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Lot Essay
As with so many designs, the overall tree field, which was used to great effect in 17th century ‘Vase’ carpets (May H. Beattie, Carpets of Central Persia, exhibition catalogue, Westerham, 1976, nos.12-14, pp.48-49), was adopted by the Kurdish weavers in north west Persia and Azerbaijan in the 18th century and which continued to be adapted well into the 19th and early 20th centuries. Although the name 'Saujbulag' has become a generic term for Kurdish carpets, the name derives from a town where such pieces were made in the mountainous area surrounding Lake Urmia. The Burrell Collection, Glasgow, holds an early 18th, or possibly late 17th century, long rug, almost certainly of Kurdish manufacture which is, quite clearly, a close copy of the enigmatic 17th century Von Hirsch floral lattice garden carpet (see HALI 59, p.130) which appeared on the market in London in the 1970s, having been previously unknown to carpet scholars. While the design of the Burrell carpet is devoid of cypress trees, it clearly uses the same long flowering branches within each of the various compartments.
A group of 18th century carpets which are often attributed to either north west Persia or the Azerbaijan region of the Caucasus are defined by their arrangement of large thick-trunked angular branched trees that alternate with smaller, thinner cypress trees, the opposite arrangement of what we see in the present lot. One example from this group is discussed by Ulrich Schurmann, (Schurmann, Caucasian Rugs, Munich, 1961, pp.58-59, pl.2), another was offered at Christie’s, London 10 October, 2008, lot 40. Although the colouring is very similar in both rugs, the drawing of the flowering trees in the field of the Schurmann example is evidently more slender and elegant than the thick-set nature of those in the Christie’s carpet. At first glance both rugs appear to have been woven in the same border region of north west Persia if it were not for the inclusion of the lyre motif in the border of the Schurmann example, which is characteristically of Caucasian origin (see Schurmann, op cit., p.67, pl.6).
By the mid 19th century the design has developed yet further. The present lot is dominated by the rows of bulbous, leaf-like forms of the cypress trees which overshadow the flowering, angular branches of the other trees. Their subtle tonal changes from the very palest green through to a rich corn-flower blue add a gentle rhythm to the otherwise ordered design. By the late 19th century the design continues to develop with the well known bid majnun design, typified by the weeping willow tree, being particularly in favour. This is the tree under which, in Persian epic verses, the youth Majnun sat, surrounded by animals, pining away eventually to death out of love for the unattainable Layla. It is found in a number of north west Persian rugs and carpets as well as other Bakhtiari carpets, including some made for named khans, the rulers of the tribes.
The carpets from Saujbulagh are considered amongst the most beautiful of Kurdish weavings due to their brilliant colours of which the present carpet has many.
A group of 18th century carpets which are often attributed to either north west Persia or the Azerbaijan region of the Caucasus are defined by their arrangement of large thick-trunked angular branched trees that alternate with smaller, thinner cypress trees, the opposite arrangement of what we see in the present lot. One example from this group is discussed by Ulrich Schurmann, (Schurmann, Caucasian Rugs, Munich, 1961, pp.58-59, pl.2), another was offered at Christie’s, London 10 October, 2008, lot 40. Although the colouring is very similar in both rugs, the drawing of the flowering trees in the field of the Schurmann example is evidently more slender and elegant than the thick-set nature of those in the Christie’s carpet. At first glance both rugs appear to have been woven in the same border region of north west Persia if it were not for the inclusion of the lyre motif in the border of the Schurmann example, which is characteristically of Caucasian origin (see Schurmann, op cit., p.67, pl.6).
By the mid 19th century the design has developed yet further. The present lot is dominated by the rows of bulbous, leaf-like forms of the cypress trees which overshadow the flowering, angular branches of the other trees. Their subtle tonal changes from the very palest green through to a rich corn-flower blue add a gentle rhythm to the otherwise ordered design. By the late 19th century the design continues to develop with the well known bid majnun design, typified by the weeping willow tree, being particularly in favour. This is the tree under which, in Persian epic verses, the youth Majnun sat, surrounded by animals, pining away eventually to death out of love for the unattainable Layla. It is found in a number of north west Persian rugs and carpets as well as other Bakhtiari carpets, including some made for named khans, the rulers of the tribes.
The carpets from Saujbulagh are considered amongst the most beautiful of Kurdish weavings due to their brilliant colours of which the present carpet has many.