Lot Essay
A large number of medallion Ushak carpets have survived, many in churches, particularly in Southern Europe. From documentary evidence they can be dated from the sixteenth (or arguably even the late fifteenth) century through until the eighteenth. This evidence is corroborated by their appearance in paintings, although the numbers that appear there are surprisingly low given the number that appear to have been imported (Ydema, p.43). At the beginning of the period they were appreciated by the Ottoman Sultans, and it is probable that Suleyman the Magnificent's donations to various mosques, in particular the Ulu mosque in Divrigi and the Suleymaniye mosque, Istanbul, included examples of the type (Balpinar and Hirsch p.110, nos.42-46, ill. pls 262-269)
The present example is possibly unique in having three complete medallions along its length. While many have the start or even half of the two end medallions, even those with similar proportions to those seen here (Balpinar and Hirsch, no.43) do not complete these motifs. While this multiple appearance of the medallion confirms the repeating design theory often noted in discussions of the group, the alternation of colours, and in particular the treatment of the centre of the middle medallion, serve to keep the design centrally planned.
While the general layout and colouring, with the exception of a few blue and even white ground examples, remains the same throughout the period of production, details of drawing and in particular the border show a gradual development. The earliest examples have borders that are found in a number of other Ushak carpets including kufic sscript and stylised angular palmette vine, while the later ones, although beginning in the late 16th century, have examples of the border seen here. A complication in their attribution is suggested by Balpinar and Hirsch (ibid., p.110) that there may have been more than one centre of production, suggesting Güre, near Izmir, as the other weaving centre. Gantzhorn (p.312) also suggests the same but for different reasons, and does not name the alternative. Certainly there are, dating from the same period, considerable differences in quality of materials and fineness of weave.
The present example can be dated to the seventeenth century with some certainty. The drawing, while showing some stiffness, retains all the early motifs which, particularly in the medallions, tend to be simplified in the later examples or even replaced by motifs taken from the border. The weave is also relatively fine for the group, a facet which also tends to indicate an early date. The border however, its design having broadened from the earlier examples and now in effect consisting of three columns of flowerheads, could certainly not be dated any earlier, and probably places the carpet in the second half of the century.
Balpinar, B. and Hirsch, U.: Carpets in the Vakiflar Museum, Istanbul, Wesel (Germany) 1988
Gantzhorn, V.: The Christian Oriental Carpet, Köln 1991
Ydema, O.: Carpets and their Datings in Netherlandish Paintings 1540-1700, Woodbridge 1991
The present example is possibly unique in having three complete medallions along its length. While many have the start or even half of the two end medallions, even those with similar proportions to those seen here (Balpinar and Hirsch, no.43) do not complete these motifs. While this multiple appearance of the medallion confirms the repeating design theory often noted in discussions of the group, the alternation of colours, and in particular the treatment of the centre of the middle medallion, serve to keep the design centrally planned.
While the general layout and colouring, with the exception of a few blue and even white ground examples, remains the same throughout the period of production, details of drawing and in particular the border show a gradual development. The earliest examples have borders that are found in a number of other Ushak carpets including kufic sscript and stylised angular palmette vine, while the later ones, although beginning in the late 16th century, have examples of the border seen here. A complication in their attribution is suggested by Balpinar and Hirsch (ibid., p.110) that there may have been more than one centre of production, suggesting Güre, near Izmir, as the other weaving centre. Gantzhorn (p.312) also suggests the same but for different reasons, and does not name the alternative. Certainly there are, dating from the same period, considerable differences in quality of materials and fineness of weave.
The present example can be dated to the seventeenth century with some certainty. The drawing, while showing some stiffness, retains all the early motifs which, particularly in the medallions, tend to be simplified in the later examples or even replaced by motifs taken from the border. The weave is also relatively fine for the group, a facet which also tends to indicate an early date. The border however, its design having broadened from the earlier examples and now in effect consisting of three columns of flowerheads, could certainly not be dated any earlier, and probably places the carpet in the second half of the century.
Balpinar, B. and Hirsch, U.: Carpets in the Vakiflar Museum, Istanbul, Wesel (Germany) 1988
Gantzhorn, V.: The Christian Oriental Carpet, Köln 1991
Ydema, O.: Carpets and their Datings in Netherlandish Paintings 1540-1700, Woodbridge 1991