A Central Anatolian Rug Central Anatolian Rug circa 1600, partially rewoven sides, oxidized browns, scattered rewoven areas, approximately 5ft. 9in. by 4ft. 8in. (1.75 by 1.42m.) Warp: wool, Z2S, ivory We ft: wool, Z, light red, 2-3 shoots Pile: wool, symmetric knot Density: 8H, 11V Sides: not original Ends: upper: remnants of original red kilim Colors: madder red, blue, dark blue, blue-green,aubergine, yellow, light madder, ivory, walnut

Lot 131 Sotheby's Fine Oriental and European Carpets April 15, 1998, New York City Est. $50,000-70,000 Sa98n131 Literature: Eberhart Herrmann, Seltene Orientteppiche V, Munich 1983, pl. 10, pp. 26-27 *Graphic Image Courtesy of Sotheby's

Auction Notes:
The small rug offered here initially catches our eye with the four curling "leaves" that issue from its medallion. These motifs are unusual and do not seem to feature in other early Turkish rugs. These "leaves" recur in some Turkmen carpets, for example in the so-called curling leaf border of weavings such as the Tekke bird asmalyk on the cover of Eberhart Herrmann, Von Lotto bis Tekke, Munich 1978.

The present rug shares a design of medallion, spandrels and lampet end borders with several other early Turkish weavings; see Kirchheim, H., et al., pl. 176, a Konya region medallion carpet fragment, ascribed 17th century or earlier; Balpinar and Hirsch, pl. 16, a Western Anatolian rug, dated 16th- 17th century; an animal-figured carpet, Aslanapa, pl. 39, attributed to 15th century; a Karapinar rug, Alexander, pp. 230-23 1; and a Bergama, ibid., pp. 326-327. All of these rugs, and the offered rug, are woven with a variety of intense and vivid colors, a hallmark of Central Anatolian weaving.

As the author notes regarding the Konya rug, pl. 176 in Kirchheim, the design is a village adaptation of a classical format. The prototypes would have been carpets such as Yetkin, op. cit., pl. 54, woven in a workshop in Oushak. Classical workshop carpets such as this featured a symmetrical design of medallion and spandrels with very intricate internal decorative intertwining vinery. As in the offered rug, village weavers pared the design down to bolder, more stylized elements heightened by the use of a wider range of hues. In the current rug, and other village examples cited, the medallion rests on a field sparsely decorated with a few stars and rosettes. This stylization of design allows each element space, and thus the rug makes a powerful visual statement.

Here, as they are not outlined, the curling leaves appear to float on the red field. This is also the case for the blue-green that outlines the medallion. This practice of not outlining is shared with other Central Anatolian rugs, particularly from Karapinar, see lot 103A in this catalogue for one example. Upon closer examination, we notice that the weaver has subtly employed green leaves when the nearest spandrel is blue, and vice-versa. This demonstrates a sophisticated sense of design and color that is shared with the best of Turkish village weavings.

References:

Alexander, Christopher, A Foreshadowing of 21st Century Art, New York and Oxford, 1993

Aslanapa, Oktay, One Thousand Years of Turkish Carpets, Istanbul, 1988

Balpinar, Belkis and Hirsch, Udo, Carpets of the Vakiflar Museum Istanbul, Wesel, 1988

Kirchheim, Heinrich, et al., Orient Stars, Stuttgart and London, 1993

Yetkin, Serare, Historical Turkish Carpets, Istanbul, 1981

Note: To further a long term research project I am collecting data. When a piece such as this may be of interest to others I have decided to share my notes prior to culmination of the project. As such the attributions are my own and may be different that the catalogue attribution. Any additions, information, or corrections, would be appreciated.

For Further Reading:

Thanks and best wishes,

J. Barry O'Connell Jr.

Index to my Rug Notes

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