Graduate Theological Union

From the SelectedWorks of Carol Bier

1989

An Introduction to Oriental : The Arthur D. Jenkins Collection Carol Bier, The Museum

Available at: https://works.bepress.com/carol_bier/19/ AN INTRODUCTION TO ORIENTAL CARPETS: The Arthur D. Jenkins Collection Arthur D. Jenkins, an Ameri­ can collector of Oriental car­ pets, was intrigued by the so­ cial origins of rugs. Early in his collecting career, he decided to focus not on the more familiar and more often commercially produced and marketed Orien­ tal carpets that had graced the parlors and drawing rooms of American micl.dle-class homes. Instead he focused on the lesser-known traditions of tribal and ethnographic peo­ ples of the Near East. The rugs of these peoples have a long history, but have more recently entered the realm of collectibles. Some rugs were produced for the people that wove them, and they were not made for com­ mercial sale. They were worn and well-used, and only rarely available in the markets and bazaars of Cairo, Istanbul, Tblisi and Bokhara. Those that survive today most often were produced in the nineteenth and early twentieth centuries An Introduction by rural sedentary and no­ madic population groups of to Oriental Carpets:' , Persia, the Caucasus and Central Asia, which today The Arthur D. Jenkins Collection fall within the present borders of Turkey, , and southern Through September 17, 1989 Oriental carpets have long fas­ republics of the Soviet Union. cinated the American public. By Carol Bier, Rich colors and attractive de­ Organized by Carol Bier, Curator of Eastern signs, as well as lush pile and curator of Eastern Hemisphere Hemisphere Collections, renowned durability have Collections at The Textile Mu­ The given them a well-deserved seum, this exhibition, "An In­ reputation as beautiful and troduction to Oriental Car­ useful floor- coverings. Hand­ pets: The Arthur D. Jenkins made products of far distant Collection:' is a back-to-basics . Eastern Caucasus, /ate lands, their complicated pat­ presentation, opening new 19th/ early 20th century. Textile Mu­ terns also evoke the romance vistas for the novice, and ex­ seum 1961.39.16. Gift of Arthur D of luxury and the Orient in ploring familiar territory in Jenkins. days of yore. Yet Oriental car­ novel ways for the specialist. pets also represent both social The strengths of Mr. Jenkins' This rug, a favorite of Arthur D Jenkins, provided a striking backdrop for history and manufacturing tra­ sizable colledion were many. the collector as he sat for his 1976 por­ ditions related to the human Five areas of particular signifi­ trait by Painter Robert Templeton. The needs, economy, and ecological cance have been selected to portrait and the rug hang at the en­ constraints of their cultural serve as themes for the exhibi­ trance to the exhibztion. origins. tion: prayer rugs, Turkmen weavings, flatweaves, Senneh both urban and rural, nomadic and related weavings. and sedentary peoples. The galleries are arranged to highlight each of the five areas Prayer Rugs of significance. These subject Prayer rugs are a classic type of headings reflect the diversity of Oriental in the minds of Arthur D. Jenkins' collection, most Americans. Prayer rugs and provide a rare opportunity represent a diversity of carpet­ to conceptualize different ap­ weaving traditions from nearly proaches to the study of Orien­ all areas of Oriental carpet pro­ tal carpets. duction. Within the Islamic The prayer rugs offer a func­ world, these rugs provided a tional designation, defined by means for the wealthy to de­ their axial format and direc­ fine a sutra, a ritually pure tional orientation, which are space for performing one's suggestive of the uses to which prayers five times a day. The they were put. Turkmen weav­ words for prayer rugs (ja-i ings document the textile tradi­ namaz, sajjade, and namazlik) in tions of specific groups of peo­ Persian, Arabic, and Turkish, ples, offering an ethnographic reflect this function, with approach. Flatweaves enable meanings having to do with tne careful consideration of prayer and prostration. structural variations within The niche format, size and several weaving traditions, pro­ portability, and the direction of viding insight into the relation­ pile, relate to the ways in ships between design, struc­ which prayer rugs were used ture, and technology. Grouping Prayer rug. Central Caucasus, 18th or by Muslims. The liturgical Senneh kilims and South Per­ 19th century Textile Museum obligation for sutra may be met sian weavings allows the ex­ 1961.39.2. Gift of Arthur D Jenkins. merely by defining a clean ploration of geographic attri­ Map art by Ed Zielinski space for prayer within which butions of Oriental carpets, tne worshiper orients himself which present textile arts of towards Mecca.

CHINA

The Near East and Central Asia - Prayer rugs are not the only use, and some room-size ex­ Familial and tribal affiliation type of Oriental carpets associ­ ~mp~es are known from early and ethnic identity, are re­ ated with religious usage. So­ m this century. flected in rug-weaving tradi­ called Transylvanian rugs, with tions. It is said that a Turkmen, a red ground and double-en­ Turkmen Weavings upon seeing a distant caravan, ded niche, were used as floor can immediately identify who coverings of churches in Ro­ Turkmen peoples live in the is passing from a recognition mania and Hungary. Small grassy steppes east of the Cas­ of woven patterns. The de­ rugs from China and Tibet pian Sea and the arid lands signs, passed on from genera­ with symbolic imagery and surrounding the Kara Kum de­ tion to generation, are gener­ specific formats served to cover sert. Historically. the Turkmen ally small and often repeated. furniture and architectural sur­ adapted to a nomadic life to The favorite motif, called faces in Buddhist monasteries. accommodate pastoral pursuits by the Turkmen, is a stylized In addition, many rugs lacking and to maintain political au­ floral form or emblem, and an axial orientation or a niche tonomy. withstanding central shows innumerable variations format, and not specifically authority in both Iran and in type. Notice the frequent al­ called prayer rugs, were also Russia. Their weavings often ternation in dark and light used for prayer in many areas serve utilitarian functions for areas within each gul. of the Islamic world. storage and transport, as well Market demand in Europe as to ornament and decorate Flatweaves and America reinforced export their immediate environment. Flatweaves (rugs without pile) production of "prayer" rugs in represent many different textile Turkey and the Caucasus to­ structures, offering almost infi­ ward the end of the nineteenth Pentagonal camel hanging (asmalyk). nite design possibilities. They century, but many examples Centml Asia, 19th century. Textile often have a foundation in are seen in which the pile di­ Museum 1980.13.2. Gift of Arthur D. plain weave, that is, the simple rection is in relation to the de­ Jenkins. interlacing sequence (over one, sign rather than liturgical func­ under one) of two sets of ele­ tion. Prayer rugs became larger ments: warp (vertical) and weft than necessary for personal (horizontal). Plain weave may be balanced, weft-faced, or warp-faced. Flatweaves have been pro­ century. Production of these duced in all areas of the rug­ weavings may reflect the artis­ weaving world. Generally, they tic patronage and strength of are less costly and less time­ this local leadership. consuming to make than rugs with knotted pile. Heavy and Suggested Readings rugged, flatwoven serve many varied purposes. They For a general introduction to are used as covers for walls, Oriental carpets, the following floors, bedding, and low tables, books are recommended: or placed over the hearth. Bode, Willem von and Kuhne!, Some are hung in doorways, or Ernst. Antique Rugs from the in front of re- cesses that serve Near East. 4th ed. Trans!. as closets and cupboards. Charles Grant Ellis. Ithaca: Others are saddle cloths or are Cornell University Press, 1984. used as animal blankets. In some areas, even cradles are Denny, Walter. Oriental Rugs. made by slinging a flatweave ew York: Cooper-Hewitt Mu­ between strong wooden poles. seum, 1979. Eiland, Murray. Oriental Rugs: A Senneh Kilims and Related Comprehensive Guide. Green­ Weavings wich: ew York GraphiC Soci­ ety, 1973. Extremely fin e kilims with tiny Ettinghausen, Ri chard, et al. repeat patterns are attributed Prayer Rugs. Washington, D.C.: to the region of Kurdistan in The Textile Museum, 1974. western Iran, in and around the town of Senneh. These Thompson, Jon. Oriental Car­ kilims, all in slit- pets: From the Tents, Cottages and weave, are distinguished from Workshops of Asia. New York: E. P Dutton, 1988. Plain weave with discontinuous other flatweaves in several weft (double- interlocked ways. They are not the product Several of these reference tapestry) of a nomadic environment; works are available for sale in their curvilinear designs reflect The Textile Museum Shop (dis­ 1- 1 urban artistic traditions, and count for members), hours ~ l "' " their patterns relate more Tuesday-Saturday, 10:00 closely to commercially woven a.m.-5:00 p.m., Sunday 1:00 textiles and pile carpets. Rugs p.m.-5:00 p.m. -I' and animal trappings with pile ~' . Materials are also available for structures produced in this re­ reference in The Arthur D. ~ ) gion, which exhibit the same Jenkins Library at The Textil e designs as Senneh kilims, are Museum, hours Wednesday­ ". ,. ' . characterized by a fineness of Friday, 10:00 a.m.-4:45 p.m. , Plain weave with supplementary weave, a high knot density, Saturday, 10:00 a. m. -1:00 p.m. patterning weft (cicim) and single-wefting. Current scholarship postu­ lates that this local tradition is derived from Safavid court This exhibition has received styles. Senneh was the capital generous support from of the Kurdish governors of Ardalan after the fall of the Sa­ Retailers of America, Inc. favid dynasty in the mid-18th Drs. John and Donna Sommer Diagmms taken from Sz6vott Plain weave with supplementary -Szenyegek Es Falikdrpitok, by M. wrapping weft (soumak) Gyork, Budapest, 1987. April

Members' Gallery Talk: 1 '~n Introduction to Ori­ ental Carpets," Carol Bier, curator of Eastern Hemi­ sphere Collections, The Textile Museum Refreshments will be served in the Founders' Room following the talk. Saturday, 9:30 a.m. Registration Required; Limited to 35

Public Walkthrough: "An 1 Introduction to Oriental Carpets:' Carol Bieri cura- tor of Eastern Hemisphere Collections, The Textile Museum Saturday, 11:00 a.m.

Conservation & Eastern 5 Hemisphere Curatorial Consultation Wednesday, 11:00 a.m.- 1:00 p.m. Pair of saddle bags. Southern Persia, 20th century. Textile Museum 1961.39.10. Gift of Arthur D. Jenkins. (Detail) May

Workshop: "Beginning Conservation & Eastern Lecture: "Art for the Tent 6, 7 Rug Restoration," David 3 Hemisphere Curatorial 17 and Trek: The Nomadic Zahirpour Consultation Weaving Tradition of Per- This two-day workshop, Wednesday, 11:00 sia," John Wertime, writer, conducted by the noted a.m.-1:00 p.m. appraiser, and Oriental rug rug restoration expert, will and textile art consultant focus on basic methods of Lecture: "Classical Car­ Wednesday, 6:00 p.m. repairing selvedges, ends, 3 pets of Iran and India:' tRegistration Required holes and splits as well as Daniel Walker, curator of repiling. Bring a well-vac­ , Metropolitan Rug Appreciation Morn­ uumed carpet that needs Museum of Art 20 ing: "Caucasian Rugs," restoring, a thimble, and Jerry Thompson pliers. Box lunch and other Wednesday, 6:00 p.m. supplies included in regis­ t Registration Required Saturday, 10:30 a.m. tration fee. Rug Appreciation Morn.. Lecture: "Construction Thursday and Friday, 6 ing: "Potpourri," David 24 and Style: The Elements lOa.m.-4 p.m. $85. Mem­ Zahirpour *(Audience in- and Applications of Struc- bers; $100. Non-members; vited to bring samples) ture:' Paul Daskarolis, Early registration advised Saturday, 10:30 a.m. graduate student, Islamic art history, Institute of Fine Textile App,reciation Arts, New York Univ., and Morning: 'Noble Women's Lecture: "Turkish Car­ 8 pets," Walter B. Denny, intern, Cooper-Hewitt Ceremonial Sarongs of 10 Museum East Sumba," Barbara professor of art history, Warren Univ. of Massachusetts at Wednesday, 6:00 p.m. Amherst; honorary curator tRegistration Required Saturday, 10:30 a.m. of carpets & textiles, Har­ vard Univ. Art Museums Exhibition Tour: "An In­ Rug Appreciation Morn­ troduction to Oriental ing: "Woven Gems from Wednesday, 6:00 p.m. 31 15 tRegistration Required Carpets: The Arthur D. the Shahs evans:' John Jenkins Collection," Carol Wertime Rug Appreciation Morn­ Bier, curator, Eastern Saturday, 10:30 a.m. 13 ing: "Southwest Persian Hemisphere Collections, Rugs," Hunter Morin The Textile Museum Rug Appreciation Morn­ (Museum rugs featured) Wednesday, 6:00 p.m. 22 ing: "Turkish Village tRegistration Required Pieces (pre-1850)," Dennis Saturday, 10:30 a.m. Dodds (Museum rugs featured) Saturday, 10:30 a.m.

Lecture: "Pile & Pattern: 26 An Introduction to the Woven Art of Oriental Carpets," Julia W. Bailey, assistant curator of Islamic and later Indian art, Har­ vard Univ. Art Museums Wednesday, 6:00 p.m. tRegistration Required Textile App,reciation 29 Morning: 'Textiles of Central American High­ lands," Carl Berman Saturday, 10:30 a.m. A Beduin woman weaving on a Saturday and Sunday, June simple frame loom. Joy May 10-11 at the Museum. Hilden will lead a workshop on Beduin weaving techniques, June

Celebration of Textiles 3 Day and Dupont Kalo­ rama Museums Walk Day Saturday, 10:00 a.m.-4:00 p.m. Workshop: "Beduin Weav­ 10 ing," Joy May Hilden The instructor, who lives 11 in Saudi Arabia and who has been doing field re­ search in weaving among the Bedu, will guide par­ ticipants in planning their design, warping a simple frame loom, making hed­ dIes, and weaving a small warp-faced piece. Weft twining and finger-weav­ ing techniques will also be introduced. Handspun Beduin will be pro­ vided. Box lunch for both days included in registra­ tion fee. A brief list of sup­ plies needed for simple frame loom will be sent to participants upon receipt I4MPAN (ritual weaving). Hana­ Of all Lumpung cloths, tamp an enjoy of registration. ubemk, Wai Ratai, Lampung Bay (5. the widest mnge of ceremonial use. Saturday & Sunday, 5umatm), 19th century. ; sup­ Owned by almost every family, tam­ 10:00 a.m.-4:00 p.m.; plementanJ weft, twining, latticework pan function at the ritual heart of the $85. Members; $100. Non­ fringe. community, commemomting critical mem bers. $10. supplemental family tmnsitions. fee required for yarns. Members' Gallery Talk: Textile Appreciation 17 "Early Indonesian Textiles 24 Morning: " in Indigo," from Three Island Cul­ DavidPaly tures:' Robert J. Holmgren Saturday, 10:30 a.m. & Anita E. Spertus, guest curators Refreshments will be * Note: When the audience is in­ served in the Founders' vited to bring samples for a Sat­ Room following the talk. urday Rug or Textile Morning, Saturday, 9:30 a.m. please be sure the samples are Registration Required; clean and well-vacuumed. Limited to 35 tRegistration for the series is han­ dled through the Smithsonian Public Walkthrough: Resident Associate Program. If 17 "Early Indonesian Textiles space is available, individuallec­ from Three Island Cul- tures may be open to the public. tures," Robert J. Holmgren The Textile Museum & Anita E. Spertus, guest 2320 S Street NW curators Washington, DC 20008 Saturday, 11:00 a.m. (202) 667-0441