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The origins and history of Oriental rugs
Buying an oriental carpet is not just about adding an aesthetic decorative element to your home, it is also about preserving a tradition that dates back to the dawn of human history. Historians and archaeologists have long researched when and where the first carpets were made. Some experts believe that ancient Egypt was the birthplace of rug making, while others point to China or the Mayan civilisation. Another view is that these different cultures began making carpets independently, but at about the same time. Although there was no physical connection between them, they were all motivated by the same basic need: the desire for comfort and warmth. The first carpets were simple utilitarian objects that proved to be much more comfortable than raw animal skins. However, their manufacture presented a different set of challenges as the art of weaving required more sophisticated tools and techniques. Although aesthetic considerations may have been secondary in the early days, it soon became clear that people had been seeking to decorate their surroundings for thousands of years. Cave paintings provide ample evidence of man's desire for artistic expression and aesthetic beauty from time immemorial. It is thought that the first decorated carpets were inspired by cave paintings depicting hunting scenes, animals or even people. These depictions not only added to the beauty of the rugs, but also told a story about the lifestyle and culture of their owners. This decorative skill and craftsmanship has always defined the character of oriental carpets, which are not only functional objects but also special pieces of art and history. Today, when we choose an oriental rug, we are in fact buying an object that embodies the artisanal traditions of the past while satisfying the aesthetic needs of the present. It is this unique combination that makes oriental rugs timeless and in demand around the world.
The history of oriental rugs
The history of oriental carpets goes back a long way and references to them can be found in many literary and historical sources. One of the earliest references to them is in the Old Testament, but they also played an important role in classical Greek literature. Homer's Iliad and the plays of Aeschylus also tell of these fascinating crafts. In Aeschylus' play, for example, Clytemnestra, the wife of Agamemnon, lays an elaborate carpet in front of her husband when he returns from war. Although Agamemnon initially objects, saying that such luxury is only for the gods, he eventually steps on the richly decorated cloth. Such passages suggest that carpets were already highly valued and appreciated objects around 500 BC.
"What luxury, and how great is my shame now. If I ruin this woven textil, worth as much as silver and treasure."
The oldest known carpet to survive in its entirety is the famous Pazirik rug, found in the Altai Mountains of Siberia. This unique artefact was recovered from the tomb of a Scythian princess, where it was preserved over time by being knotted on a base of wool and camel hair. It was the custom of the ancient nobility to take with them whatever they might need in the afterlife, so this carpet was part of a funerary artefact. However, the tomb was later plundered and for some reason the carpet was left behind.
This looting paradoxically helped to preserve the carpet, as water seeping into the tomb froze and preserved the textile, which remained intact until 1947, when it was excavated by Soviet archaeologists.
The stunning detail and sophistication of the Pazirik rug suggests that the art of carpet weaving was developed long before the time of its production. Although the Pazirik is the earliest known oriental carpet, small fragments of carpets have been found in other areas, mainly in the Near and Middle East. These pieces are evidence of a long history of carpet making, but as most carpets are made of wool, many have not survived the ravages of the centuries.
Another remarkable find comes from Egypt, where linen textiles were found in the tomb of Cah. These fabrics, which were probably used as bedspreads, date from around 1500 BC, predating the Pazirik carpet by about a thousand years. In addition to ancient Egypt, several Eastern and Middle Eastern cultures had rich textile traditions. Coptic Christians, for example, made carpets found in Egypt and Nubia between the 6th and 9th centuries.
In the Middle Ages, Turkish carpet-making played a prominent role. Between the 12th and 14th centuries, the Seljuk Turks produced masterpieces that are part of the Islamic artistic tradition. At the same time, the Moors were also famous for their carpets, especially those made in Spain in the 14th and 15th centuries. The carpets associated with Islamic culture further enriched the heritage of oriental carpet making with their fine workmanship and intricate designs.
Although no complete oriental carpet from the pre-Safavid dynasty (16th century) has survived, fragments from earlier periods provide a glimpse into the long and rich history of carpet weaving. These ancient carpets bear witness to the timeless beauty of the craft and its cultural and historical significance, as well as the aesthetic aspirations of mankind.
The most famous historic oriental carpet
One of the most famous historic oriental carpets is the Ardebil, now in the Victoria and Albert Museum in London. It has a unique history: it arrived in England in 1873 after one of two pairs of almost completely worn carpets was selected for restoration. The other carpet was deliberately sacrificed so that the chosen piece could be restored. Even the museum could not meet the huge cost of the restoration on its own, so an international public appeal was launched.
The money raised made the restoration possible, resulting in the impressive carpet that is still visible today, over 10 metres long and 7 metres wide.
The uniqueness of the Ardebil carpet is enhanced not only by its size but also by an inscription bearing the name of the maker and a poem:
"Your home is my only refuge in the world. My only refuge is your door. It is the work of a house slave, Maksud of Kashan, from the year 946."
According to the Gregorian calendar, this is around 1539-40, during the reign of Tahmasp Shah, who was a famous patron of the art of carpet weaving. The other pieces of the Ardebil carpet are from the time of Tahmasp Shah Jr. Paul Getty is in the collection of the Los Angeles Museum.
Not all historic carpets have survived for posterity. One of the most famous, but only known through legend, is the Husran Spring carpet. This huge carpet was commissioned by the Persian king Husran I during his reign (531-579). The monumental work of art, which was over 100 metres long and 300 metres wide, depicted a beautiful garden. Gardens were particularly important in arid Persia, and the carpet reflected their richness with gem-studded flowers, fruit and gold thread designs. Legend has it that the king walked the carpet at his leisure, admiring the details of the masterpiece.
Unfortunately, the Spring Carpet has not survived. The Sasanian Empire was conquered by the Arab conquerors in 641 and one of the palace's greatest treasures, the Spring Carpet, was cut up and scattered as booty. This fate is particularly painful for lovers of oriental carpets, as the artistic and historical value of the Spring Carpet was priceless.
But the art of oriental carpet weaving flourished long before the advent of Islamic culture. By the 7th century, carpet-making had been a tradition in the Middle East and Central Asia for at least 2000 years. With the rise of Islam, the art received a new impetus as the warring tribes of the unified empire devoted their energies to social development and the promotion of the arts. The art of carpet weaving was particularly valued at the royal courts, and the oriental carpets of this period are still considered the pinnacle of the art.
Oriental carpet weaving
With the rise to power of the Seljuks from Central Asia in the 12th and 13th centuries, a new golden age of Islamic art began. Thanks to the generous support of the Seljuk rulers, the arts, including carpet weaving, underwent an extraordinary development. In Persia, where there had always been a long tradition of carpet weaving, the simple geometric designs of the past were gradually replaced by more complex, floral motifs. The central medallion became one of the most popular decorative elements, and was a common motif not only on carpets but also in illustrations from the Islamic holy book, the Koran.
But the art of weaving was not limited to rugs. Rich colours and intricate patterns played a special role in the lives of nomadic peoples living in arid, barren landscapes. Nomadic communities sought to make their everyday items, such as large storage bags that served as 'kitchen furniture' and blankets to cover horses and camels, from intricately woven or knotted textiles. These objects had aesthetic as well as practical and cultural value, as the nomadic lifestyle required easy mobility and the textiles were both utilitarian and decorative.
However, rugs were not only valuable for their beauty, but often also for the financial security of their owners. For both city dwellers and nomads, carpets played an important role: they were both a comfort for everyday life and a valuable object to be sold at the bazaar when needed.
The European carpet trade probably began in the 11th century, after the return of the First Crusades. By the 14th century, oriental carpets had become widespread in Europe and were important in art. Italian painters, for example, were keen to depict richly decorated oriental carpets in their works, which became status symbols for the elite of the time. It was not uncommon for the most illustrious personalities, such as Queen Elizabeth I, to be painted against a background richly decorated with oriental carpets.
Some rugs have become so iconic that they are associated with the names of painters. Holbein rugs, for example, are named after the famous court painter Hans Holbein, whose work often features these designs.
Another equally famous type of carpet is the Lotto carpet, named after the 16th century Italian painter Lorenzo Lotto, whose paintings also often feature these carpets.
Evolution of the oriental rug
Between the 14th and 17th centuries, during the Safavid dynasty, the art of oriental carpets underwent an unprecedented development. This period marked the peak of carpet weaving, thanks to the creative freedom of court artists and painters. Their designs, which were impressively intricate, were sought after not only in Persia but throughout Europe.
The sophisticated motifs and rich colours of Persian carpets had a great influence on the European aristocracy of the time, particularly in France, where the demand for luxury goods also had a major economic impact.
Recognising that the high cost of imported oriental carpets was having a negative impact on the country's economy, King Henry of France encouraged the creation of several workshops to boost domestic carpet production. One of the most important of these was in Chaillot, where Savonnerie carpets were made. These pieces combined oriental traditions with elements of European baroque style and soon became the favourites of the royal family because of their high quality. They were so special that Henry IV ordered that only the royal court should be allowed to make them. Although this did not completely solve the problem of discouraging imports from the East, Savonnerie rugs have an iconic place in European art history.
The popularity of oriental carpets declined over time, especially with the rise of the neoclassical style, but they came back into fashion at the end of the 19th century. The travelling public of the Victorian era were fascinated by the rich colours and shapes of oriental carpets, which were perfectly in keeping with the tastes of the time. European customers often had specific requirements, requesting family crests or national symbols to decorate the carpets. Such personalised creations were installed in the palaces and country estates of the European aristocracy and cost vast sums of money.
The end of the 19th century marked a turning point in the history of oriental carpets. To meet the growing demand, carpet makers were forced to speed up production, which led to a deterioration in quality. The introduction of synthetic dyes such as aniline brought about a major change. Although initially popular for their brilliant colours, it soon became apparent that these dyes had a tendency to fade, which in the long run detracted from the aesthetic value of the carpets.
The Persian government tried to prevent their use through various sanctions, but these efforts were not entirely successful.
Despite this, many carpet workshops have retained traditional techniques. For example, the Bakhtiari artisans in the Mahall Valley of the Chahar used only the best raw materials and refused to use synthetic dyes. Their work remains an outstanding example of traditional carpet making.
Despite the historical importance of Persian carpet making, few early carpets survive in the country. Most were exported to the West in the late 19th century or kept in mosques, from where they were later bought by dealers. In the early 20th century, however, a number of albums containing colour reproductions of famous oriental carpets were published, which again provided inspiration for Persian weavers. This period marked a renaissance in oriental weaving and trade that continues to define the place of this art form in the world today.