Anatolian animal carpet is a special type of woven carpet, woven in the Anatolian geographical region during the Seljuq and early Ottoman periods, according to the 14th-14th century. Very few animal-style carpets still exist today, and most of them are in isolation. Animal carpets are often depicted by Western European painters from 14-16th century. By comparing some of the living carpets with painted paint, these paintings help define the timeline of their production, and support our knowledge of the earliest Turkish rugs.
Video Early Anatolian Animal carpets
Rescue carpet
Dragon and Phoenix Carpet
Traditional Chinese motifs, battles between fenghuang, or Chinese phoenix, and dragons, are seen on the Anatolian rug at the Pergamon Museum, Berlin. The radiocarbon dating confirmed that the carpet "Dragon and Phoenix" was woven in the mid-15th century, during the early Ottoman Empire. It's tied with a symmetrical node. Chinese motifs might be introduced into Islamic art by Mongols, or artists who worked for them, during the thirteenth century.
Dragon and Phoenix carpets have no original boundaries, and seem to be cut off on the right side. The fields are divided into two rectangular sections, each containing a yellow-groud in which Chinese dragons and phoenixes conflict with each other in battle. Both animals are styled in geometric form. Their blue color, the red line, contrasts with the yellow ground of the octagon. The design of the upper octagon appears to be more compressed than the lower one. The angles between the octagon and the rectangular plane are filled with red triangles and rows of white hooks on the red soil, creating a reciprocal hook design. The rectangular area is surrounded by a small guardian border that shows a row of pearls of different colors. The main frontier has red flower tendrils composed of S-like ornaments on brown soil.
The Phoenix and Dragon Carpets were first described in 1881 by Julius Lessing, and Wilhelm von Bode in 1895. Since then the Dragon and Phoenix carpets have been mentioned in many books on the Oriental carpet.
A similar fragment is found in Fustat, with dragons and phoenix depicted in battles in the yellow field. The animals in this fragment are depicted in red, and are underlined in blue. The small border shows variants of the known "kufic" frontier of other Seljuq period carpets.
Marby Carpet
Another carpet featured two medals with two birds besides a tree found in the Swedish Marby church in Jönmland province. The carpet is radiocarbon dated 1300-1420. More fragments of this type are found in Fostat, today a suburb of Cairo. The Marby carpet is divided into two rectangles, each containing an octagon with a tree and a pair of birds. The tree is reflected along the horizontal center axis of the octagon in a way that shows its image reflected in water.
Both Phoenix and Dragon, and Marby carpets, have a row of additional knots on their backs. At a distance of every 6 cm, a row of red thread tied loosely woven. Other pieces of carpet from Fustat have the same additional node. It has been suggested that this line of nodes marks the progress of the weaver for a certain time. On average, additional nodes are repeated every 15 lines on Dragon and Phoenix carpets. On the original approximate width of 1 m, about 3800 knots are woven between two additional red node rows, consistent with carpet dimensions and the number of knots that can be tied on the carpet for a day. (Beselin 2011, p.Ã, 46-49)
Animal carpet at Metropolitan Museum
The "Dragon and Phoenix" and "Marby" rugs were the only examples of Anatolian animal carpets known until 1988. Since then, seven other rugs of this type have been found. They survived in Tibetan monasteries and were displaced by monks who fled to Nepal during the Chinese cultural revolution. One of these rugs was obtained by the Metropolitan Art Museum which parallels paintings by artist Sienese Gregorio at Cecco: "The Marriage of the Virgin", 1423. It shows the large animals confronted, each with a small animal inside.
Animal carpet from Vak? flar Museum
The field of animal carpet at the Vak Flar Museum, Istanbul (No. E-1) is divided into two rectangular compartments by a band similar to its border. An octagon containing the confronted animal is etched into each compartment. The winged animals face a stylish tree. They show heads that turn down, like snouts, where horn-like extensions are installed, and their bodies are visible. Overall, the animals are more like fallow deer than birds, which are usually depicted on carpet animals. Deer and fallow deer have been described on the borders of Pazyryk carpets, and are often seen in early textiles and other objects in Anatolia and Iran. Under each deer, and above the main animal, is a four-legged bird.
Another animal carpet with a rough design compared to a Vak rug? Flar is at the Mevlana Museum in Konya (Balp? Nar, 1988, p62).
Animal carpet from the Pergamon Museum
Another carpet at the Pergamon Museum dates back to 1500 AD. It shows four double-headed legs in a rectangular field surrounded by eight-pointed stars. The top star is cut off. The stars are framed by the smaller octagonal ornaments, two on their sides, each at the top and bottom of each star. The smaller guard boundary separates the land from the main border, which shows the styled leaves adorned in the form of S. The smaller triangular elements of the design and outlines of the animals are woven in offset drift. With its color, the carpet has been localized to Central Anatolia. Behind the carpets, additional wefts can be seen winding over two warps after about every 22 regular wefts. The extra feed changes the color from yellow to red, roughly in the middle of the carpet. It has been interpreted to show the daily work of two weavers who work alongside each other. If taken like that, the number of knots weave by each weaver will amount to about 2,500 knots per day. (Beselin 2011, p.Ã, 50-1) See: node density.
BatÃÆ'¡ri-Crivelli fragment, Museum of Applied Arts, Budapest
The animal carpet fragments are roughly half the size of the original. The field consists of two large 16 pointed star medals with identical designs, both of which include an eight-pointed star in an octagon. In each second segment, two birds appear, alternating with two four-legged animals. The field between the medals is decorated with small roses and eight-pointed stars. Each corner contains mosque lamp ornaments. In the middle of the long side, an octagonal small medal is inserted. The BatÃÆ'¡ri-Crivelli fragments resemble the "Dragon and Phoenix" and "Marby" rugs have yellow soil and two large medals as the main design element. Analysis of dye chromatography reveals yellow from undefined plants, indigo blue, angry (Rubia tinctorum) red, blue blue derived from indigo, Dyer grass (Reseda luteola), and Dyer ore (Salvia fruticosa), dark and undyed brown, wool ivory. During the 13th Turkish Art International Congress, held in Budapest on September 3, 2007, this fragment was replaced in honor of Ferenc BatÃÆ'¡ri, the carpet curator and the museum's final textile department.
Other animal rugs are in the Museum of Islamic Art, Doha and private collections.
Maps Early Anatolian Animal carpets
Carpets of animals in Renaissance paintings
The animal-style carpets began to appear in Italian paintings on the 14th, and continue to be depicted in Western European paintings throughout the 15th century. They represent the earliest Oriental carpets identified in Renaissance paintings. Comparison of animal-style carpets in Renaissance paintings, where painters and date of origin are often known, allows the determination of " terminus ante quem dates for existing carpets of similar design. Wilhelm von Bode identified a rug on Domenico's 1440 painting in Bartolo The Marriage of the Foundlings with a similarity marked with the "Dragon and Phoenix" rugs. This marks the beginning of the "ante quem" method, further elaborated by "Berlin School" from the History of Islamic Art. With this method, the variety of existing rugs can be dated by comparison with their painted counterparts.
The illustrated carpets were generally made by early Renaissance painters in a simplified way, compared to the original carpet designs. Artists can sometimes paint animals from their imagination, but the general appearance of painted carpets still resembles the original.
The analysis of the general composition of animal-style carpets from Renaissance paintings was first developed by Kurt Erdmann. Field carpet animals are usually divided into rectangular compartments, large or small. Each compartment contains an octagon, which in turn contains animal images of four types:
- "Heraldic" animals, including double-headed or double-headed hawks;
- A pair of birds and a tree;
- Single bird or quadrupeds in geometric frames;
- Pairing animals in a frame, sometimes depicted in combat.
the 14th century
At the beginning of the 14th century, carpets with single-headed or double-headed hawks appeared. This is often seen in paintings at Siena and Florence schools. During the second half of the 14th century, tree-style birds appeared in Lippo Memmi Our Lady and Child <1350, and in Marriage >, 1448-52. Yetkin have identified similar carpet in Vak? Flar Things? Museum, Istanbul (Yetkin 1981, plate 17). This carpet area is arranged in a common style, with birds facing trees, but the birds are crest, and their design is more complicated. The corners of the composition are filled with animal motifs, perhaps dragons. This more developed tapestry of animals appears in a painting by William Larkin (Yetkin, 1981, p.Ã, 28).
A piece of carpet with a single bird with its head is now in the collection of the Metropolitan Museum of Art, New York. A painted companion can be seen in NiccolÃÆ'²'s "Marriage of the Virgin" in Buonaccorso, 1380.
- 15th-16th century
15th - 16th century
At the beginning of the 15th century, variations in animal design increased:
Two fragments of animal-style carpets from Fustat date from the 15th century. They contain sections of different versions of the tree and bird patterns seen on Marby's rugs. The fields are no longer divided into fields, and patterns of birds and paired pairs appear on the offset line, covering the field in endless repetition (Yetkin 1981 p.11 29, 18.19 plates).
A fresco at the Palais des Papes in Avignon, by Matteo di Giovanni describes a carpet with a slightly unclear bird in front of the Pope's throne. 14th-century written sources show that Pope Benedict XII loves the carpet with a "white swan", which he had set before his throne. A painting by Giovanni in Paolo, 1440, shows the Anatolian animal rugs with birds scattered before the throne of the whale (Yetkin, 1981, p.a, 33, sick 5 and 6).
Various examples of known paintings with single birds in rows without rectangular field partitions. A rug at the Konya Archaeological Museum, dated to the 15th century, is the original work of this group (Yetkin, 1981, p.Ã, 31, disk 20). A painting by Jaume Huguet at Museu Nacional d'Art de Catalunya contains almost identical carpets. Similar carpets can be seen in the paintings of Giovanni di Paolo at the Doria Pamphilj Gallery in Rome, and in the "Madonna on the throne" by Ambrogio Lorenzetti (Yetkin, 1981, p.ae, 34, ill. 7 and 8). Another type of animal carpet of different designs appeared in Carlo Crivelli's "Annunciation", 1482. The design of this carpet consists of stylish animal figures arranged between eight-pointed stars. The carpet of the paired animals can be seen in Fra Angelico's San Marco Altarpiece.
"Phoenix and Dragon" The Pergamon Museum finds its painted counterparts in Domenico's "The Marriage of the Foundlings" (1440) in Bartolo (1440) showing a very similar carpet, and "Tale of Vincenzo Ferrerio" by Alesso Baldovinetti, and " Anugrah Jacopo Bellini "".
Animal carpet from Vak? The Flar Museum has a couple painted at William Larkin's "Portrait of Dorothy Cary, then Viscountess Rochford". The animals displayed on the painted carpets are very similar to small animals like birds on the Vakflar carpet. As is known so far, the carpet depicted in Larkin's portrait is the last of its kind, and the last animal carpet seen in Western European paintings (Balp? Nar, 1988, p.62, Yetkin, 1981, p. 36).
Fragments BatÃÆ'¡ri-Crivelli finds its parallel in two paintings by Carlo Crivelli, the Annunciation in 1482 at the StÃÆ'¤del museum in Frankfurt and Annunciation, with Saint Emidius at the National Gallery ( 1486). Both paintings depict the carpet with a sixteen-pointed star motif, with several compartments containing very stylish animal motifs.
Further reading
- Mills, John, 'Early carpet rugs in western paintings - reviews', HALI. International Journal of Oriental and Textile Carpet , Vol.1 no. 3 (1978), 234-43.
- Mills, John, 'Rug carpets revisited', Oriental Carpets and Textile Studies Vol. VI (2001), 46-51.
References
Source of the article : Wikipedia
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