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34
Fine Unusual Neiriz Pictorial Rug
New
170 x 111 cm (5' 7" x 3' 8")
Persia, second half 19th century
Condition: very good, good pile, minor small repairs, minor signs of use, original sides and ends
Warp: cotton, weft: cotton, pile: wool
In the 19th century, a design revolution took place in Iran. The depiction of people, which had previously only been possible in miniatures for the upper classes, now became accessible to the general public. Large oil paintings, kalamkaris, and carpets depicted rulers, dervishes, and heroes from legends. Even in villages and rural areas, depictions could be found in coffee houses, symbolizing the dawn of a new era. Models were taken from European lithographs and books, perhaps somewhat naive and clumsy at first, but later with great perfection. At the beginning of the 20th century, the French diplomat, archaeologist, and connoisseur of Islamic art, Eustache de Lorey, saw a Kerman carpet in the bazaar of Tehran depicting a winged Assyrian king and remarked: "I regretted to see such good work and fine material wasted on such a miracle of bad taste." Of course, this Eurocentric view is outdated today, but even then it overlooked the modern retrospective view of the pre-Islamic history of the great Persian civilization in what was then Iran. Percy M. Sykes wrote in his 1902 book "Ten Thousand Miles in Persia": "The Farman Farma introduced some ugly European patterns, but these, at my insistence, were given up...". As a friend of Abdol Hossein Mirza Farmanfarma and a great connoisseur of Islamic culture, Sykes was perhaps more attached to traditional Oriental culture than appreciative of the new and more modern. The depiction of women with bouquets of flowers in our example differs mainly in the colors of their clothing. The style of representation is similar to a Bidjar carpet in Hali 80, page 90, which depicts a Qajar prince and a Kurdish woman. The colorfully dressed woman wears a cross on her forehead and a symbol around her neck. This could indicate that she is Christian or that she belongs to the second largest religion of the Kurds, Baha'i, a syncretic religion in which all founders of world religions are seen as the voice of one God.
Estimate: € 8000 - 12000
Persia, second half 19th century
Condition: very good, good pile, minor small repairs, minor signs of use, original sides and ends
Warp: cotton, weft: cotton, pile: wool
In the 19th century, a design revolution took place in Iran. The depiction of people, which had previously only been possible in miniatures for the upper classes, now became accessible to the general public. Large oil paintings, kalamkaris, and carpets depicted rulers, dervishes, and heroes from legends. Even in villages and rural areas, depictions could be found in coffee houses, symbolizing the dawn of a new era. Models were taken from European lithographs and books, perhaps somewhat naive and clumsy at first, but later with great perfection. At the beginning of the 20th century, the French diplomat, archaeologist, and connoisseur of Islamic art, Eustache de Lorey, saw a Kerman carpet in the bazaar of Tehran depicting a winged Assyrian king and remarked: "I regretted to see such good work and fine material wasted on such a miracle of bad taste." Of course, this Eurocentric view is outdated today, but even then it overlooked the modern retrospective view of the pre-Islamic history of the great Persian civilization in what was then Iran. Percy M. Sykes wrote in his 1902 book "Ten Thousand Miles in Persia": "The Farman Farma introduced some ugly European patterns, but these, at my insistence, were given up...". As a friend of Abdol Hossein Mirza Farmanfarma and a great connoisseur of Islamic culture, Sykes was perhaps more attached to traditional Oriental culture than appreciative of the new and more modern. The depiction of women with bouquets of flowers in our example differs mainly in the colors of their clothing. The style of representation is similar to a Bidjar carpet in Hali 80, page 90, which depicts a Qajar prince and a Kurdish woman. The colorfully dressed woman wears a cross on her forehead and a symbol around her neck. This could indicate that she is Christian or that she belongs to the second largest religion of the Kurds, Baha'i, a syncretic religion in which all founders of world religions are seen as the voice of one God.
Estimate: € 8000 - 12000