Mystery Southern Azerbaijan
Southern Azerbijan – A TRUE MYSTERY CARPET 2nd half 19th century, or earlier
10 x 6
From a Colorado Collector’s estate
This carpet has proven to be a challenging enigma and lead us on a compelling journey of discovery and speculation. Originally identified by the previous owner as a Dhagestan, we were unable to accept that designation, owing to the highly atypical pattern language.
Ultimately a US scholar ascribed a location in south central Azerbaijan --a string of villages south of the Aras River-- as its place of origin.
He had not previously seen a piece with three cloudbands in a single carpet; neither had we.
He placed a date on it of circa 1830; we are more comfortable with circa 1870 as a conservative certainty, though with carpets of this rare make up, this too, is difficult to fully ascertain.
It is one of the few carpets where one is driven to describe it as “masculine “; we do not often think of gender as to carpets.
It is a special example –sui generis - which would empower a board room environment, a large home library, or study –or its size would encourage its use in an appropriate living room.
We suggest that this piece might well have been commissioned for a wealthy townsperson requiring a very specific design outcome, which he had probably pre-imagined to a large extent. Or possibly for a club or fraternity of some kind; it seems to hold shared pacts, secrets, codes, fraternal bonding. A local warlord? It emanates both power and a degree of mystery.
The original art elements of this carpet are found in two principal places: the esoteric coiling lines on either side of the central cloud band, presented in oppositional colors. This imagery, combined with the symbol within the central deep red rectangle seem to communicate or stand for something; they appear to exist beyond mere ornamentation. There is in the central medallion figure a sense of balance being expressed, which recalls the Chinese Yin Yang symbol. Of course, migration of design elements from China had been occurring over millennia, along with their transmutation.
The lines of abrash in the central cloudband are carefully crafted and effective, adding both depth and highlighting to this unusual pale green, which achieves both delicacy and force, paradoxically, as a central feature.
The other artistic high point belongs to the reserve, the powerful royal blue, no doubt a deliberate choice as against the more common deep indigo. This rich color works well to project the primary innovation, being the diagonal lines, long a Caucasian prayer rug convention (in much smaller, less bold form). In this case the lines are thicker, rendered in white and yellow, and connect to fascinatingly different armed circles: one thinks of a phalanx of soldiers, or perhaps it is merely a design motif. But to extend the soldier perception, the varied and differently shaped lines running off, may suggest different strategic movements. Note how some terminate in pointing arrows.
This is speculative, but informed: at the time of its weaving ,this region held more different competitive ethnic tribal groups in one area, with more languages spoken than anywhere else on earth . Local skirmishes, banditry and fierce behaviour were the norm as it had been for centuries, indeed, millenia.
The use of solid black abrash lines across the blue, gives it additional power.
The border is also mysterious. The outer border is not a typical Kazak (generic word for trans Caucasian carpets generally –nothing to do with Kazakstan) styling, another uniqueness. The inner border is a re-interpretation, somewhat, of Kazak styling with its oblique rectilinear shapes. And there are white crosses at regular intervals, a usual indication of an Armenian (Christian) weaver. Armenian woven work was held in high esteem, and they had in many cases lived in various places within the region for generations, if not centuries.
Finally, there is a lone symbol, middle left, intricate, rather puzzling –in the context of the entire carpet and its multiple symbols. Yes it may be simply ornament, but this carpet’s “personality” as a whole suggests there is likely a meaning attached to it. If it were mere ornamentation, probably it would have been duplicated on the opposing side.
It is worth looking at the main field for other symbols, one of which is the horizontal S figure, which stands for Zoroaster, seen often enough in the more carefully wrought rugs throughout Caucasia.
Above all it is a singular example of highly original weaving, artistically powerful, utterly compelling –as art. A surprising blend of what appears as ancient traditional symbolism with modern design elements, the latter as seen in the prominent diagonal lines within the reserve.
The carpet is highly usable, and collectible. It is an investment piece, of unquestionable rarity, and absolute difference.
It is a medium weave in excellent condition; produced from very high-quality wool typical of the higher elevations in this region. It would accommodate medium to high wear for decades, with reasonable though not excessive care.
$36,000
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