Kilim motifs

Last updated

Detail of an antique vegetable-dyed Konya Kilim, numbered to identify motifs (Turkish names in parentheses):

1) Eye (Goz) / Evil Eye (Nazarlik)
2) Eye, containing Cross (Hac)
3) Ram's Horn (Kocboynuzu)
4) Fertility (Bereket)
5) Wolf's Mouth (Kurt Izi)
6) Star (Yildiz), containing Love and Unison (Ask ve Birlesim)
7) Star, containing Fetter (Bukagi) Antique Konya Kilim detail labelled.jpg
Detail of an antique vegetable-dyed Konya Kilim, numbered to identify motifs (Turkish names in parentheses):

  1) Eye (Göz) / Evil Eye (Nazarlık)
  2) Eye, containing Cross (Haç)
  3) Ram's Horn (Koçboynuzu)
  4) Fertility (Bereket)
  5) Wolf's Mouth (Kurt İzi)
  6) Star (Yıldız), containing Love and Unison (Aşk ve Birleşim)
  7) Star, containing Fetter (Bukaǧı)

Many motifs are used in traditional kilims, handmade flat-woven rugs, each with many variations. In Turkish Anatolia in particular, village women wove themes significant for their lives into their rugs, whether before marriage or during married life. Some motifs represent desires, such as for happiness and children; others, for protection against threats such as wolves (to the flocks) and scorpions, or against the evil eye. These motifs were often combined when woven into patterns on kilims. With the fading of tribal and village cultures in the 20th century, the meanings of kilim patterns have also faded.

Contents

In these tribal societies, women wove kilims at different stages of their lives, choosing themes appropriate to their own circumstances. Some of the motifs used are widespread across Anatolia and sometimes across other regions of West Asia, but patterns vary between tribes and villages, and rugs often expressed personal and social meaning.

Context

Diagram of Kilim slit weave technique, showing how the weft threads of each colour are wound back from the colour boundary, leaving a slit Kilim slit weave.jpg
Diagram of Kilim slit weave technique, showing how the weft threads of each colour are wound back from the colour boundary, leaving a slit

A Turkish kilim is a flat-woven rug from Anatolia. Although the name kilim is sometimes used loosely in the West to include all type of rug such as cicim, palaz, soumak and zili, in fact any type other than pile carpets, the name kilim properly denotes a specific weaving technique. Cicim, palaz, soumak and zili are made using three groups of threads, namely longitudinal warps, crossing wefts, and wrapping coloured threads. The wrapping threads give these rugs additional thickness and strength. Kilim in contrast are woven flat, using only warp and weft threads. Kilim patterns are created by winding the weft threads, which are coloured, backwards and forwards around pairs of warp threads, leaving the resulting weave completely flat. Kilim are therefore called flatweave or flatware rugs. [1]

To create a sharp pattern, weavers usually end each pattern element at a particular thread, winding the coloured weft threads back around the same warps, leaving a narrow gap or slit. These are prized by collectors for the crispness of their decoration. The motifs on kilims woven in this way are constrained to be somewhat angular and geometric. [2]

In tribal societies, kilim were woven by women at different stages of their lives: before marriage, in readiness for married life; while married, for her children; and finally, kilim for her own funeral, to be given to the mosque. Kilims thus had strong personal and social significance in tribal and village cultures, being made for personal and family use. Feelings of happiness or sorrow, hopes and fears were expressed in the weaving motifs. Many of these represent familiar household and personal objects, such as a hairband, a comb, an earring, a trousseau chest, a jug, a hook. [1] [3]

Meanings

The Elibelinde
or hands-on-hips motif is a stylized female figure, symbolizing motherhood and fertility. Elibelinde2.svg
The Elibelinde or hands-on-hips motif is a stylized female figure, symbolizing motherhood and fertility.

The meanings expressed in kilims derive both from the individual motifs used, and by their pattern and arrangement in the rug as a whole. [3] A few symbols are widespread across Anatolia as well as other regions including Persia and the Caucasus; others are confined to Anatolia. [4]

An especially widely used motif is the Elibelinde , Elibelinde (hands on hips): Anatolian symbol of the mother goddess, mother with child in womb, fertility, and abundance. [5] [6] Other motifs express the tribal weavers' desires for protection of their families' flocks from wolves with the wolf's mouth or the wolf's foot motif (Turkish : Kurt Aǧzi, Kurt İzi), or for safety from the sting of the scorpion (Turkish: Akrep). [1] Several protective motifs, such as those for the dragon (Turkish: Ejder), scorpion, and spider (sometimes called the crab or tortoise by carpet specialists) share the same basic diamond shape with a hooked or stepped boundary, often making them very difficult to distinguish. [4] [7]

Several motifs hope for the safety of the weaver's family from the evil eye (Turkish: Nazarlık, also used as a motif), which could be divided into four with a cross symbol (Turkish: Haç), or averted with the symbol of a hook (Turkish: Çengel), a human eye (Turkish: Göz), or an amulet (Turkish: Muska; often, a triangular package containing a sacred verse). [1] [8] The carpet expert Jon Thompson explains that such an amulet woven into a rug is not a theme: to the weaver, it actually is an amulet, conferring protection by its presence. In his words, to people in the village and tribal cultures that wove kilims, "the device in the rug has a materiality, it generates a field of force able to interact with other unseen forces and is not merely an intellectual abstraction." [9]

Similar motifs are sometimes used in pile carpets, such as the rows of Solomon's seal stars, rows of hooks, ram's horns, and hands-on-hips motifs in this Shirvan carpet from Azerbaijan. Azeri carpet (Sirvan group).jpg
Similar motifs are sometimes used in pile carpets, such as the rows of Solomon's seal stars, rows of hooks, ram's horns, and hands-on-hips motifs in this Shirvan carpet from Azerbaijan.

Other motifs symbolised fertility, as with the trousseau chest motif (Turkish: Sandıklı), or the explicit fertility (Turkish: Bereket) motif. The motif for running water (Turkish: Su Yolu) similarly depicts the resource literally. [1] The desire to tie a family or lovers together could be depicted with a fetter motif (Turkish: Bukaǧı). Similarly, a tombstone motif may indicate not simply death, but the desire to die rather than to part from the beloved. [1] Several motifs represented the desire for good luck and happiness, as for instance the bird (Turkish: Kuş) and the star or Solomon's seal (Turkish: Yıldız). The oriental symbol of Yin/Yang is used for love and unison (Turkish: Aşk ve Birleşim). [1] Among the motifs used late in life, the Tree of Life (Turkish: Hayat Aǧacı) symbolizes the desire for immortality. Many of the plants used to represent the Tree of Life can also be seen as symbols of fruitfulness, fertility, and abundance. Thus the pomegranate, a tree whose fruits carry many seeds, implies the desire for many children. [1]

Symbols are often combined, as when the feminine elibelinde and the masculine ram's horn are each drawn twice, overlapping at the centre, forming a figure (some variants of the Bereket or fertility motif [4] ) of the sacred union of the principles of the sexes. [10]

Motifs

All these motifs can vary considerably in appearance according to the weaver. Colours, sizes and shapes can all be chosen according to taste and the tradition in a given village or tribe; further, motifs are often combined, as illustrated in the photographs above. [1] To give some idea of this variability, a few alternative forms are shown in the table.

Kilim motifs and their meanings
NameTurkishMotifPurposeObjectNotes
Hands-on-hips Elibelinde Elibelinde2.jpg Fertility,
motherhood
MarriageFemale principle (4 examples) [1]
Cross Haç Cross Kilim Motif.jpg Protection Evil eye to divide the evil eye into four
(2 examples) [1]
Hook Çengel Hook Kilim Motif.jpg Protection Evil eye to destroy the evil eye [1]
Eye Göz Eye Kilim Motif.jpg Protection Evil eye to ward off the evil eye
(3 examples) [1]
Comb Tarak Comb Kilim Motif.jpg ProtectionBirth,
marriage
May also symbolise rain, water of life
(2 examples) [1]
Running water Su Yolu Running Water Kilim Motif.jpg Fresh waterLifevery important in tribal life
(3 examples) [1]
Fertility Bereket Fertility Kilim Motif.jpg FertilityMarriageCombines female principle (hands-on-hips), male principle (ram's horn)
(2 examples) [1]
Ram's horn Koçboynuzu Ram's Horn Kilim Motif.jpg Fertility,
Power,
Masculinity
MarriageMale principle (2 examples) [1]
Star Yıldız Star Kilim Motif.jpg Fertility,
happiness
Marriage Solomon's seal, a white starlike flower [1]
Love and Unison Aşk ve Birleşim Love and Unison Kilim Motif.jpg Love and harmonyMarriageDerived from oriental
Yin/Yang motif Yin yang (fixed width).svg [1]
Amulet Muska Amulet Kilim Motif.jpg Protection
Luck
Evil eye Amulets worn on the person contained a verse of scripture
sewn into a square of cloth folded into a triangle. (3 examples) [1]
Bird Kuş Bird Kilim Motif, for luck and happiness, etc.jpg Luck,
Happiness,
strength
Life Owl and raven signify bad luck;
pigeon and nightingale, good luck.
Also souls of the dead; expectation of news.
(2 examples) [1] [11]
Fetter Bukaǧı Fetter Kilim Motif.jpg UnionMarriageTo tie family or lovers together.
The fetter tied front and hind legs of a goat. [1]
Trousseau chest Sandıklı Trousseau Chest Kilim Motif.jpg Marriage,
children
MarriageUnmarried women prepared dowry in a chest. [1]
Earring Küpe Earring Kilim Motif.jpg MarriageA common wedding present [1]
Wolf's Mouth,
Wolf's Track
Kurt Aǧzi,
Kurt İzi
Wolf's Mouth Kilim Motif.jpg Protection of the flocks Wolves (2 examples) [1]
Scorpion Akrep Scorpion kilim motif.jpg Protection Scorpions (2 examples). [1] Similar motifs are used for other
animals such as Spider, Crab and Dragon. [4] [7]
Dragon Ejder Dragon Kilim Motif.jpg Protection?-Dragon is "master of air and water", [1]
cause of lunar eclipse, guard of treasure.
(4 examples) [1]
Tree of life Hayat Aǧacı Tree of Life Kilim Motif.jpg Immortality-Many different plants may be represented,
e.g., beech, cypress, fig, oak,
olive, palm, pomegranate, vine [1]
Burdock Pitrak Burdock Kilim Motifs.jpg Protection,
abundance
Evil eye Plant is used to ward off evil eye.
With many flowers, it symbolizes abundance. [1]

See also

Related Research Articles

<span class="mw-page-title-main">Carpet</span> Textile floor covering

A carpet is a textile floor covering typically consisting of an upper layer of pile attached to a backing. The pile was traditionally made from wool, but since the 20th century synthetic fibers such as polypropylene, nylon, or polyester have often been used, as these fibers are less expensive than wool. The pile usually consists of twisted tufts that are typically heat-treated to maintain their structure. The term carpet is often used in a similar context to the term rug, but rugs are typically considered to be smaller than a room and not attached to the floor.

<span class="mw-page-title-main">Persian carpet</span> Term for a handmade carpet from Iran

A Persian carpet or Persian rug, also known as Iranian carpet, is a heavy textile made for a wide variety of utilitarian and symbolic purposes and produced in Iran, for home use, local sale, and export. Carpet weaving is an essential part of Persian culture and Iranian art. Within the group of Oriental rugs produced by the countries of the "rug belt", the Persian carpet stands out by the variety and elaborateness of its manifold designs.

<span class="mw-page-title-main">Kilim</span> Flat tapestry-woven carpet

A kilim is a flat tapestry-woven carpet or rug traditionally produced in countries of the former Persian Empire, including Iran, the Balkans and the Turkic countries. Kilims can be purely decorative or can function as prayer rugs. Modern kilims are popular floor coverings in Western households.

<span class="mw-page-title-main">Knot density</span> Traditional measure for quality of handmade or knotted pile carpets

Knot density is a traditional measure for quality of handmade or knotted pile carpets. It refers to the number of knots, or knot count, per unit of surface area - typically either per square inch (kpsi) or per square centimeter (kpsc), but also per decimeter or meter. Number of knots per unit area is directly proportional to the quality of carpet. Density may vary from 25 to 1,000 knots per square inch or higher, where ≤80 kpsi is poor quality, 120 to 330 kpsi is medium to good, and ≥330 kpsi is very good quality. The inverse, knot ratio, is also used to compare characteristics. Knot density = warp×weft while knot ratio = warp/weft. For comparison: 100,000/square meter = 1,000/square decimeter = 65/square inch = 179/gereh.

<span class="mw-page-title-main">Ushak carpet</span>

Uşak carpets, Ushak carpets or Oushak Carpets are Turkish carpets that use a particular family of designs, called by convention after the city of Uşak, Turkey – one of the larger towns in Western Anatolia, which was a major center of rug production from the early days of the Ottoman Empire, into the early 20th century.

<span class="mw-page-title-main">Yürük rug</span> Tribal rug woven in Anatolia

A Yürük rug is a traditional tribal rug woven in Anatolia by the Yörüks, a Turkish ethnic subgroup.

An oriental rug is a heavy textile made for a wide variety of utilitarian and symbolic purposes and produced in "Oriental countries" for home use, local sale, and export.

<span class="mw-page-title-main">Motif (visual arts)</span> Figurative element of an artwork

In art and iconography, a motif is an element of an image. The term can be used both of figurative and narrative art, and ornament and geometrical art. A motif may be repeated in a pattern or design, often many times, or may just occur once in a work.

<span class="mw-page-title-main">Bergama carpet</span> Handwoven carpet

Bergama Carpet refers to handwoven Turkish carpets, made in the Bergama district in the Izmir Province of northwest Turkey. As a market place for the surrounding villages, the name of Bergama is used as a trade name to define the provenience.

<span class="mw-page-title-main">Anatolian rug</span> Term commonly used to denote rugs woven in Anatolia

Anatolian rug is a term of convenience, commonly used today to denote rugs and carpets woven in Anatolia and its adjacent regions. Geographically, its area of production can be compared to the territories which were historically dominated by the Ottoman Empire. It denotes a knotted, pile-woven floor or wall covering which is produced for home use, local sale, and export. Together with the flat-woven kilim, Anatolian rugs represent an essential part of the regional culture, which is officially understood as the Culture of Turkey today, and derives from the ethnic, religious and cultural pluralism of one of the most ancient centres of human civilisation.

<span class="mw-page-title-main">Hereke carpet</span> Turkish carpet

Hereke carpets are Turkish handmade carpets produced and sold in Hereke, a coastal town in Turkey. For a long time, they used to be produced only in Hereke, 60 km from Istanbul. The materials used are silk, a combination of wool and cotton, and sometimes gold or silver threads.

<span class="mw-page-title-main">Knotted-pile carpet</span> Hand weaving technique

A knotted-pile carpet is a carpet containing raised surfaces, or piles, from the cut off ends of knots woven between the warp and weft. The Ghiordes/Turkish knot and the Senneh/Persian knot, typical of Anatolian carpets and Persian carpets, are the two primary knots. A flat or tapestry woven carpet, without pile, is a kilim. A pile carpet is influenced by width and number of warp and weft, pile height, knots used, and knot density.

Iranian handicrafts are handicraft or handmade crafted works originating from Iran.

<span class="mw-page-title-main">Turkmen rug</span> Cultural heritage of the Turkmen people

A Turkmen rug is a type of handmade floor-covering textile traditionally originating in Central Asia. It is useful to distinguish between the original Turkmen tribal rugs and the rugs produced in large numbers for export mainly in Pakistan and Iran today. The original Turkmen rugs were produced by the Turkmen tribes who are the main ethnic group in Turkmenistan and are also found in Afghanistan and Iran. They are used for various purposes, including tent rugs, door hangings and bags of various sizes.

<i>Gul</i> (design) Medallion-like motif, often octagonal, typical of carpets from Central and West Asia

A gul is a medallion-like design element typical of traditional hand-woven carpets from Central and West Asia. In Turkmen weavings they are often repeated to form the pattern in the main field.

<span class="mw-page-title-main">Kerman carpet</span>

Kerman carpets are one of the traditional classifications of Persian carpets. Kerman is both a city and a province located in south central Iran. The term also sometimes describes a type which may have been made elsewhere. Kerman rugs are exhibit a wide range of designs, a broad palette, use of natural dyes and fibers, significant tensile strength and abrasion resistance, as well as expert color combinations. Typical manufacturing techniques use an asymmetrical knot on cotton foundation, but less frequent examples incorporate silk or part silk piles, or silk foundations with wool pile.

<span class="mw-page-title-main">Soumak</span>

Soumak is a tapestry technique of weaving sturdy, decorative fabrics used for carpets, rugs, domestic bags and bedding, with soumak fabrics used for bedding known as soumak mafrash.

Bhutanese textiles represent a rich and complex repository of a unique art form. They are recognised for their abundance of colour, sophistication and variation of patterns, and the intricate dyeing and weaving techniques. The weavers, who are mostly women, must not be seen merely as creators of wealth but also as the innovators and owners of artistic skills developed and nurtured over centuries of time.

<span class="mw-page-title-main">Elibelinde</span> Turkish motif of a hands-on-hips female figure

Elibelinde is a Turkish motif of a hands-on-hips female figure. It is widely used on kilims and occurs in many variations. The arms of the figure are represented by two inward-facing hooks, while the body of the woman is represented by a triangle or diamond. The head is typically represented by a diamond. The Elibelinde is a symbol of fertility and motherhood. It is one of many kilim motifs commonly woven into Turkish flatweave rugs.

<span class="mw-page-title-main">Lazy line</span>

A lazy line or section line is a technical feature of weaving which describes visible diagonal joins within a woven textile. It results from interlacing wefts joining adjacent warp sections woven at different times. Successive rows of turnarounds of discontinuous wefts create a diagonal line which, in pile rugs, is best seen from the back side, and from the front side only if the pile is heavily worn. A lazy line is created when the weaver does not finish a rug line by line from one side to the other, but sequentially finishes one area after the other.

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 Erbek, Güran (1998). Kilim Catalogue No. 1 (1st ed.). May Selçuk A. S. pp. 4–30.
  2. Davies, Peter (2000). The Visual Language of the Anatolian Kilim. pp. Chapter 5 and passim. ISBN   978-0-393-73047-0.{{cite book}}: |work= ignored (help)
  3. 1 2 Taskiran, Nurdan. "Reading Motifs on Kilims: A Semiological Approach to Symbolic Meaning". Yeditepe.edu.tr. pp. 1–12. Archived from the original on 29 October 2017. Retrieved 22 January 2016.
  4. 1 2 3 4 "Carpet Motifs: A Beginner's Guide". Arastan. 9 May 2012. Retrieved 22 January 2016.
  5. "Hands on Hips - Elibelinde" . Retrieved 24 February 2014.
  6. Unal, Sahika (August 2009). "Symbolic Meanings and Characteristics of Anatolian Kilims" (PDF). Retrieved 22 January 2016.
  7. 1 2 Anquetil, Jacques (2003). Carpets Techniques Traditions and History. Hachette. pp. 40–43. ISBN   978-1-84430-012-9.
  8. "Kilim Motifs". Kilim.com. Retrieved 22 January 2016.
  9. Thompson, Jon (1988). Carpets from the Tents, Cottages and Workshops of Asia. Barrie & Jenkins. p. 156. ISBN   0-7126-2501-1.
  10. Özyurt, Üzeyir. "The Language of Kilim of Anatolia" (PDF). Dervish Brothers. Retrieved 22 January 2016.
  11. "Bird - Kus". Kilim.com. Retrieved 23 January 2016.