BRIAN W.MACDONALD

TRIBALRUGS

TREASURES OF THE BLACK TENT

Contents

Foreword by the late Sir Denis Wright 9Acknowledgements 10Introduction 11Chapter 1. The Ancient Art of Tribal Weaving 15Chapter 2. The Oldest Complete Rug in the World 23

The Pazyryk Rug c.400-500 BCChapter 3. After ‘Pazyryk’ 26Chapter 4. The Tribes of Central Asia 29

The TürkmenChapter 5. The Tribes of Afghanistan 58

The Timuri, The Chahar Aimaq, The Mushwani and The Türkmen

Chapter 6. The Nomadic Tribes of Persia 90The Baluch, The Afshar, The Qashqa’i,The Khamseh Confederacy, The Lor,The Bakhtiari-Lor, The Kurds,The Kizyl-Bash and The Shahsevan

Chapter 7. The Tribes of the Caucasus 226Chapter 8. The Tribes of Anatolia 250Chapter 9. The Final Years of the Twentieth Century 261

A Return to TraditionChapter 10. The Lost Language – An Exploration of Symbolism in 276

Antique Tribal Rugs and WeavingsChapter 11. Eastern Tribal Rugs and Bags as Wall Hangings 283Chapter 12. The Appeal of Collecting Antique Eastern Rugs 285

Points to look for and Mistakes to avoidGlossary 290Select Recommended Reading 296Index 298

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Colour Plate 5DIP GHALI (small rug), TEKKE Türkmen, Turkmenistan, Central Asia,third quarter 19th century. 1.70m x 1.15m (5ft.7in. x 3ft.9in.).

The madder red field of this exceptionally fine Tekke Türkmen rugcontains three vertical rows of ten Tekke tribal göls. The minor göldepicted here is referred to as the Gurbaghe göl and has been thought torepresent either two major groups or sub-tribes of the Tekke. The wool issoft and silky and I would guess the weaver was highly experienced.

Private Collection, U.K.

Colour Plate 5A. Tekke structure

Gurbaghe göl

THE TRIBES OF CENTRAL ASIA – THE TÜRKMEN

41

Colour Plate 6DIP GHALI (small rug), TEKKE Türkmen, Turkmenistan, Central Asia, last quarter 19th century. 1.09m x 92cm (3ft.7in. x 3ft.).

Extremely fine weave and small size indicate a dowry rug – the opportunity for a youngwoman to show her skill at weaving and impress her future husband. The design comprisesfour vertical rows of ten Tekke göls. Courtesy Brian MacDonald Tshemtshe göl

THE TRIBES OF CENTRAL ASIA – THE TÜRKMEN

110

Colour Plate 70CHANTEH (vanity-bag), SALAR KHANI tribe,KHORASSAN province, North-East PERSIA,second half 19th century. 40cm x 36cm (1ft.4in. x1ft.2in.).

Although acquired quite separately from the salt-bag inthe following illustration, and years apart, they couldeasily be mistaken for a pair! The weaving technique isof the same high quality work with the main bordersand piled bases being very similar. They are obviouslythe work of the same tribe and in my opinion, theSalar Khani take the credit. Private Collection, U.K.

FRONT

BACK

Colour Plate 71NAMAKDAN (salt-bag), SALAR KHANI tr ibe,KHORASSAN province, North-East PERSIA, second half19th century. 56cm x 38cm. (1ft.10in. x 1ft.3in.).

One of the finest Salar Khani weavings I have seen, emphasisingthe point that the best work regularly went into the making ofsmall utilitarian bags – in many cases woven as ‘dowry’ or‘trousseau’ possessions. The illustration shows the front and backof this very rare salt-bag. The front has the Salar Khani border,similar to the vanity-bag in Colour Plate 70, and silk is used forhighlighting certain features or symbols in the central field.

Private Collection, U.K.

THE NOMADIC TRIBES OF PERSIA – THE BALUCH

111

Colour Plate 72RU ZINI (saddle-cover), SALAR KHANI tribe, KHORASSAN province, North-EastPERSIA, second half 19th century. 97cm x 81cm (3ft.2in. x 2ft.8in.).

The majority of antique ‘Baluch’ saddle-covers in private collections were woven by the Salar Khanitribe. However, this example is unusual in its layout and depiction of a multitude of small animals andbirds. The inner field contains the so-called ‘Herati’ pattern, consisting of fish swimming in a watergarden. Surrounding the fish are water lilies and then a cockerel or peacock guarding the inner field. Themain border depicts birds and animals, making sure that evil spirits do not enter. The small ‘filled-in’square in the lower border was the hole to encircle the pommel. Private Collection, U.K.

Fish – swim in wovenwater gardens, often in

pairs. Two fish symbolisehappiness in marriage.

THE NOMADIC TRIBES OF PERSIA – THE BALUCH

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Colour Plate 82 (Opposite)SUMAKH, AFSHAR tribes, Southern PERSIA, last quarter 19th century. 1.52m x 1.07m(5ft. x 3ft.6in.).

This small sumakh rug might have been a child’s cradle, bearing in mind the small size and thebraided warps which are often bound this way for strength and durability. The beautiful pale-yellow field contains diagonal rows of botehs and the extra end panels contain rows of eight-pointed stars – symbols of happiness and fertility – an appropriate weaving, therefore, tocontain such symbolism! Private Collection, Singapore

Colour Plate 81 (Left)RUG, AFSHAR tribes, SouthernPERSIA, last quarter 19th century.2m x 1.35m (6ft.6in. x 4ft.6in.).

A magnificent example of Afsharwork using excellent wool andgood plant dyes. Particularlybeautiful are the different nuancesof light to mid blue used in thespandrels and the myriad of birdsand animals depicted throughout.The yellow inner border is a nicetouch and the brocaded endsremain intact – a sign of age andquality. Courtesy Brian MacDonald

Angular boteh

THE NOMADIC TRIBES OF PERSIA – THE AFSHAR

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THE NOMADIC TRIBES OF PERSIA – THE AFSHAR

132

Qashqa’i girl dancing at a wedding –Pasargadae, South-West Persia

Qashqa’i summer and winter territories, Fars Province, South-West Iran

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I R A NI R A Q

PERSIANGULF

Kuwait

SAUDIARABIA

Shiraz

Isfahan

AbadehAhvaz

Eqlid

Firuzabad

Kerman

Semirom

Yasuj

The Qashqa’i ConfederacyThe Qashqa’i, according to some sources, originated among the Khalaj, a Turkicpeople who originated in eastern Turkistan and one of the twenty-two tribes ofthe western Oghuz which left the area in the eleventh century. At the end of thefourteenth century the great Mongol ruler, Timur, moved some Khalaj from AsiaMinor to central and eastern Persia. Shortly afterwards, a group of Khalaj brokeaway from the major tribe and fled to Fars in south-western Persia, where theywere given the name ‘Qashqa’i’ meaning ‘Fugitives’ or ‘those who fled’.

Another source mentions the Qashqa’i as a branch of the Iraqi Türkmen whoescaped from Ghaznavid rulers (944-1040) and settled in western Persia.

Nineteenth century Qashqa’i leaders have provided the information that theQashqa’i people were brought from Kashgar in eastern Turkistan to Persia by theMongol Hulagu Khan.

Whatever theory is correct, one thing is certain and that is that the Qashqa’i arenot of Persian stock but are more likely to have originated in Central Asia oreastern Turkistan.

The Confederacy of Qashqa’i tribes dates, it is believed, from the reign of ShahAbbas (1587-1629), who gave Jani Agha Qashqa’i of the Shahilu tribe controlover the tribes in Fars province, south-west Persia.

In 1895, no fewer than fifty-seven Qashqa’i tribes were listed by Fasa’i in his bookThe Tribes of Fars published in Shiraz in 1895. In 1972 the Iranian tribal officenamed only six major tribes (taifeh): the Sheshboluki, Kashkuli Bozorg, KashkuliKuchek, Farsimadan, Darrehshuri and the Amaleh. Other important sub-tribesconsist of the Mamasani, Safi Khani, Bolvardi, Rahimlu and Ard Kapan.

THE NOMADIC TRIBES OF PERSIA – THE QASHQA’I CONFEDERACY

133

Qashqa’i women dancing at a wedding – Pasargadae, South West Persia

THE NOMADIC TRIBES OF PERSIA – THE QASHQA’I CONFEDERACY

152

Reciprocal birds’ heads

Colour Plate 106STORAGE-BAG, QASHQA’I tribes, KASHKULI taifeh, FARS province, South-WestPERSIA, third quarter 19th century. 76cm x 66cm (2ft.6in. x 2ft.2in.).

This extremely fine bag was woven in sumakh technique and suggests a highly accomplished,mature weaver. The three horizontal borders contain reciprocal birds’ heads – carrying outtheir ‘guard duty’. The chequered upper and lower skirts are typical of Qashqa’i design workand this can be seen again in the vanity-bag illustrated in Colour Plate 107. The similarity inthe overall weaving structure might indicate the same Qashqa’i sub-tribe.

This bag was probably made for a special person such as a Khan or chief and was used forstoring important personal effects. Private Collection, U.K.

THE NOMADIC TRIBES OF PERSIA – THE QASHQA’I CONFEDERACY

153

Colour Plate 107 (Right)VANITY-BAG, QASHQA’I tribes, KASHKULI taifeh,FARS province, South-West PERSIA, last quarter 19thcentury. 30cm. x 66cm (1ft.x 2ft.2in.) including tassels.

Another small bag of exceptional quality possibly linked intribal attribution to the previously illustrated example. Aguess to taifeh might indicate Kashkuli work, being a triberecognised for the finest weavings of the Confederation.

The design in the field of this bag is reminiscent of theSeljuc ‘star’ pattern, seen in weavings dating back to atleast the fifteenth century. Private Collection, U.K.

Colour Plate 108 (Below)NAMAKDAN (salt-bag), QASHQA’I tr ibes,DARREHSHURI taifeh, FARS province, South-WestPERSIA, c.1900. 59cm. x 34cm (2ft. x 1ft.1in.).

A simple but extremely effective design in plain-weavetechnique with three coloured knots in yellow, red anddark blue, probably inserted to ward off the evil eye.

It is believed that this salt-bag was woven by theDarrehshuri tribe of the Qashqa’i Confederacy – the styleof work is the indicator. Private Collection, U.K.

Eight-pointed stars symbolising happiness, fertility andmasculinity (see Colour Plate 107)

THE NOMADIC TRIBES OF PERSIA – THE QASHQA’I CONFEDERACY

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THE FINAL YEARS OF THE TWENTIETH CENTURY

Colour Plate 214 (Left)Contemporary Natural-DyeSUMAKH,BALUCH Tribes,Eastern IRAN, 2003.1.83m x 1.22m (6ft. x 4ft.).

Similar in design to theprevious sumakh, thisbeautiful piece is entirelywoven in the sumakhtechnique except for themain madder-red border,which is in knotted pile. Thepale yellow field contains avariety of creatures butparticularly interesting is thecentral band depicting threestylised peacocks – symbolsof prosperity to the tribes.

Zollanvari Production, Iran

Colour Plate 215(Opposite)Contemporary Natural-DyeSUMAKH,BALUCH Tribes,Eastern IRAN, 2004.1.3m x 0.90m(4ft.3in. x 3ft.).

In this stunning sumakh theindigo-blue border is theonly knotted pile part of therug – the rest is in the weft-wrapping technique. Herewe observe mountains withelegant trees and two littleshepherds amongst a flock ofgoats. Birds are seen flying –carriers of the soul from theearthly world to the worldof the spirit.

Zollanvari Production, Iran

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THE FINAL YEARS OF THE TWENTIETH CENTURY

weavings we can observe double-headed birds or animals which can be inter-preted as the guardians of the ‘Tree of Life’.

It was believed that Heaven beyond the Sky was separated from our humanworld by a gate in the Sky, the mythical ‘Sky Door’. The Turkmen Engsisillustrated in Colour Plates 8, 12, 22 and 26 seem to clearly illustrate this belief.The Engsi was a door-hanging within the Türkmen öy and should therefore beviewed vertically. The panel across the lower part of the weaving would depict thevault of the sky or ‘Sky Door’ through which it would be necessary to pass beforeeventually reaching Paradise, which in this case would be the four panels withinthe central field representing the symbolic ‘Four Gardens of Paradise’. While theSky Door may provide a view of something beyond, it can also bar access. Thusanyone seated at the centre of a ‘cosmic’ rug could consider themselves veryfavourably positioned and spiritually secure.

The borders of a rug could also serve symbolically as a kind of fence or barrier.Many show a continuous row of projections resembling spear-points facingoutwards on the outermost guard-stripe, often matched by a similar set pointinginwards on the innermost edge of the border. Sometimes the projections resembletriangles arranged in sawtooth fashion; other examples show diamonds juttingfrom triangles like lance-heads; very often they are continuous birds’ heads(Colour Plates 64, 68, 135, 173 and 176). The very shape of these projectionsmakes them look defensive – as though they were meant to ward off something –as indeed they were. Those facing outwards were symbolically intended to hold at

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THE LOST LANGUAGE

R) Colour Plate 64: ‘Sawtooth’ inner and outer borders (Baluch); S) Colour Plate 68: ‘LalehAbbasi’ inner and outer borders (Baluch); T) Colour Plate 135: ‘Laleh Abbasi’ used as large mainborder (Bakhtiari); U) Colour Plate 173: Outer and inner reciprocal ‘Laleh Abbasi’ borders(Kazak); V) Colour Plate 176: Outer and inner reciprocal ‘Sawtooth’ borders (Karachov-Kazak)

U VTR S

bay any threatening forces or demonic influences exerted by evil jinns. Theinward-pointing ones had the job of restraining or keeping in the good spiritualpowers associated with the heavenly pattern of the inner field, and preventingtheir life-enriching energies from being sucked out.

The vases and ewers depicted on prayer rugs in particular were not merely‘ritual vessels’, as is often assumed, but were primarily symbols of life-giving waterand could have symbolised the ‘Waters of Paradise’ as well as purity. Humanfigures often expressed the hope of having a child or implied the expectation of ababy (Colour Plate 36). Birds were believed to mediate between this world andthe spiritual world (Colour Plate 80) and often symbolised a variety of themessuch as good or bad luck, happiness, joy and love, the soul of the dead, power andstrength (Colour Plates 110 and 133). As early as the fourth millennium BC thebird was recognised as a rain and moon symbol. The cockerel (Colour Plates 39and 67) represented the harbinger of the day which dispelled the spirits ofdarkness. The ram’s horn symbolised fertility, heroism, power and strength(Colour Plate 159 border).

The star, often represented as having eight points, symbolised happiness, fertilityand masculinity (Colour Plates 34, 89, 111 and 171).

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THE LOST LANGUAGE

Colour Plate 171 – ‘8’ pointed star in border pattern (Caucasus)

Colour Plate 89 – ‘8’ pointed star in central field (Afshar) Colour Plate 111 (Above) –‘8’ pointed star in central field(Qashqa’i)

Colour Plate 34 (Left) – ‘8’pointed star in border pattern(Timuri)

Colour Plate 159‘Ram’s horn’ Ivoryborder (Kizyl Bash)

£39.50 / $85.00

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