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122

123

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

NONEXPORTABLE

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.