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Lot Essay
The word shadda is a derivative of the Arabic word asidda, which translates as "riding saddle for camels", leaving some ambiguity as to whether this refers either to the featured design or their apparent function as saddle blankets (James D. Burns, Visions of Nature, New York, 2010, pp.96-7, pl.27). The term is most commonly applied to flatweaves produced in the Karabagh region which use a particular extra-weft wrapping and brocading when applying the ornamented design onto the material. Used primarily as horse blankets, they also served as decorative partitions (pardeh) within the tents of the Shahsevan tribes on ceremonial occasions, marking off a private area for newlyweds.
The field of this shadda is filled with an expressive narrative, densely filled with a camel caravan comprising eighty individual animals, with only two baby camels amongst them and a variety of smaller dogs, birds and deer. The Shahsavan tribes used both dromedary camels as in the present lot, and bactrian camels which were suited to rockier, cooler regions (see Jenny Housego, Tribal Rugs, London 1978, p.37, pl.13). There is one solitary human figure in the lower left hand corner who leads the entire train. The red and dark blue woven ground is constructed from a single panel. All of the animals and smaller ornaments are executed in soumac technique in various different colours, some of which have oxidised or worn away in places. (see also, A. Hull and J.Luczyc-Wyhowska, Kilim, The Complete Guide, pp.14-15, fig.19 and Spuhler, König, Volkmann, Alte Orientteppiche, Meisterstucke aus deutschen Privatsammlungen, pp.152-3, pl.61)
The field of this shadda is filled with an expressive narrative, densely filled with a camel caravan comprising eighty individual animals, with only two baby camels amongst them and a variety of smaller dogs, birds and deer. The Shahsavan tribes used both dromedary camels as in the present lot, and bactrian camels which were suited to rockier, cooler regions (see Jenny Housego, Tribal Rugs, London 1978, p.37, pl.13). There is one solitary human figure in the lower left hand corner who leads the entire train. The red and dark blue woven ground is constructed from a single panel. All of the animals and smaller ornaments are executed in soumac technique in various different colours, some of which have oxidised or worn away in places. (see also, A. Hull and J.Luczyc-Wyhowska, Kilim, The Complete Guide, pp.14-15, fig.19 and Spuhler, König, Volkmann, Alte Orientteppiche, Meisterstucke aus deutschen Privatsammlungen, pp.152-3, pl.61)