city weavings from 1850 to 1910 and they were the object of a major exhibit in Prague in 2007.

The exhibit, which also included carpets in private collections, was accompanied by a book, 'Caucasian Carpets,' describing the exhibited pieces and the history of Caucasian carpets overall.

Since then, some of the Caucasians have also been presented in other periodic exhibits of carpets from Czech museums' and castles.

What the stamps don't tell is the interesting story of how many of the Caucasians came to the museum collections.

And that, in part, is the story of how oriental carpets once played an important role in art schools in the 19th century throughout Europe, only later to be relegated to Asian Art and ethnographic museums as fashions changed.

The Chelaberd on the stamp above, for example, was purchased in Vienna as early as 1886 by the Museum of Decorative Arts in Prague. It -- along with fabrics and other oriental handicrafts – was part of the study collection the museum maintains for students in applied arts schools.

When the carpet was purchased, Orientalism was at its height across Europe and design students regularly and systematically explored oriental patterns for inspirations.

Just how systematically can be judged by the contents of one of the design bibles for English-speaking students at the time: Owen Jones' "The Grammar of Ornament." Published in 1856 and included some 100 full-color plates of designs ranging from Greek, to Roman, to Byzantine, to Moorish, to Egyptian, to Persian, to Indian to Chinese.

The image shown here is of one of the Persian plates.

Students in other parts of Europe had access to similar archives of material carefully collected by their art school faculties.

National Gallery curator Zdenka Klimtova writes in 'Caucasian Rugs,' her book which accompanied the 2007 exhibit, that Prague's Museum of Decorative Arts purchased the Chelaberd for 55 guilders from Vienna art dealer Theodor Graf.

The school's purchases of rugs were carefully logged and represented considerable investments then just as they would today.

Among the most visible results of the passion for Orientalism in Prague are two major neo-Moorish buildings in the heart of the city. Both are synagogues built in the early 1900s.

One is the Jubilee Synagogue, built in 1906 and named in honor of the 50th anniversary celebration, or the silver jubilee, of the reign of Emperor Franz Josef I of Austria. At the time, the Czech lands were part of the Austro-Hungarian Empire.

The interior of the Jubilee Synagogue is a whimsical blend of Moorish elements with intricately painted Art Nouveau details. Many Art Nouveau elements here and elsewhere were derived from oriental patterns, which were a major design inspiration for the art movement.

The honored status of oriental rugs in the teaching collections of European applied arts schools began to decline once the lush styles and fashions of the 19th century gave way to the spare modernism of the 20th.

By the 1950s, most lay forgotten in school basements and had been long removed from the schools' curricula.

Some of the pieces in Prague's Museum of Decorative Arts – including the Chelaberd – were transferred to the National Gallery in the 1960s. There they took on a new status as examples of Asian art distinct from European fashions -- much as European homes in general separated with their oriental rugs after their peak popularity during the Victorian era.

Still, the story of Prague's Caucasian carpets does not end there.

The collection at the National Gallery continued to grow throughout the past decades thanks to a succession of curators interested in expanding it by acquiring some of the good privately owned pieces in the country.

Curators say that Prague has a special relationship with Caucasian carpets because historically they were not only popular in the Czech market but readily accessible.

As part of the Austro-Hungarian Empire, Prague had a direct link through Vienna to the rug markets of Istanbul.

Then, after the first World War, many White Russians brought a wave of Caucasian rugs and other valuable belongings to newly independent Czechoslovakia as they fled west.

And finally, even during Czechoslovakia's long period as a Soviet satellite, it was still possible for ardent collectors to visit two rug-producing areas -- the Caucasus and Central Asia – although the Soviet bloc was cut off from the rest of the global collectors' market.

The newly issued Czech postage stamps are a reminder of all these reasons Caucasian carpets hold a special place in the country's life.

One can only wish other national post offices and museums would team up to tell their carpet stories as eloquently.

(For more on rugs in the Czech Republic, see: A Rare Oushak Carpet In A Czech Castle Catches The Rug World’s Eye.)

(For more on orientalism, see: Orientalism and Oriental Carpets.)

(For more on Owen Jones, see: Owen Jones' Grammar of Ornament.)

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$ 10 Million Persian Carpet Sets New Auction Record

LONDON, May 15, 2010 -- How much are private collectors ready to pay for Persian rugs?

The answer came at an auction in London last month: just short of $ 10 million.

The carpet – which set a record price of $ 9,599,535 – is a "vase" carpet from Kirman, a city whose weavers are widely considered to have been among the most inventive of the classical carpet age.

The vase carpets, woven in the 16th and 17th centuries, are some of the Kirman weavers' greatest works of art, with spectacular, colorful and intricately designed patterns of swirling branches, foliage and flowers.

The floral patterns may be arranged in vases or, as in the case of the auctioned carpet, there may be no vase apparent.

Such carpets are always highly sought after and rare, with the best examples kept in museums.

But to fetch close to $ 10 million, this carpet measuring 11 feet by 5 feet had to have some unusually distinguishing features. And, in fact, it has several.

One is the unusual energy and charm of its pattern.

Christie's, the auction house which made the sale on April 15, describes its magic this way:

"The designers have worked out an arrangement that makes the blossoms completely secondary to the leaves. It is no longer the powerful scrolling of individual leaves that creates the energy of the design; here it is the rhythm set up by the interlocking leaves.

"Their stems and the drawing of the individual plants growing from each end of the carpet create one rhythm, but the coloring, which makes facing leaves from two different plants still have the same colors, creates the counterpoint. It is an apparently simple but wonderfully satisfying design."

The energy of the arrangement can be seen even more clearly from a distance than from close up.



But the carpet is also noteworthy for another reason that particularly interests carpet historians.

And that is (again to quote Christie's) it "can claim to be the earliest design which can clearly be demonstrated to be a prototype for the most popular Persian carpet design of all - the so-called herati pattern."

Here is a diagram of a herati pattern.

Kirman dominated the rug-making industry of south-eastern Iran for centuries and its weavings were remarked upon by the earliest western travelers to the region.

Marco Polo, traveling through Persia in 1270, praised the carpets of Kirman as a particular marvel.

By the 17th century, at the height of the Safavid era, Kirman’s designers were at their most inventive and their weaving techniques of a sophistication not seen in other parts of the Persian Empire.

One innovation was to set their looms so that the cotton warps were on two different levels. They then threaded the wool wefts, leaving some tight and others sinuous, to give an immediately recognizable wavy finish to the surface of the carpet.

Interestingly, it was this characteristic weaving pattern that helped an art dealer recognize this particular carpet as a Kirman vase carpet (without a vase) and bring it to auction.

The story of who the art dealer is, and where he discovered the carpet, is still being pieced together by an art world hungry for more details. But the early indications are it is the stuff of which legends are made.

The Financial Times reports that the carpet originally was bought for only €18,000 (some $ 23,000) at an obscure German auction house late last year.

"Cataloged simply as “Persian carpet” and estimated at €18,000, the finely knotted wool rug appeared at Georg Rehm, a provincial saleroom in Augsburg, in October last year," the paper says.

It continues: "Asked to confirm the sale, the auction house refused 'to divulge results ... after extensive negotiations with our suppliers and buyers'."

How the carpet fell out of the sky to arrive at "an obscure German auction house" is unknown.

But by the time it went on sale at Christie's enough of its history had become clear to interest some very competitive art collectors.

The carpet was traced to the former holdings of Martine Marie Pol, the Comtesse de Béhague, who prior to her death in 1927 maintained a renowned collection of antiquities, including both European and Oriental Carpets.

One of her many properties, the Chateau de Fleury in the Ile de France region, is shown here.

Much of the countess’s collection was dispersed in two sales in 1927 and 1928, but the Kirman vase carpet was not included in those. Christie's believes the carpet instead passed on to her heirs before being sold at some stage between the 1930s and 1950s.

Yet even as Christie's evaluators widely publicized the carpet's pedigree before the auction, they badly underestimated what price the carpet might command.

The auction house estimated the carpet to be worth from $307,600 - $461,400. But when bidding began, the price immediately began soaring toward the stratosphere.

There were seven bidders, one in the auction room and six on the phone from Britain, continental Europe, the Americas and the Middle East. Among the parties, just one was a museum, all the rest were private collectors.

Britain's Economist magazine described the bidding this way:

"At £2.4m the countess’s rug beat the record price for a carpet at auction; at £3.5m it beat the record for an auctioned Islamic work of art. By £5m, bids began jumping ahead in increments of £500,000, which proved too much for one of the two remaining bidders, who put the phone down at £5.5m, too upset to continue. The rug finally sold for £6.2m (including commission and taxes), proof for the dealer who consigned it that he had been right to trust his instincts."

The identity of the two remaining bidders is secret. But several art dealers have told The Financial Times they believe both were from Qatar.

The Gulf state has a recently opened (2008) Museum of Islamic Art with a major collection of carpets and textiles and it is not impossible the Kirman vase carpet could one day be loaned to it.

In becoming the world's most expensive carpet, the Kirman vase beat the previous record of $ 5.5 million set by the famed Pearl Carpet of Baroda in March 2009 at a Sotheby's auction in Qatar.

The Pearl Carpet of Baroda is not of hand-knotted wool but is "woven" from strings of Basra pearls: one-and-a-half million of them, harvested off the coast of Qatar and Bahrain. It is believed to have been created as a gift for the tomb of Prophet Muhammad in Medina and commissioned by the Maharaja of Baroda, who died before he could make the donation.

After the pearl rug, the previous record-holder for the most expensive auctioned carpet was a silk Isfahan rug dating to the 1600s. It previously belonged to tobacco heiress Doris Duke sold for $ 4.45 million at Christie's in New York in June 2008.

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Related Links:

Christie's: A Kirman Vase Carpet

Financial Times: How An 18,000 euro Rug Sold For 6 Million Pounds

The Economist: Rug Rave – Prices Fly For A Persian Carpet

Rug Rag: Pearl Carpet Of Baroda

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Mark Your Calendars Now For The 12th ICOC In Stockholm

By Dennis Dodds, Secretary General of the ICOC

In June of 2011, ICOC will offer a veritable smorgasbord of unexpected discoveries, exciting sights and festive events that are sure to appeal to rug enthusiasts, expert collectors, scholars and dealers from around the world.

Mark your calendars now!

The 12th ICOC will be held in beautiful Stockholm from June 16-19, 2011.

An art-filled pre-conference tour takes you to Copenhagen.

And a post-Conference tour to St. Petersburg, Russia will cap off your unforgettable ICOC experience.

June is the perfect time to visit these wonderful cities with their rivers, lakes, canals and architecture.

The Conference in Stockholm, June 16-19, is the perfect season and the perfect destination to enjoy educational lectures from international experts, a robust International Dealers’ Fair and several exhibitions of rugs and textiles from private collections.

A special exhibition of rare Turkmen carpets and trappings is being organized. The hotels that we recommend are situated very close to the Central train station and are within easy reach of the Conference Center for these events.

Your evenings will be filled with receptions and visits to exhibitions at several museums and the Royal Palace.

Feast your eyes on the world famous Anatolian ‘Marby’ rug, as well as 17th century Transylvanian rugs, glorious ‘Polonaise’ carpets, colorful 18th century Swedish folk art textiles, and the widely published Safavid silk velvet coat that belonged to Queen Christina. And this is just a sampling!

The pre-Conference tour to Copenhagen, June 14-15, features the stunning new installation of the David Collection, which has one of the finest collections of Islamic Art in Europe, including a small Mamluk rug, a large Seljuk carpet, a ‘Salting’ rug, a millefleurs Mughal rug, an early Persian Safavid carpet and some fabulous early Islamic textiles -- as well as many outstanding European works of art.

See the wonderful Rosenborg Royal castle built by King Christian IV in 1606. In the "The Knights' Hall”, twelve tapestries from 1675-1679 show the King's victories in the Scanian War. This Hall also holds all the 17th century Coronation ‘Polonaise’ carpets and they will be on view together exclusively for our group.

Copenhagen’s Museum of Applied Arts will display some interesting Islamic textiles and we will visit a Royal apartment at Amalienborg Palace where the Royal family lives today.

A leisurely boat tour under the bridges of Copenhagen will give you a sea-view of this remarkable Danish city and its harbor.

The post-Conference tour to St. Petersburg, Russia, June 21-24, promises to be one of the most remarkable highlights of all previous ICOC events.

You will have rare private access to many famous carpets and textiles in the storage rooms of the world famous Hermitage Museum. You will marvel at the venerable Pazyryk Carpet and the splendid Scythian material right before your eyes.

The Russian Museum of Ethnography will give us rare entry to its storage areas and a special rug exhibition, organized exclusively for the ICOC tour group by its renowned former curator, Dr. Elena Tsareva, now of the Kunstkamera Museum.

A boat tour of the River Neva and St. Petersburg’s canals will give you a wonderful perspective of Peter the Great’s ideal city and its historic architecture.

We will also visit one of the splendid Summer Palaces.

(Follow updates regarding the 12th ICOC in Stockholm at: www.ICOC-orientalrugs.org)

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The Qashqai And Other Tribal Carpets Of Western Persia

SHIRAZ, April 17, 2010 -- When Persian tribal carpets first began to reach 19th century Europe, they often got a mixed reception.

One problem was where to put them.

They were typically of small size at a time when putting a large carpet across a big living room floor was the preferred choice.

And their tribal designs were not considered particularly refined, at a time when "civilized" elegance was the style.

So, Persian tribal rugs -- like Turkmen tribal rugs and many others with bold geometric designs – often found themselves relegated to the "man's" room in the house.

The unspoken rule was: tribal rugs in the study; floral workshop rugs in the boudoir and parlor.

But if there were misunderstandings about where to put the rugs, perhaps the greatest misunderstanding of all was about what to call them.

The name "Persian tribal," of course, meant nothing because it neither distinguished between the rugs' styles nor told anything about the people who wove them.

In fact, the great majority of the rugs were not made by Persians – in the sense of Persia's majority people, the Fars – at all.

They were made by peoples as diverse as Turks, Arabs, Kurds and Baluchs. For millennia, they too have inhabited Persia but they have kept their own languages, cultures, and artistic traditions. Currently, these minorities make up some 49 percent of Iran's inhabitants.

It was only with time that European rug owners began to realize that the new patterns on their floor were a window into a fascinating world of tribal and nomadic folklore that remains very much alive in Iran today.

Here is perhaps the most famous tribal rug of the turn-of-the-last century.

It is the rug used by Sigmund Freud to cover his famous "couch" in Vienna, where much of his pioneering research in psychotherapy was done.

The rug is characteristic of the Turkic-speaking Qashqai (or Gashgai, Kashgai), who are one of Iran's largest tribal confederacies. Their rugs are filled with symbols, both abstract and semi-naturalistic, that derive from the nomadic weavers' ancient traditions.

Freud believed these symbols, with their unconscious suggestions, could help create a mood in which his own patients could relax and more easily explore their subconscious memories. The rug still covers his couch, which he moved to London after Nazi Germany annexed Austria in 1938.

The Qashqai, who live in southwestern Iran, were one of the best organized and most powerful nomadic peoples in Persia during the 19th century, when they often forcefully fought off government efforts to control or settle them.

Their annual migration was, and is still, the largest of any in the country.

In their migration, the Qashqai move from their summer pastures in the mountains north of Shiraz to winter pastures south of the city.

The trip, which covers some 500 km (300 miles), takes them up and down steep mountain slopes as they descend from their winter camps at altitudes as high as 2,500 meters (10,000 feet) and move southward toward sea level.

Their life of nomadic pastoralism is told in the symbols they weave into their rugs.

The symbols range from human figures to four-legged animals, birds, trees, and flowers, as well as a wide range of geometric shapes.

Some of their carpets are so filled with such motifs that they almost look like a catalog of the objects in their daily life.

Below is a carpet is typical of the Shekarlu, one of the tribes in the Qashqai confederacy.

In it, the highly recognizable objects include wooden combs used by tribal women for their hair. The combs, as symbols of a bridal trousseau, also stand for marriage and happiness.

The Qashqai consider themselves Turks and call all the other inhabitants of Iran "Tajiks."

But their confederacy itself is a conglomeration of clans of different ethnic origins, including Luri (or Lori), Kurdish, Arab and Turkic.

Their common language is a form of Turkish closely related to that spoken in Azerbaijan.

Just when Turkic-speaking nomads first moved into Persia is unknown.

But most historians trace the first large-scale movement to the time of the Seljuk conquests, around 1,000 AD. That was when Turkic tribes in western Central Asia were migrating in mass further west and south, into modern Iran, Iraq, and Turkey.

The tribes -- from the Oghuz branch of the Turks -- shared similar cultures and languages and many of those ties survive to this day. They can readily be seen in the many shared motifs on rugs across the Turkic world.

Here is a carpet woven by the Amaleh tribe of the Qashqai confederation.

Over the centuries, the Qashqai and other tribal confederacies often played significant roles in ruling the country. Persian shahs routinely took power with the military backing of the Turkic tribes then ruled through the bureaucratic power of the Persian – Fars – elite.

The power of the tribes was not finally curbed until the 1930s, when Reza Shah (who re-named Persia as Iran in 1935) deployed a newly modernized army, with armored cars and planes, against them.

The Qashqai were starved into submission when the army blocked the narrow passes on their migration route across the mountains and the nomads' riflemen were unable to dislodge them.

Since then, many of the Qashqai have settled, joining other members of their confederation who over the centuries have taken up village life.

It is partly because tribal confederacies like the Qashqai have always had both nomadic and settled components that some of their rugs are town or city weavings.

Here is one example. It is a Kashguli carpet from the second half of the 19th century. (Kashguli is the name of another of the major Qashqai tribes. It was also frequently used in the 19th century rug market as a label for a Qashqai rug of superior quality.)

Much of the Qashqai's workshop weaving is associated with Shiraz which, because of the nomads' twice yearly migration around it, is the political and economic center of their life.

So many Qashqais' rugs are sold in the Shiraz bazaar that their weavings, particularly the simpler ones, are often simply termed "Shiraz" carpets.

The Qashqai are hardly the only nomadic and tribal people who have became well-known in Europe through their weavings.

Another is the Khamseh tribal confederacy, which neighbors the Qashqai to the east and is considered to be Arab. It trace its roots to Arab nomads who moved into Persia from the Arabian peninsula well before the Islamic conquest.

But their confederacy speaks no single language and its members, who have banded together for strength, have diverse ethnic origins.

To north and west of the Qashqai are two more major tribes, the Luri and Bakhtiyari. Both speak northwest Iranian languages close to Kurdish and their members have diverse ancestries.

Here is a picture of a Lur taken around 1921. The photo at the top of this article is of the field of a Luri rug. It shows the love of highly detailed symbols that is common to all the confederacies.

It is impossible here – or perhaps anywhere – to list all of Iran's tribes. Even today, despite heavy government pressure to settle everyone, nomads can be found in all but two of Iran's provinces -- Kurdestan and Yazd.

But how much any of the tribes today weave for themselves rather than for the world market they first began to conquer in the 19th century is another question.

Since then, nomadic weavings from Iran and elsewhere have steadily adapted to non-nomadic homeowners' tastes.

An early response was to weave multiple and more elaborate borders, to create more varied looks. So much so, that multiple borders became a tell-tale sign of later nomadic weavings throughout the carpet belt.

In more recent decades, the Qashqai and neighboring confederacies have had great market success by simplifying one of their traditional rug types -- the thick-piled Gabbeh -- to an ever more minimalist look.

The new Gabbeh is composed of just a few tone-on-tone colors and a scattering of tribal motifs or accent points.

The evolution of the Gabbeh tells the story of how the global market looks to nomadic weavings for innovation and change, despite the fact that change is foreign to the timeless world of the nomads themselves.

But exactly how that happens is the subject of another story. (See: How Traditional Are Iran's Modern Gabbehs?)

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Animal Figures In South Persian Rugs

American Sarouks And Zieglers: The First Western-Designed Persian Carpets

ARAK, Iran; April 3, 2010 -- If you could travel back in time to an American home at the turn-of-the-last-century, it is very possible that the rug on the floor would be an American Sarouk.

The "Sarouk" in the carpet's name refers to the village of Sarouk, in northwestern Iran, where it was made.

But the "American" refers to how much it was modified to suit American tastes, and how hugely popular it became in America as a result.

The double-barreled name makes the American Sarouk one of the most striking examples of the way much of the Persian carpet industry changed between 1800 and 1900. It was a time when the Persian Empire changed greatly too, as it had to adapt to a new world order dominated by industrial powers.

The carpet is believed to have been designed by a dealer in New York, S. Tyriakian, who did what would have been unthinkable in earlier times.

He knew that for many Americans, Persian carpets were too "oriental." The floral patterns seemed too elaborate and overcrowded, while the colors called too much attention to the floor at the expense of the other furnishings.

So, he designed an alternative.

The new rug had a floral design that owed as much, or more, to European artistic traditions than to Persian ones.

And its color, a deep burgundy, was deliberately chosen to go well with dark-wood chairs that were totally foreign to Persian homes.

The way that color was obtained was itself still more unorthodox.

To soften the "garish" colors of imported carpets, dealers in New York, London and other European centers had developed "chemical washes." But not all dyes could stand up to them.

In the case of the American sarouks, the original bright pink of the field tended to disappear almost entirely in the bath. So, to restore the color, dealers hired touch-up artists to hand paint the field in the darker shades they wanted.

Such labor-intensive alterations were possible in the labor market of New York at the time, and as a result the American Sarouks are also commonly known as Painted Sarouks today.

The American Sarouk, which enjoyed a peak popularity in the 20s and 30s, is one of the best-known Westernized designs that came out of northwestern Persia.

But it was neither the only nor the first.

Decades earlier, western capital and finally even Western carpet manufacturers began moving into the Persian carpet industry much as they also were doing in the Ottoman Empire.

As they did, they not only helped to create the boom in 19th century interest in oriental rugs. Ironically, they also helped satisfy it with rugs that often were far more at home in Western houses than they ever would be in Eastern ones.

One of the reasons creating Western-designed rugs was possible in Persia is that, as the 19th century opened, the Persian carpet industry itself was in a state of disarray.

After producing stunning carpets during the long and stable Safavid era that started in 1501, Persia plunged into a prolonged period of power struggles and strife beginning with a Pashtun invasion from Afghanistan in 1722.

The court patronage system, which had stimulated the art of carpet making, ceased and the great urban workshops that supplied the aristocracy of Persia and Europe closed down.

It was not until the establishment of the Qajar dynasty in 1794 that things stabilized again. But by then, the world had changed.

The new challenge for the Persian Empire was to compete with expanding military and commercial strength of Europe which was based upon the industrial revolution.

One reaction was to adapt. The first signs of that can be seen in this royal portrait of the second Qajar shah, Fath Ali.

Such realistic portraiture was a huge departure from traditional Persian court painting based on the miniaturist style. According to Julian Raby, a Lecturer in Islamic Art and Archaeology at the University of Oxford, the look is directly borrowed from contemporaneous portraits of Napoleon, which were widely admired for their projection of power. The trees and sky in the background are equally European.

Fath Ali sought diplomatic contacts with the West. And he had an urgent reason to do so.

During his reign, Persia lost two wars in the Caucasus with the Russian Empire.

In 1813 it had to accept Russian annexation of Georgia and most of the north Caucasus region.

In 1828, it had to accept Russian sovereignty over the entire south Caucasus north of the Aras river (also known as the Araxes river and today's border between Iran and Azerbaijan).

This painting by Russian artist Franz Roubaud illustrates a scene from the Russo-Persian war of 1804 to 1813, when outnumbered Tsarist forces made a "living bridge" to transport their cannon to safety.

It was advances in artillery, many developed during the Napoleonic wars, that gave the Russian army a decisive advantage.

As part of their effort to secure the north of the Persian Empire against Russian expansion, the Qajars moved capital to Tehran.

And it is in the oldest historical building in this city – the Golestan Palace – that the empire's struggle to adapt to the West becomes still clearer.

By the time Nasr ud-Din, the best known shah of the Qajar dynasty, took the throne in 1848, Persian royal culture had adopted many of the trappings of European imperial style.

He alternated between wearing Western and Persian clothes, but preferred Western for official photos. As he posed, his empire was being flooded with cheap textiles from Russia and Britain, progressively putting traditional textile producers out of business.

Nasr ud-Dinh made several trips to Europe -- the first shah to do so – and encouraged the introduction of Western science, technology, and educational methods.

He also dramatically changed the Tehran skyline by building a new wing of the Golestan Palace with two European-model towers. Completed in 1867, and blending Eastern and Western designs, the towers were the first of their kind in the capital.

At the same time, Nasr ud-Dinh furnished some of his palace rooms in Western style and created museum rooms to display gifts received from European monarchs, especially chinaware.

Similarly dramatic changes happened in the world of traditional Persian carpets.

With Europe as the world's richest consumer market, Persian producers came under enormous pressure to adapt to that market's tastes.

That taste was no longer for court carpets – the shared culture of Renaissance days – but for carpets that fit middle class European homes with no equivalent in Persia at all.

Arto Keshishian, a London rug dealer, describes what happened next in his fascinating article 'Ziegler and Their Carpets,' published in Antiques and Fine Arts Magazine.

He notes that the traditional decorating scheme for the 'reception' room of a Persian home was one central rug surrounded by runners on all four sides.

But when these rugs were imported as individual pieces to the West they were considered “generally either too long or too narrow” for Western homes.

So, carpet designers – especially in Tabriz – began expanding production specifically to supply the Western market.

Focusing on the region around Sultanabad (now Arak), they encouraged weavers to weave larger carpets that could accent or fill large rooms. They also began modifying designs with Western styles in mind.

But that was hardly the only change.

By the 1880s, several Western companies moved into northwest Persia themselves, commissioning rugs to still more closely fit the home market. The most prominent was the Ph. Ziegler & Company, which would operate in Iran for 50 years and export tens of thousands of rugs to London and New York.

At the turn-of-the-last-century, Ziegler had about 2,500 looms in more than one hundred villages around Sultanabad.

The rugs traveled west on the same caravans that took Shi’ite pilgrims to the shrine city of Karbala in Iraq. At Baghdad, they were transferred to small steamers going downriver to Basra and then onto ships for London. (Patrice Fontaine’s ‘The Carpet Weaving Industry in the Arak Region,’ Oriental Carpet and Textile Studies III, Part I, 1987.)

Keshishian says the Ziegler carpets “were made to achieve a balance and symmetry in keeping with the scale of a room and its furnishings.”

Whether they were designed with a medallion or all-over floral pattern, they were “never overcrowded” so that they would “give a sense of open space and elegance.”

He writes: "The airy visual effect of Ziegler carpets resulted from the design as well as from a weave that was much coarser than that of traditional carpets."

As for color, “fewer color combinations were used, resulting in a simpler balance and harmony; the color green was liberally incorporated, perhaps to echo the English fondness for the countryside.”

The foreign companies' success had a direct impact on the other producers around Sultanabad.

Patrice Fontaine’s writes in her ‘The Carpet Weaving Industry in the Arak Region’ that to compete, Iranian merchants tried to lower production costs. They supplied weavers with lower-quality wool colored with new Western chemical dyes. And they commissioned designers to simplify rug patterns to speed up weaving and reduce the chance of mistakes.

It is possible today to view this Western tailoring of Persian rugs as an early example of globalization – of the same process of simplifying rug designs to match mass market tastes that characterizes much of the global carpet industry today.

And, indeed, there are some carpet experts who reject calling ‘American Sarouks,’ for example, oriental rugs at all.

As Murray L Eiland Jr. and Murray Eiland III, note in their book Oriental Carpets (2005):

“One might go as far as to say that there was nothing Persian about these rugs except the technique of pile knotting, and the same judgment could be made about thousands of Turkish rugs of the early 20th Century.”

But perhaps the first Western-designed Persian carpets tell a larger story than that.

They are equally a fascinating record of a time when the East’s whole relationship with the West was radically changing and ancient empires were desperately trying to adapt in order to survive.

The Persian Empire, like the Ottoman Empire, did not succeed. Here is a map showing its progressive loss of territory in the 19th and into the early 20th centuries.

With its territorial losses went ties to some of the most famous cities associated with the Persian Empire's traditional artistic culture, including Bukhara and Samarkand.

Meanwhile efforts to regain another key city, Herat, from Afghanistan failed definitively in 1857 with the Anglo-Persian war. Thereafter Russia and Britain directly vied for influence over the region, ending with the Anglo-Russian agreement of 1907 dividing nominally independent Qajar Iran into British and Russian spheres of influence.

By the start of the 20th century, the Persian dynasties were so weak that every shah thereafter would die in exile. The country has had to re-invent itself in a process that continues today.

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