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The soft red, prevalent use of natural dark
brown, and the band of red and ivory star-like devices on the faces
lead to the conclusion that this bag is from Zakatala,1 as the pile
rugs from that region have the same color value. If the coloration
does not seem typically “Caucasian” 2, it may be due to the fact
that the population of Zakatala is predominantly Avar, an ethnic
group that primarily inhabits Dagestan, to the north of Azerbaijan.
The design of red, light blue and ivory flattened diamonds on the
faces of this khorjin is seen on other slit-tapestry Azeri bags and
door covers3 often enough to make one think the design is endemic
to the Transcaucasus. However, the same diamond forms turn up on
small Afshar sofre and gilim in Iran, reinforcing the idea that no
weaving design is original, and everything comes from somewhere
else.
As with the saltbag, #10 in this exhibition, such bags as this
khorjin came out of the Transcaucasus in numbers only after the
break-up of the Soviet Union. With its hair warp and sturdy
construction, the piece was made for local use.
RET
1) One of the northernmost districts in Azerbaijan. For more on weaving from this area, see Hazledine, T. “The Mosque Rugs Of Zakatala”,
Hali 60, pp 94-95
2) Strictly speaking, "Caucasian" is much
too broad a description for the weavings of Azerbaijan,
plus parts of Daghestan, Georgia, and Armenia. “Transcaucasian” is better. It must
also be kept in mind that while many weavers in the 19th century Transcaucasus were
Azeri, others include Kurds, Armenians, Tats, Lesghis, Tabassaranis, and various Dagestani peoples.
3) Wright, R. and Wertime, J., Caucasian Carpets and Covers, London, 1995, pages 133, 135
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