Page 191 - ART OF THE ISLAMIC AND INDIAN WORLDS Carpets, Ceramics Objects, Christie's London Oct..27, 2022
P. 191

■*175
          A SILK CAUCASIAN PRAYER RUG
          18TH CENTURY
          Silk embroidered on a chequered plain weave
          ground, faint surface marks, backed, overall very
          good condition
          6ft.7in. x 4ft. (200cm. x 121cm.)
          £15,000-20,000     US$18,000-23,000
                               €18,000-23,000
          Until recently, little was written or recorded of
          this fascinating group of silk Azerbaijan textiles
          that have been collected by a small number of
          appreciative collectors but which have rather
          dipped beneath the radar. There are relatively few
          examples in circulation, and even fewer in good
          condition. The recent publication, Stars of the
          Caucasus, London, 2017, compiled by a number
          of respected academics, attempts to unpick the
          variety, beauty and technical ability of these finely
          woven textiles.
          Opinions have varied considerably on their dating
          but most consider them to have been woven after
          the fall of the Safavid dynasty towards the end of
          the 18th century but before the sharp decline in
          silk production, due to blighted mulberry trees in
          Gilan, in the middle of the 19th century, (Michael
          Franses, op.cit, Chapter 4, p.100).
          Two different embroidery techniques were
          employed in Caucasian and Azerbaijan
          embroideries, the cross-stitch and a diagonal long
          stitch; ours uses the latter (Jennifer Wearden, "A
          Synthesis of Contrasts", HALI, Issue 59, pp.102-111).
          Due to the nature of cross-stitch, the designs using
          that method often followed a geometric pattern of
          angular form, (Christie's, London, Battilossi Tappeti
          d'antiquariato, 11 February 1998, lot 81). With long-
          stitch however, softer and more fluid forms can be
          created as seen in the naturalistic representation of
          the birds and flowers in the present example. The
          same fluidity can be seen in an early 18th century
          example in the Victoria and Albert Museum,
          London, (inv. no.192-1989).
          The vast majority of textile designs were
          imprinted onto a cotton foundation with the
          aid of a resin or non-fast dye but here the use
          of a black and white checked ground has been
          employed. This particular ground can be found
          on a small number of other published examples
          (E. Heinrich Kirchheim et al., Orient Stars, A
          Carpet Collection, Stuttgart and London, 1993,   panels in New Julfa, notably those in the Church   For a comparable example but with a yellow
          pp.68-69, pl.42; Ulrich Schurmann, Caucasian   of St. George, dating from 1619 (John Carswell,   cartouche border with peacocks see Stars of the
          Rugs, Braunschweig, 1961, pp.350-1, pl.138, and   New Julfa - The Armenian Churches and other   Caucasus, op. cit., p.17, fig.1.5. Another with an
          one sold in these Rooms, 6 April 2006, lot 107).   Buildings, Oxford, 1968, pl.20). The Church of the   abrashed corn-flower blue border, sold in these
          It would appear likely that this was to serve as an   Holy Mother of God dated to 1613 also contains   Rooms, 25 October 2007, lot 56, and a similar
          alternative source of guidance.    tile panels containing vases springing from cusped   example but was with a green border and leaf
                                             arabesques, and flanked by a variety of animal   design was sold in these Rooms, 25 June 2020,
          This prayer panel is one of those with the most   combat groups as well as floral sprays (John   lot 160. A further example with the addition of
          curvilinear designs of very clear Safavid inspiration   Carswell, op. cit., pl.26). The present embroidery   a decorative flowering vase at the lower end of
          if not actual instruction. The drawing and in   appears to have been made very much following the   the field, of which there is another similar in the
          particular the proportions of the prayer arch are   same style, although how long it took these designs   Nasser D. Khalili collection, sold at Christie’s
          however very close to those of cuerda seca tile   to filter through to the Caucasus is hard to say.  London, 6 October 2015, lot 101.

 188              In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty    189
               fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.
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