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71
RITUAL HEARTH RUG OF
SHAHSAVANS
AZERBAIJAN, IRAN, LATE 19
TH
CENTURY
Handspun and handwoven cotton warp with silk
and wool weft, natural dyes
26.25 x 72.75 in (67 x 185 cm)
$ 2,275 - 3,790
Rs 1,50,000 - 2,50,000
NONEXPORTABLE
The Shahsavans live in the northwestern parts of
Iran and migrate down Dashte Moghan, bordering
Russia and move through areas around Ardebil. They
are known for their rich repertoire of designs, a
range of intricate techniques, and a sensitive colour
palette.
They were largely nomadic pastoralists and
this special hearth rug would have been placed in the
centre of their tents where the fire place is located.
It
is used for ceremonies and for seating honoured
guests.
It is also used to seat newly married couple
and serve them their first family meal.
It is woven in the
soumak
technique, which weaves
the designs in multiple coloured, non-continuous weft
threads. The threads are left to float at the back. This
technique of non-continuous weft woven in twill
technique is linked to the
termeh
, the shawl technique.
Tightly woven with myriad intricate designs, the central
panel is divided into four equal squares filled with
hooked motifs, and is woven with multiple borders.
Jasleen Dhamija acquired this piece in Ardebil in 1976
from a member of the Shahsavan tribe.
Shahsavans with felt tent
© Ram Dhamija
70
RAUT TENT DIVIDER WITH
HUMAN FIGURES
KUWAIT, CIRCA 1930
Handspun and handwoven wool, natural dyes
35 x 93.25 in (89 x 237 cm)
$ 3,035 - 4,550
Rs 2,00,000 - 3,00,000
The
raut
is a woollen flat-weave woven by Bedouin
women. The Bedouins, whose name is derived from the
Arabic
Badawiyin
means ‘dwellers of the desert.’ They
are Arabic speaking nomadic groups of theMiddle East.
The present lot is a room divider, essentially meant to
demarcate the area for use by women from the more
public spaces used by men. The ground colour of this
raut
is black and the patterning is done with red and
white coloured wool. It is not symmetrical, and the
designs are largely geometrical, taken from imagery the
Bedouin see around them during their travels. Many
are representative of the landscape – the unending
desert, the animals they tend, and their nomadic
lifestyle. Breaking the symmetry is an unusual line of
five male figures, shown holding hands. The weaving of
human forms is not common amongst the Bedouins.
While weaving, the warp was stretched from the inner
warp beam, placed near the tent door, out into the
desert, and known as
al sadu
. This means that which
stretches beyond and has the same significance as
tantu
in Sanskrit, and also refers to that which reaches
out. Textiles such as these are rarely made nowadays,
as many Bedouins have abandoned their nomadic
customs for a modern, urban lifestyle. Jasleen Dhamija
acquired this piece in Kuwait in 1986, and it may be
part of a larger piece.