Shirvan Medallion rug
Code: SHMD34
Size (metric): 104x167cm
Size (ft): 3'4" x 5'5"
Area: 1.73 m2
Density: 165 000 knots per square meter, totally ~280 000 knots
Colors: navy blue, medium sky blue, red, yellow, medium green, aqua green,
purple, olive green, apricot, maroon, light brown, ivory, dark brown.
Dyes:
madder,
weld
(Reseda Luteola),
indigo,
pomegranate skins,
walnut husks,
natural dark brown sheep wool, natural ivory sheep wool
Materials: all wool: Handspun wool for pile, ivory wool warps and ivory
wool wefts (two shots). 1cm of flatwoven kilim ends at both sides. - wool
on wool
End
finish: thin plaited fringes
Weaving period: four months
Weaver: Irada
Handwoven in Azerbaijan
Design:
The indigo field scattered with various polychrome floral, animal and
geometric minor motifs around three central stepped medallions, in a golden
yellow ground polychrome "leaf and calyx" main border and outer flowerhead minor
borders. Pile height: 0.5cm
Inscriptions: tamga
(tribal seal) of Afshar tribe
![](arfp-img/afshar_tamga.png)
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Central field motifs
![](arfp-img/shahnazarli_gubba.gif)
The serrated/saw-edged
medallions (flame, gubba, gubpa) have been related by some authors to
ancient Egyptian and Persian Royal insignia.
![](arfp-img/shirvan-medallion-rug-tree-of-life-motif.jpg)
Tree of life
-
![](arfp-img/shirvan-medallion-rug-peacock-simurgh-motif.jpg)
A peacock or simurgh motif - According to Latif Kerimov, the above bird
motif depicts a peacock. But there is a big possibilty that it may also
represent a Simurgh -
ancient benevolent, mythical flying creature, which was widely
used in Iran and Azerbaijan Folklore for centuries. There is a long
tradition of using the simurgh/phoenix motif in early Safavid Art,
including in rugs and kilims (derived from manuscript illumination).
![](arfp-img/simugh_qazwini_Marvels%20of%20Things.jpg)
The benevolent phoenix has its counterpart in Iranian and Central Asian
(known as Tughrul Kushu) lore, where it is
known as the simurgh - a wise and protective bird.
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![](arfp-img/shirvan-medallion-rug-crayfish-motif.jpg)
Later named as crayfish (19-20th centuries), this motif is probably an
adaptation of Central Asian hooked totemic themes.
![](arfp-img/shirvan-medallion-rug-reciprocal-birds.jpg)
Reciprocal birds
![](arfp-img/albanian_stone_VIIc_mingechevir.jpg)
Interestingly similar birds motif can be found in this column capital of
the VII century church with an inscription in Caucasian Albanian, found in
Mingachevir, Azerbaijan.
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![](arfp-img/shirvan-medallion-rug-spinning-wheel-motif.jpg)
spinning wheel or spindle motif
![](arfp-img/shirvan-medallion-rug-minor-border-elements.jpg)
Note, the minor border consists many various elements, placed
eccentrically.
![](arfp-img/shirvan-medallion-rug-main-border-leaf-and-calyx.jpg)
so called "glass and leaf" (or calyx and leaf) border
![](arfp-img/GraoVasco_Jesus_in_the_house_of_Marta_1535.jpg)
![](arfp-img/GraoVasco_Jesus_in_the_house_of_Marta_1535_detal.jpg)
a rug with the calyx and leaf border can seen
in "Jesus in the House of Marta" (c. 1535), by Vasco Fernandes (better known
as Grão Vasco)
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![](mp-img/mp-img-bg/veneto-lombard_school.jpg)
Portrait of a Young Nobleman, circa
1545 portrays a Caucasian rug with the so called "calyx and leaf"
border. Veneto-Lombard School |
King Henry VIII, (1537-1557) standing
on a rug with a "calyx and leaf" main border.
Unknown, after
Holbein. Petworth House. |
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