Azarbayjani Khorjin Half, Single Face Only
Northwestern Iran

 

21a

 


Azarbayjani Mafrash End Panel
Northwestern Iran
 

21b

 

 

The birds on Azarbayjani and Transcaucasian sumakh bags are beguiling. Although they vary in drawing somewhat ­ there are some that look like early bronzes, some that are like forms seen on Safavid steel military standards, and some that are very thin and stick-like ­ most fall into two groups: one having heads, beaks, eyes, and large tails with simulated feathers, and the other having heads and tails that are identical. In this second group, both “heads” have implied eyes. Both types of birds -- or probably more correctly, bird animals -- carry a persistent “humanoid” figure on their backs, which Robert Pinner argues quite convincingly descends from Mesopotamia through Sasanian textiles.1

Other components of the bird image include a tree-like form between the “birds”, a comb-like form drawn inside the birds, and a serrated form above them (which is not present in the two bags illustrated here). John Wertime identifies the Turkic names used for these elements, but does not delve much into origins.2  Robert Pinner, in private conversation, opines that the form above the birds is also derived from the winged disk of Mesopotamian art, but the origins of the other forms are not clear. It is possible that the combination is simply a pastiche.

A detail of the complete "bird" design from another bag in a private New England collection shows all the elements discussed above.

The first of the pieces illustrated here, a khorjin face probably from an area south of Sarab in East Azarbayjan, is notable for its color harmony and the grace with which the animals parade across the field. There is a strong impression that the border is superimposed on an endless field.

The second piece is more crudely drawn, and some of the bird design elements are not used. But it is quite unusual in its complexity, with the birds appearing on different colored panels, headed in opposite directions, with their heads oriented toward the upper and lower edges of the bag panel.

RET


1) Pinner, R. “Salor Ensis”, Hali 60, pp 86-97

2) Wertime, J., Sumak Bags of Northwest Persia and Transcaucasia, London, 1998, p 117. 

  

Additional Images (21a)

    

Detail 1

Detail 2

Detail 3


Additional Images (21b)

 

Back (of panel)

Detail

 
    
 

Structural Data (21a):

Size:

1’ 2” x 1’ 4”  (36 x 41 cm.)

Warp:

Light brown wool, Z2S

Ground
Weft:

Light red wool, Z2S, one per row, 20 per vertical inch

Pattern
Weft
:

Countered sumakh, 4:2 ratio, Z2S wool.  At one end is small row of weft chaining, dark brown & ivory wool, Z2S

Selvage:

(not original); attached overcast red wool, Z2, strengthened with light brown cotton

Ends:

8 span weft twining, red wool, Z2 lightly spun

 

Structural Data (21b):

Size:

1’ 5” x 1’ 8” (43 x 51 cm.)

Warp:

Ivory hair and ivory wool, Z2S

Ground
Weft:

Ivory cotton, “S” handspun; 12 rows per vertical inch

Pattern
Weft
:

Balanced sumakh, 4:2 ratio, Z2S wool

Ends:

Weft faced plain weave, dark brown wool, Z2 lightly spun
Top is turned under and sewn with running stitch with modern black cotton, bottom is overcast sewn with modern dark brown cotton

 

 

Note:

There are small (1” x 1”) fragments of blue surface dyed plain weave cotton cloth on back, stitched on with ivory wool, Z2S

   

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