2611
3'-6" x 6'-0"

AGE & ORIGIN:
19th C.
Caucasus

OVERVIEW:
In the world of Caucasian rugs, fewer rugs capture the imagination of the viewer as Kuba rugs. Their color schemes, occasional designed asymmetry, and distinct visual language help firmly set them apart.
Bidjov (sometimes Bijov) designs may be traced back to some of the earliest embroidered weavings to come out of the Caucuses. Normally, these designs feature so-called ‘croissant’ shapes stretching across the field in a manner similar to pincers. Here though, the scale is direct, large, almost ‘front facing’ as if looking directly down the snout of an imposing animal. I’m not entirely sure what the design here would be referred to. The larger of the main medallions might be a Harshang, although the somewhat nebulous nature of Kuba rugs in general might be what makes this piece so compelling to begin with, all of which are softer shades of the Caucasian primaries backed by an aquatuc field that could be deemed almost contemporary in its composition.
Of personal interest are the small ‘S’ shapes within the flanking medallions. The ‘S’ may be indicative of a number of designs. Some may say dragons or other zoomorphic origins. There is an argument to be made that these may also be very simplified swatikas. This derivation comes from simplified versions of the ‘Pinwheel’ Kazak design seen sometimes on prayer rugs. To see this shape so prominently and not in a derivative sideways version (also seen on this rug) is very interesting.

CONDITION:
Good with some selvedge wrapping loss and a professionally sewn area at the bottom of the rug to help with uniformity

NOTES:

• The rug retains some length and width discrepancies (~1” across width) (~2”-3” across length)

2602
4'-2" x 6'-10”

AGE & ORIGIN:
19th C.
Caucases

OVERVIEW:
There are a certain series of, especially Kazak rugs, that illuminate the craft of the village weaves but with attention to detail and exactness of something less folky.  Of the utmost quality with uniformity in their design, and the use of high quality materials including wool and dyes.

The dyes, in general on this piece and with the best Kazaks, are fantastic. Playful and bright, sort of a crayon-core palette, which is exceptionally clear within the harshang motif on the main border, given that the kaleidoscope of dyes is set against a light cream. All that being said, there is quite a lot of aubergine in the mix within the borders, the field and main motifs, which is a slightly rarer color to see.

Finally, we’re brought to main motif on the field. What is it? What do you see? It’s somewhat up for interpretation, and it’s part of what makes this Kazak more visually interesting that many of its counterparts. Kazaks generally don’t have a lot knots to work with, going back to Kazaks being known for big, bold designs. With this design though, there is an attempt at displaying more detail. The beginning of the design seems to show a more traditional vase motif being flanked by abstracted flowers. The tree or plant then extends up the length of the field with branching motifs including what look to be boteh.

This is only one interpretation, which again makes for a more visually interesting piece. Regardless of what might really be being shown, the craft, dyes and condition are all undeniable in this latter 19th C. Kazak.

CONDITION:
Excellent

NOTES:

• Both fringe ends were professionally re-woven

• Small areas of re-piling

• Areas of lower pile

• One discolored line of red in bottom right corner of field

• There is one seemingly fugitive dye, although we think it also may be an especially fragile dye of natural origin (see the bottom left and right cross-shaped centers of the Harshang border motif. The dye is a light-blue)

• Rug was hung from a wall at some point in its history. The professionally installed loops remain installed for future use