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The Judeo-Persian Carpets of Kashan: Zionist Art and Cultural Craft Manufactured in Iran1

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The Judeo-Persian Carpets of Kashan: Zionist Art and Cultural Craft Manufactured in Iran1 STUDIA ROSENTHALIANA 45 (2014), 135-152 doi: 10.2143/SR.45.0.3021385 The Judeo-Persian Carpets of Kashan: Zionist Art and Cultural Craft Manufactured in Iran1 JIHAN-JENNIFER RADJAI INCE 1966, THE JEWISH MUSEUM OF SWITZERLAND in Basle has a carpet in its collection, showing a typical Persian pattern that reflects S 2 the style of the city of Kashan in the northwestern part of Iran. This handmade silk and wool3 carpet has an extraordinary fine knotted pile containing typical Persian decorative borders within geometrical motifs and stylized floral forms alternating with cartouches with Hebrew inscriptions (fig. 1). With a size of 200 cm ≈ 138 cm, approximately 5,000 knots/dm2 and its high quality due to its material this carpet emphasizes its unique meaning as a pictorial carpet used as a wall hang- ing. As a traditional Oriental craft, it combines typical Persian art with Jewish iconography by presenting symbols and motifs of Zionist art as well as Hebrew inscriptions. Thus, this carpet plays a significant role in the transcultural context of Persian Jews and their participation in the international political movement of Zionism. On closer inspection of the iconography, this article will claim that this cultural craft serves not 1. This article is based on ‘“Vergesse ich dich, Jerusalem…” Die jüdisch-persischen Bild- teppiche Kashans als zionistisches Kulturgut’, which has been published in: Trumah, Jüdische Stu- dien und jüdische Identität, Zeitschrift der Hochschule für Jüdische Studien Heidelberg, Vl. 17, (Heidelberg 2008), pp. 193-219 and which is a variation on my MA thesis ‘Die jüdischen Kashan- Teppiche und ihre Ikonographie’ (Hochschule für Jüdische Studien Heidelberg, 2005), supervised by Prof. Annette Weber to whom I would like to express my thanks. 2. My thanks for providing information and for her support to publish this carpet example are given to Dr Katia Guth Dreyfus, former Director of the Jewish Museum of Switzerland, Basle. 3. The material, knot count, dyes and design of rugs defines the quality, while silk and wool refer to the finest fibres of knotted rugs. Cf. M. L. Eiland Jr. and, M. Eiland III, Oriental Rugs. A complete guide (London 1998), pp. 31-38. 136 JIHAN-JENNIFER RADJAI Figure 1. Judeo-Persian pictoral carpet from Kashan, Iran. The Jewish Museum of Switzerland, Basle. (Photo D. Widmer) THE JUDEO-PERSIAN CARPETS OF KASHAN 137 only as a carrier for symbols connected with Biblical times but also as a form of identification expressing Zionist messages. The central section of the carpet is divided in a tri-partite central field with depictions of the Dome of the Rock flanked by Moses and Aaron. Above it, the Zionist banners with blue white stripes and a Star of David are shown. Two messengers are holding these two flags. In the middle register we see the Binding of Isaac and the scene of the two serv- ants accompanying Abraham and Isaac to Mount Moriah according to Gen 22:1-3. The lower register shows a depiction of the Western Wall. Each register contains biblical and liturgical Hebrew texts. As we can see in the upper register at the top of the Basle carpet, the four large letters present the name of the Almighty as a part of the Shiv- 4 is being continued in the לנדי שדי יהוה אל שויתי כמבא תמיד iti-text central shield in an abbreviated form of Psalms 16:8. Consequently, this carpet could have been used as a Shiviti in synagogues. As we can see in the arch above the Dome of the Rock and on either side of the Cupola, Psalm 67:1-5 is scrolled. The quotation of Psalm 67 in an ornamental shape of a Menorah, therefore so called the Menorah Psalm,5 can often be found on Shiviti-Plaques. This also indicates that the carpet could be considered as a Shiviti. It also should be mentioned that according to Elise and Eli Davis, Psalm 67 often appears in Persian judaica.6 The arch of the second register below continues with Psalm 67:5-7, thus we find the blessing of Numbers 6:24-26 at the top of the third register in the arched scroll. The cartouches on the borders contain the Ten Commandments in an abbreviated form. Starting from the top, not all of these ten cartou- ches contain a single Commandment at a time, but merely a compila- tion of them. Interestingly, the Second Commandment is missing. It seems to be left out on purpose. As these carpets were to be made for wall hangings and might have served as monumental Shiviti-Plaques in synagogues, on the one hand it is perhaps not surprising that a Other misspellings can also be found in the further .ידגנל Correctly it should be written as .4 inscriptions within the carpet. 5. Cf. S. Spero, ‘The Menorah Psalm’, in: Jewish Bible Quaterly, Vol. 37, Issue 1 (2009), pp. 11-16. 6. Cf. E. and E. Davis, Jewish folk art over the ages. A collector’s choice (Jerusalem 1977), p. 39. 138 JIHAN-JENNIFER RADJAI Commandment prohibiting the making of images is missing in a wall hanging carpet with pictoral and figurative representations referring to Biblical and modern times. On the other hand it seems to be contradic- tional, if inscriptions in synagogue interiors are lacking any depiction of the Biblical laws on purpose. Framing the central panel, two columns are decorated with various geometrical shapes and medaillons, showing various holy places and tombs in Israel. Following the depictions – and not according to the inscriptions – we see Rachel’s, Zachariah’s and Joseph’s tomb in the right column going down (fig. 2); in the left one, those of Rabbi Meir, Absalom and of Maimonides (fig. 3). The columns, the three registers in the main field and the cartouches of the borders are also filled with Hebrew inscriptions. The first part of the right column bears the well ,If I forget thee ,אם אשכ[חך]7 ירושל[ם] תשכח ימיני known Psalm 137: 5 O Jerusalem, let my right hand forget her cunning. And in the left column ,כי מציון תצא תורה ודבר יהוה מירוש[לם] we can see the text of Isaiah 2:3 …for out of Zion shall go forth the law, and the word of the LORD from Jerusalem. As well as the depictions, the inscriptions reveal the very fine woven quality of this pictorial silk made carpet. The use of exquisite materials, a fine-knotted pile as well as depictions of persons or scenes relating to literary sources of Persian culture are common for Persian pictoral car- pets woven in workshops of experienced weavers. But this Persian pic- toral carpet is a rarity because of its explicit Zionist iconography, along with the extraordinary fine-knotted pile. While these symbols, motifs and the inscriptions have been popular in Jewish art and within the Zionist movement,8 they are quite uncommon for Iranian made arts and crafts. Thus, by combining the typical Persian patterns and orna- ments – after all, a typical national and cultural craft of Persia – with elements of Jewish and Zionist iconography, the product itself repre- sents a rarity. 7. The letters set in brackets are not included in the inscriptions and might serve as addition to read the verses. 8. Cf. R. Arbel, Blue and White in Color. Visual Images of Zionism, 1897-1947, exhib. cat., Beith Ha-Tefusoth, Tel Aviv (Tel Aviv 1997). THE JUDEO-PERSIAN CARPETS OF KASHAN 139 Figure 2. Judeo-Persian pictoral carpet Figure 3. Judeo-Persian pictoral carpet from Kashan, Iran. The Jewish from Kashan, Iran. The Jewish Museum of Switzerland, Basle. Museum of Switzerland, Basle. Right column Left column 140 JIHAN-JENNIFER RADJAI In fact this pictoral Judeo-Persian carpet is not an exception, but it is a fine representative of a group of a dozen carpets (or probably even more)9 exhibited in some museums of Israel, two items in the Wolfson Museum in Jerusalem and one in the Jewish Museum in Amsterdam,10 while others were sold by auction houses like Sotheby’s and Christie’s,11 or are again belong to private collections.12 Nine almost identical Judeo- Persian carpets are known, all of them showing the same tri-partite field, the same motifs and inscriptions. Several minimal spelling mistakes help us to distinguish one carpet from another. According to the tradition of Persian carpet workshops, these carpets note their place of origin, and this is, in all cases, Kashan. We can read Kashan, Iran in the middle shape of the right column in/ כאשאן איראן the carpet from Basle (fig. 4) as well as in the other examples. This clearly points to the exact geographical region of the workshop13 and due to the border style its pattern and ornaments, this carpet belongs to the weav- er’s tradition of Kashan. Besides the fact that the woven name Kashan Iran in the middle shape of the column indicates the provenience there is also another evidence to consider. The Basle carpet has on its backside 9. The Joods Historisch Museum of Amsterdam supposes -without any further explana- tions- that between twelve and eighteen virtually identical carpets of this group are known. Cf. D. M. Swetschinski in collaboration with J.-M. Cohen and S. Hartog, Orphans objects. Facets of the Textiles Collection of the Joods Historisch Museum, exhib. cat., Joods Historisch Museum Amsterdam (Amsterdam 1997), p. 50. 10. Further examples were exhibited in the Israel Museum, Kibbutz Hazorea und Wolfson Museum, Israel, published in: A. Felton, Jewish Carpets, (Woodbridge 1997), p. 154 f., Fig. No. 85, 86, 88, 89. H. Budde and A. Nechama (ed.), Die Reise nach Jerusalem.
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