May 20 2008
Collecting Kilims:Part II Kilims of the Caucasus and Persia
Nazmiyal 3423 Is also a nineteenth century kilim with an allover shield medallion design, but its much simpler, more graphic patterning identifies it as a Northwest Persian kilim. This identification is also supported by the reciprocal diamond border, which is distinctly Persian. The very fine crenellation that articulated all the edges of the shield motifs is Persian as well. It is instructive to compare this example to the previous one to get a sense of how Persian and Caucasian or Anatolian kilims have a common design repertory, but one that has diverged or differentiated into highly distinctive dialects over time.
Nazmiyal kilim 3406 takes us into a very different world. This is a nineteenth century Persian kilim from the Zagros region in Southwest Persia. The recognizably floral design reflecting pile rug models indicates further that it is a Bakhtiari kilim, for only this group produced such flatwoven versions of pile designs, instead of sticking to the distinctive and independent geometric repertoire evident in virtually all other kilims. This piece is notable not only for the more complex detailing of the floral components, but also for its extraordinary use of rich, saturated color in a wide range of shades. The contrast between the elaboration of the field and the simplicity of the zig-zag border is also quite effective.
Two more semi-antique Qashgahi’i kilims, also from the Zagros region will serve to round out this brief survey, Nazmiyal 42237 and 42234. The first one has a field design of concentric squares in shades of deep red and green. This simple and graphic design is elaborated further by the addition of weft float embroidery to produce the finer diamond meshes in blue and orange. The border supplies an added contrast to the broad swaths of color in the field by effecting a barber pole design with many-colored stripes. 42234 plays with similar ideas but in a different way. The many-colored zig-zags along the edge of the field are boldly graphic, but again they are set off against the finely detailed diamond mesh of weft-float embroidery that creates a border of sorts, and also against the little weft-float diamond medallion at the center of the otherwise open tan field. The extensive use of weft-float embellishment is unusual. It is not widespread in Turkish kilims, or in those of the Caucasus, but this techique is typical of Turkoman and baluch kilims from eastern Iran and central Asia. The precise connection between these and Qashgahi’i kilims is as yet unclear.
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