Bakhshaiesh #22410 | A Comparative Essay

Our Rug:

#22410
Bakhshaiesh
7’6” x 11’4”
Circa 1880

As Compared With:

#49 Northwest Persian Knotted Carpet
As seen in Seltene Orientteppiche Vol 5
by Eberhart Herrmann – p 104-105
325cm x 435cm (appx: 10’7” x 14’3”)
Circa mid 19^th century

This essay aims to compare two carpets alike in style, to point out the differences and similarities for the purpose of highlighting the historical evolution of design in the Bakhshaiesh weaving region.

The first, and most obvious, difference between the two rugs is the size of the finished product.  The example published in Seltene Orientteppiche is a much larger carpet, probably woven for export to Europe or America, while our rug has a size more indicative of use in a Persian home. 

Moving on we note that both pieces employ what is known as an animal pelt design element – which refers to the shape of the shield within the field being reminiscent of animal fur carpets.  While both carpets utilize a soft camel colored wool within the shields, the blue ground color found outside of this shape is softer on our rug, and our medallion red compared to navy in the published piece.  In both carpets the ribbon which separates the shield from the blue ground is decorated with gridded five-piece squares, which is recurrently used throughout both as a textural fill for many of the design elements.  Our rug’s ribbon differs, however, by the use of indentations which seem to grasp the shield within.

In the publication of the example piece, Herrmann discusses another carpet woven circa 1800 (published by Schurmann in 1976) which utilizes this color scheme as well as the depiction of “archaic dragons in the field and corners, which are explained by the proximity of the Caucasus”.  He concludes based on this model that our example piece utilizes “extremely stylized and simplified animal shapes for which early Turkish animal carpets should also be used for interpretation” –  pointing out that the sickle-shaped C motifs found in the stylized forms of the carpet are also found in earlier characterizations of animals in these Turkish rugs.

While our rug does not utilize this “C” shape within the stylized forms, it further distorts the execution of this design element with an angular hook motif connected to block shapes.  It is unclear what exactly these blocks are to represent.  Perhaps another difference to point out is the overall fluidity vs rigidity between the stylized forms of the two carpets.  Those found in the published example are more both more angular in their shape, as well as more linear in their placement than those found in our rug.

Both rugs also provide representations of smaller animals dispersed through the field, though the published example showcases very small representations of birds, as well as two human figures, not present in our carpet.  Herrmann theorizes that “the depiction of two figures dressed differently can indicate that the carpet was made for a special occasion, such as a wedding.” 

Other elements to note variation with are the use of flowers in the field of the example piece, while our rug utilizes crosses.  The example carpet also displays repetition of the same flowers in a linear row along the sides of the shield, while our rug makes use of a wider area to house a more intricate floral and leaf vine pattern. The most notable variation between the two designs is probably the border.  Our rug’s border is less busy than the example – displaying a large scale flower and leaf pattern which is somewhat rigid in its application.

One final thing to note is that the published example was likely woven to be viewed from either end of the carpet – as the design elements are woven in reverse of each other from the center of the rug.  In our rug on the other hand, the elements are one directional, which is noted even by the horns displayed at each end of the arms which project vertically from the central medallion.

Is one rug’s design better than another?  I believe it is all in the eye of the beholder; style is a preference, personal to the viewer.  One thing is clear however, and that is the fact that both of these carpets were woven in, and influenced by cultural context of, a specific weaving area.

American Hooked Rugs | A History

While the technique of pulling a loop of fiber through a woven foundation has likely been practiced since the earliest creations of textiles, the hooked rug as we have come to know it today is an art form which is uniquely American – a craft who’s development is attributed to the Canadian Maritime Provinces and the Northeastern United States.

While 18th century America saw mostly barren floors, especially among the poor, sociopolitical changes happening during the early 19th century made way for the craft of hooking to grow into a tradition which covered ground in even the poorest of homes.

The most major historic change in regards to the making of hooked rugs was the practice of product sacking – used for imported coffee, tea, grain, tobacco, etc. coming in from the West Indies. Made in burlap (a woven fabric made from natural fibers such as jute), the sack material would be salvaged from it’s original purpose and used as the foundation for hooked rugs. As the weave structure was wider than materials previously available, pulling strips of fabric through this foundation was now an easy process. Widely available in many areas, very strong when new, and cheap (if not free), burlap made it possible for people from lower economic classes to create hooked rugs which emulated the floor coverings of the upper class for little or no cost (with use of fabric from old and worn out clothing or household linens, or remnants from textile mills).

In 1868, Edward Sands Frost of Biddeford Maine saw the growing popularity of the hooking craft, and made the first pre-stamped patterns on burlap. As demand for this product grew, and free hand drawing became rather labor intensive, Frost began to print the designs from stencils, and by 1870 he was printing them in color. While the standardized patterns removed some of the creativity from the process of hooking, every creation would be somewhat different based upon the materials available to the creator. Also, many hookers would personalize the patterns by adding their own design elements.

With the Industrial Revolution well under way in America, and the trend for more creation, completed faster and cheaper came the deterioration of the art, and by the end of the 19th century the popularity of the hooked carpet was on the decline.

In the early part of the 20th century, in some areas of the American northeast and Canada, small cottage industries began to arise with the purpose of supplying better made and designed rugs to a growing middle class. These businesses also aimed to help poorer people with seasonal work (such as those in fishing communities) to earn much needed cash in their off seasons by making hooked rugs.

With the rise of these cottage industries, the homemade rug went out of style until a resurgence of interest in the 30s and 40s – largely in part to the work of William Kent (an architect and hooked rug authority). He felt that old rugs should be preserved as art to be hung, while new rugs should be produced for floor coverings. He also published three books which promoted appreciation for the early hooked arts and promoted production of new pieces using improved designs from those of the late 19th century.

While in the past any type of spare fabrics were used for rug making, in the first half of the 20th century wool became the more popular material due to an improved standard of living and an increase in income for the growing middle class. Wool was now being purchased and dyed specifically for rug making.

Interest in hooking declined once again in the 50s and 60s as styles changed, but was recognized as a valid form of art at the 1974 rug show at the Museum of American Folk art in NYC.

With designs ranging from whimsical, abstract, and geometric to floral, folky, and pictorial, antique American hooked rugs can be a worthy conversation piece for your collection.

Like quilts, hooked rugs have always been a form of creativity and expression in the craft of utilitarian items. Traditionally, they are a physical record of the life of the maker – containing a literal closet full of information about the life and status of the weaver.

19th C. CANADIAN RUG RHYME
I am the family wardrobe, best and worst of all the generations from the first,
Grandpa’s Sunday-go-to-meetin’ coat,
And the woolen muffler he wore at his throat;
Grandma’s shawl, that came from Fayal;
Ma’s wedding gown, three times turned and once let down,
Which once was plum but now turned brown;
Pa’s red flannels, that made him itch;
Pants and shirts; petticoats and skirts;
From one or another, but I can’t tell which.
Tread carefully, because you see, if you scuff me.
You scratch the bark of the family tree.

Today there are still companies (such as our sister company, The New England Collection) which focus on creating new production designs of this classic art form – paying homage this woven craft which tells the story of a resourceful people who let nothing go to waste.

View antique American hooked rugs

view new production Hooked rugs

The Pictorial Bao Tou

Born of a northern region where climate is cold and arid (conditions ideal for raising sheep), Chinese rugs were traditionally produced in an area also subject to continual conflict between Chinese and nomadic tribes to the north and west. The Inner Mongolia Autonomous Region has been home to a variety of cultures, and the rugs created therein could be attributed to Muslim, Turkish, and Mongolian ethnic minorities while clearly retaining a strong influence from Chinese art. While there is some debate over the origin of style in this general area, each region has it’s own unique character and weave.

Baotou having been a main trade post for excellent wool and carpets from the region, was itself well known for it’s pictorial rugs. The city’s Mongolian name translates to “place with deer”, which may account for the recurring theme of this imagery. Many of these pieces are of landscapes and animals (showing mountains, deer, birds, trees, and waterways), depicting scenes from daily life or traditional stories. Other designs created are still life images (displaying vases with floral arrangements, tables, books, and scrolls), sometimes with auspicious symbols.

Earlier Baotou rugs depicted realistic imagery within the center of the rug, with geometric patterning surrounding them, and enclosed in borders. Evolving over time, the images began to occupy the entire surface of the carpet and borders were disregarded, creating a style that was more akin to paintings than that of traditional floor coverings.

While changes in composition are apparent, just as obvious is the sustained use of traditional color – in this case predominantly indigo blue. Masters of dying, some Baotou weavers used various shades of indigo as the only color within a piece – creating layers of nuance. Reds, yellows, and neutrals/browns seem to be the complimentary colors often found within the work.

To view these, and other antique Bao Tou carpets, please visit our website.

Deco is Dramatic

Looking to make a statement with your interior? Antique Chinese Art Deco rugs may be just the piece you are looking for to meet that criteria. With strong colors, and bold designs, they are an optimal choice for your modern space.

Symbols

A Chinese tradition

Symbolic imagery is used in many forms of Asian art, and the carpet has not been left out of this tradition.  Symbols can be a constant source of conversation in your space.

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Flowers

A bouquet of color

Many of your basic Chinese art deco carpets are adorned with colorful bursts of flowers, which pop brightly off of the solid background giving the pieces character and contrast.

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Dragons

Bearer of good fortune

The dragon can be depicted in many ways within the woven arts of China, but almost always they are a symbol of positive forces – bringing with them health, wealth, happiness, and knowledge.

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Birds

Meaning takes flight

There are many meanings for the use of birds within Chinese symbolism – changing with the variety of bird depicted.  Peacocks represent good luck and fortune, while the Crane may express longevity and wisdom, and the duck may symbolize loyalty.

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Color

Bright and bold

Some rugs are all about strength of color – an attribute which may make the boldest statement in the space you’re working with.

Whatever the statement you are trying to make with your rug – Chinese Art Deco carpets are a surefire way to emphasize drama in your decor. View our collection of antique Chinese Deco rugs to find your perfect match today!

Our Chinese deco rugs