L I M I R O K O
ANTIQUE & VINTAGE
RUGS
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of nomadic, village
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Featured Rugs
2614
AGE & ORIGIN:
Late 19th C.
Persia
OVERVIEW:
A very Caucasian-coded Kurdish village rug with everything we’ve come to expect from these types. Just an amazing and relatively progressive use of spacing, creativity and color. The first thing to catch the eye is the field color. Almost like a ripe peach with the texture to match in shade and abrash. Upon this is built the three monolithic memling medallions, each displaying their own varied motifs. The bottom, a classic latchook turkic design. The central, again using a latchook, but this time enveloping a striking almost fish-bone double-arrow. And finally the third, a stepped void repeated (albeit in a diminutive fashion) within the final auxiliary double memlings.
Incredibly simple, well-coordinated and unforgettable, the height of Kurdish rugs.
CONDITION:
Worn with damaged areas limited to borders
5953
AGE & ORIGIN:
c. 1900
Persia
OVERVIEW:
Occasionally there are rugs we come across whose true form lies within its borders, as is the case with this particular Afshar. While the field has elements of the more tribal aspects of Afshar rugs (i.e. more primitive forms of general Persian motifs) all done in natural dyes, the focus and star of this rug is the repeating, so-called ‘Mother-Child’ boteh border.
Each motif is centered on a cypress tree being flanked on either side by a larger, blue “mother” boteh and mirrored, smaller, red “child” boteh. This motif spread on a nearly black-blue border is striking and is very much the centerpiece of the rug (though maybe not literally so).
CONDITION:
Evenly worn across field
5955
AGE & ORIGIN:
3rd Q. 19th C.
Anatolia
OVERVIEW:
I will always be enamored with distinctly village pieces like this. The dramatic use of color (superbly Anatolian), the slight wonkiness and imperfections to the weave, and the more rudimentary style of completed drawing (see the elongated and unfinished latchooks), all aspects that I continue to enjoy.
That being said, the aspect of hidden reciprocal design, especially in older rugs like this, is what takes this from a true village piece, to a work of calculated art. To learn more about these reciprocal designs, I would encourage you to watch our breakdown of it here:
Karapinar and the Hidden Design of Rugs
There is a deceptively simple design happening within this rug that to examine it closer catches even the most seasoned rug connoisseur off-guard.
CONDITION:
Good condition with some end loss and restoration to selvedges and varying lengths of pile across rug
NOTES:
A very similar piece in a different format may be viewed in “Rugs of the Peasants and Nomads of Anatolia” by Werner Bruggemann and H. Bohmer, pg. 163. This entry also helps give a definitive date range to this weaving.
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