Like A Prayer: Anatolian Niche Design Rugs
Like A Prayer A Collection of Antique Anatolian Niche Design Rugs |
My love story with rugs began well before I decided to start dealing in them, which is fast approaching its thirty-fifth anniversary. I had always been attracted to great colour and, when I began looking at them more seriously, antique Turkish rugs became my very first obsession. It was an amazing coincidence that these were also the rugs I would sell the most, as it afforded me an opportunity to delve in them with even more conviction. I also soon discovered that, while archaically drawn, richly-colored Anatolian village rugs were much in demand, niche design or ‘prayer’ examples of similar, if not earlier, vintage were somehow ‘frowned upon,’ as if their more formal iconography belonged to an old-fashioned taste for ‘high art.’ By contrast, when I would delve into the very beginnings of rug literature, I would discover endless confessions of everlasting love and dedication to the magical power of the prayer rug.
Beginning with the 1916 publication entitled ‘Thirty-Six Antique Ghiordes Rugs – Collection of James F. Ballard,’ who was not short of adjectives in describing his choice pieces, to H. McCoy Jones and Ralph S. Yohe’s first ‘Turkish Rugs’ Textile Museum (TM) Show in 1968, where prayer rugs comprised almost half of the exhibits (with an even higher ratio in the 1972 TM presentation of the Rachel B. Stevens Collection). Interest continued on a steady rise, culminating in the TM 1974 ‘Prayer Rugs’ Exhibition, where Anatolian niche design rugs were shown alongside archetypal Indian, Persian, Caucasian, Turkoman, among others, with the Turkish examples outnumbering all of the others combined.
As I began collecting Anatolian prayer rugs, I started acquainting myself with their language, which varies greatly according to both the geographical areas of Turkey as well as to the individual whims of the weaver. Colour and pattern is arranged architecturally, perhaps with more structure compared to many contemporaneous Turkish rugs of other design formats. More often than not, I found that great care was taken in every small detail, beginning from the choice of exquisite wool to the planning of the niche shape and the colour distribution. The best examples rank in my opinion as important works of Islamic art, especially as these simultaneously perform their role as architectural frames of reference for praying as well as providing the viewer with a true window into the infinite. Female weavers from each period as well each region of Anatolia have distinguishing traits in their representation of the prayer rug. Within these we see countless interpretations of the theme, some emphasising its more practical aspect while others appearing to dive more into its spiritual domains. In all of these years I have had the chance to look at many rugs within this niche, examining some and acquiring only the ones I couldn’t be without. In this latter sense, the following ensemble represents a true private collection, one driven by pure passion and which elicited quite a serious investment in every respect. I feel as though I have been amply repaid for this commitment in that it has served as an indispensable and formative learning tool. Being surrounded by such superlative examples of colour and design has equipped my eye with exacting standards, providing me with the ideal bearings with which to navigate the universe of antique textile art.
This collection aspires to encompass the entire time spectrum of the Turkish prayer rug tradition. I also purposely included examples that would reveal, as much as possible, their magnificent variety. This ranges from pieces displaying an opulence inspired by the art of the Ottoman court to rugs imbued with the archaic iconography of the Anatolian village and tribal tradition. Just as these rugs facilitate the ritual of worship, the pleasure of owning them is ultimately a spiritual one—I trust that they will transmit joy and enlightenment to whomever will own them in the future.
 | Fragment of Rug with Multiple Coupled-Column NichesORIGIN Ushak, Western Anatolia SIZE 372 cm x 135 cm12'2" x 4'5" PERIOD Circa 1700I have seen at least one other example of this type, which is a multiple prayer rug composed of two rows of niches. This is a fragment of a single, incomplete row composed of five teal blue niches supported by a pair of columns. The secondary red niches, being coloured just like the spandrels, emphasise the three dimensionality of the teal coloured niches, as if projecting into a celestial dimension.
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 | Rug with Pseudo-Kufic Niche Design
ORIGIN Bergama, Western Anatolia SIZE 85 cm x 110 cm2'9" x 3'7" PERIOD Circa 1800The niche design represented here is similar to the double niche arrangement on a rug formerly in the Christopher Alexander collection (C. Alexander, A Foreshadowing of 21st Century Art, New York 1993, p. 279). Alexander makes an interesting parallel between the niche motif seen here and the Kufic element seen on the border of some of the famous Seljuk period rugs at the TIEM in Istanbul. He also notes that the spotted motifs, seen here inside the blue profile of the niche, date back to the Middle Ages.
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 | Rug with Double Niche Design
ORIGIN Bergama, Western Anatolia SIZE 112 x 153 cm3'8" x 5'0" PERIOD Circa 1800What I find particularly attractive is the quasi-sculptural quality of the drawing of the central emerald green element, with its archaic zoomorphic motifs arranged around a star filled octagon, contrasting beautifully with the coral red background. This element is contained within a ‘double-keyhole’ reserve, which is clearly representative of a double niche design. Framed by a dazzling array of border motifs, the innermost being quite abstract and very similar to that of the preceding example. A noble descendant of the classical, early Ottoman tradition of ‘keyhole’ niche design rugs with a particularly lively and rich palette.
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 | Ivory ground Keyhole Niche Design RugORIGIN Anatolia SIZE 87 cm x 108 cm2'10" x 3'6" PERIOD Circa 1880On this quite unique, miniature size west Anatolian prayer rug the keyhole pattern is taken to its extreme stylisation, becoming a geometric directional element occupying the central field section. This is flanked by motifs which are arranged in such way as to reinforce the niche design, although the direction of weaving curiously follows the direction of the niche. The use of ivory for the background of both the field and border together with the pure geometry of the pattern contribute in imparting a particularly archaic appearance to the composition.
PROVENANCE Emil Mirzakhanian, Milano; Armando Tretti Clementoni Collection, Brescia | ||
 | Bursa Silk Prayer Rug
ORIGIN Anatolia SIZE 130 x 1814'3" x 5'11" PERIOD Circa 1880A rare and extremely elegant silk prayer rug, distinguished by a precious choice of colours and inspired for the pattern by the earliest Ghiordes prayer rugs. Such examples were considered items of great prestige, embodying the luxury and mystery of that Orientalism that fascinated and inspired so much of Western civilisation.
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 | Rug with Opposing Niches in a Keyhole Niche DesignORIGIN Akhisar, Western Anatolia SIZE 132 cm x 168 cm4'4" x 5'6" PERIOD Circa 1700 | ||
 | Rug with Dotted Niches and Hearts Border
ORIGIN Manastir, Western Anatolia SIZE 97 cm x 147 cm3'2" x 4'9" PERIOD Circa 1900
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 | Melas Prayer Rug with CarnationsORIGIN Anatolia SIZE 106 cm x 187 cm3'5" x 6'1" PERIOD Circa 1850Melas rugs were among the first I ever dealt with, even since I acquired one in New York while I was a college student. The prayer rugs of this area are particularly interesting as they seem to offer countless variations on a common theme. Here the interior of the niche is punctuated by clusters of border motifs, almost representing the weaver’s repertoire. In the actual border she opted for the carnation design, but seemed to have second thoughts as she approached the indentation of the niche.
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 | Melas Prayer RugORIGIN Anatolia SIZE 124 cm x 162 cm4'0" x 5'3" PERIOD Circa 1880 A classic textbook example of Melas prayer rug, distinguished, like in the preceding piece, by the direction of weaving following the direction of the niche. One of the greatest attractions of this family of rugs is the particularly abundant use of a fascinating dark eggplant colour, affectionately called ‘aubergine’ by all rug lovers, and characteristic of the earlier vintage of Turkish weavings.
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 | Rug with Horseshoe Niche Design and Inscribed CartouchesORIGIN Kula, Western Anatolia SIZE 122 cm x 175 cm4'0" x 5'8" PERIOD Circa 1680 Red ground rugs with horseshoe-shaped mihrabs represent a distinctive group of rugs with some glorious comparable examples. However none contain the mirrored inscription contained in the cartouches occupying the compartment above the niche. Technically belonging to a sub-group of ‘Transylvanian’ prayer rugs, it clearly pays homage to the classical Ottoman tradition, seen especially in the careful drawing of the tulips and carnations in the green spandrels as well as that of the sickle leaf and palmette in the green border. The inscription, however illegible, has a strong architectural character which emphasises the solemnity of the niche design; the eye projects beyond the red ground of the niche and of the cartouches, as if these were windows onto the infinite.
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 | Ivory Ground Group A Ghiordes Prayer RugORIGIN Anatolia SIZE 128 cm x 162 cm4'2" x 5'3" PERIOD Circa 1680Francesca Fiorentino and myself have been researching and reappraising Ghiordes prayer rugs, essentially subdividing this large family into three distinct groups (A, B and C). Our main intent was to be able to define more precisely the continuum represented by the gradual disappearance of Transylvanian rugs with the slow but steady appearance of other Turkish prayer rug families, such as Ghiordes. The earliest are from group A, of which this is a glorious example, previously appearing in the 1916 publication entitled ‘Thirty Six Antique Ghiordes Rugs – Collection of James F. Ballard’. Paper fine in weave, with a very pliable handle, it’s characterised by an exquisite quality of drawing and by a soft and harmonious palette. The carefully drawn mihrab contains a pair of columns with palmettes at both ends, and is perfectly balanced with both the blossom tracery in the spandrels as well as with the multitude of frames, the main sickle leaf-palette border being almost a signature for the group. These early Ghiordes rugs have a tactile quality that reminds me of 16th Century Ushaks. It isn’t surprising that they were dated so early in the old literature and were highly coveted by collectors. In the words of J.F. Ballard ‘The floral shading of this rug possesses a soft mellowness, glowing colours, and a splendour and brilliancy impossible to conceive. It is a woven mosaic.’
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 | Blue Ground Group B Ghiordes Prayer RugORIGIN Anatolia SIZE 125 cm x 183 cm4'1" x 6'0" PERIOD Circa 1730I coveted this gorgeous Ghiordes prayer rug ever since I saw it grace the living room wall of Barbara Sedlin’s Park Avenue apartment, so when she offered her collection for sale I didn’t miss the opportunity to acquire it. A masterpiece in colour, design and texture, it’s a honourable representative of the Group B, which are distinguished by floral type borders such as the one here, a directional repeat pattern of a shrub containing polychrome carnations and tulips against an ivory background. All of the ivories here are in cotton, thus highlighting the decorative motifs, which appear as encrusted jewels. The empty indigo blue niche has great depth because of all its subtle gradations, inviting the eye to come further into its third dimension. A true meditation rug.
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 | Green Ground Group B Ghiordes Prayer RugORIGIN Anatolia SIZE 125 cm x 183 cm4'1" x 6'0" PERIOD Circa 1750Here we have another type of floral border, decorated by a motif called elmali (‘apple’ in Turkish) which appear to me more as a pair of pomegranates connected to a sickle leaf. It too belongs to Group B, with all of the ivories being in cotton, although here are used as accents rather than as a background. I am especially fascinated by the colour contrast between the moss green of the niche and the light turquoise shade of the field, which can be seen clearly in the spandrels. The latter are embellished by a very unusual, dynamic motif which imparts an upwards dynamics to the composition. I certainly understand why these rugs were so passionately collected by the generation of James Ballard, Joseph McMullan and many others.
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 | Prayer Rug with çintamani PatternORIGIN Selendi, Western Anatolia SIZE 103 cm x 153 cm3'4" x 5'0" PERIOD Circa 1860A true beauty, distinguished by an ivory background overlaid on its perimeter by a very elegant border. This encloses a repeat, diagonally arranged pattern of the çintamani motif, partly enclosed within a cochineal red niche containing ’S’ elements. This culminates in a beautifully drawn cusp holding bicoloured leafs in the same style and colours of the border. A very accomplished rug, woven with competence and conviction, orchestrating Ottoman design elements with the bravura of the best directors.
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 | Niche Design Rug with Coupled ColumnsORIGIN Anatolia SIZE 140 cm x 178 cm4'7" x 5'10" PERIOD Circa 1900A very expertly woven prayer rug, quite possibly from the Ghiordes area, displaying a coupled-column niche with spandrels decorated in the manner of early Kula prayer rugs, combined with a carnation pattern typical of Group B Ghiordes rugs. All the ivories are in cotton. The velvety texture of the pile is quite unlike that of most ‘Ghiordes revival’ rugs woven at the height of the fashion, in the early years of the 20th Century. An Anatolian weaving of great quality, curiously woven with the Persian knot.
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 | Saf with Seven Double NichesORIGIN Kirsehir, Central Anatolia SIZE 150 cm x 300 cm4'11" x 9'10" PERIOD Circa 1830A rug of great simplicity and sophistication at the same time. The weaver superimposes seven very linear double niche elements onto a substrate composed of polychrome bands containing a stylised vine motif, which is also used on a larger scale on the perimeter. The contrast between the empty, striated soft teal double niches, which have a ‘C’ like motif at its cusps not unlike certain saf kilims, and the colourful richness of the banded background is the true magic of the piece. With this rug it was love at first sight, and I am glad that I still feel the same way about it.
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 | Green Ground Prayer RugORIGIN Kirsehir, Central Anatolia SIZE 120 cm x 166 cm3'11" x 5'5" PERIOD Circa 1830What I appreciate most of Kirsehir prayer rugs is the audacity in their use of colour. We see such improbable juxtapositions resulting in compositions of impeccable colour balance. Here the calm refinement of the pistachio green niche is probably the perfect harmony to play against of melody of seven lively colours set into spandrels, a top cartouche containing a cloudband element and a plethora of frames. A rug I would imagine a painter would love to depict.
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 | Rug with Carnations in NicheORIGIN Kirsehir, Central Anatolia SIZE 131 cm x 183 cm4'3" x 6'0" PERIOD Circa 1830Here we see a slightly different colour combination with respect to the preceding example, yet with that signature spirit of unique colour juxtaposition. The cochineal pink of the niche, which contains a carnation motif we see in the border of Group B Ghiordes prayer rugs, contrasts beautifully with the light green background and is masterfully balanced by the palette of its surroundings. The particularly silky quality of the wool greatly enhances the jewel tonalities of the composition.
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 | Mujur Prayer Rug with Apricot BorderORIGIN Anatolia SIZE 129 cm x 149 cm4'2" x 4'10" PERIOD Circa 1780Ever since I started dealing with rugs I developed a soft spot for Mujur prayer rugs. I have handled a few over the years but nothing that can compare the grandiosity of this example. The rich yet warm red background of the squarish niche (a characteristic which I have found typical of the earliest vintage) is juxtaposed against dark emerald green spandrels, framed by a polychrome tile design border set on apricot. The extreme fineness of weave together with the silky wool pile imparts a particular tactile quality to the piece. The feeling is that of knowing to be in the presence of a majestic rug.
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 | Teal Green Mujur Prayer RugORIGIN Anatolia SIZE 120 cm x 160 cm3'11" x 5'3" PERIOD Circa 1800It’s hard to find niche colour variations in Mujur rugs, as most are woven with a characteristic red background, some very rare yellow grounds are known and remains the rarest shade. The beautiful teal background of this example is complemented by a palette of outstanding quality, including an abundant use of aubergine purple. The characteristic tile pattern of the border shows a ‘Crivelli’ type star creating a quincuncial motif that is repeated in countless chromatic combinations. The niche spandrels greatly deviate from the norm, where the ewers are replaced by diagonal sets of squares arranged by colour, appearing almost as fireworks in the distant background of the niche.
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 | Rug with Flowering Tree in NicheORIGIN Mujur, Central Anatolia SIZE 118 cm x 173 cm3'10" x 5'8" PERIOD Circa 1860As we advance in the nineteenth century the niche tends to become more rectangular and the border more schematic. This corresponds also with a substantial difference in knot counts. Nevertheless Mujur rugs maintain their classical, almost noble posture, with colours distributed in a fairly similar fashion. The flowering tree remains one of the very decors employed by Mujur weavers in their niche lexicon. Interestingly, the direction of weaving follows the direction of the pattern here, differently from the previous two prayer rugs.
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 | Rug with Opposing Coupled Column NichesORIGIN Konya, Central Anatolia SIZE 193 cm x 265 cm6'4" x 8'8" PERIOD Circa 1700When I first saw this rug opened on the parterre of the Motel Capri in San Francisco I thought I was having visions. I don’t remember ever seeing this niche configuration before. Clearly not intended as a communal prayer rug, as both worshippers would be praying towards each other, it must have otherwise been commissioned for a special occasion as the large format is unique as well for this period. The generously spaced ivory border displays a geometric meander motif, complete of corner solutions, which testifies to the great age of the rug, linking it to earliest manifestations of Anatolian weaving.
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 | Tripartite Niche Rug with Coupled ColumnsORIGIN Konya, Central Anatolia SIZE 116 cm x 150 cm3'9" x 4'11" PERIOD Circa 1780The triple arches, with one in the centre being highest, are resulting from the background of the main architectural element, supported here by two pairs of coupled columns. Within this ivory element we see a pair of aubergine animal tree columns coalescing into a niche form flanked by ewers, the field being punctuated by a spray of polychrome dots. These randomly arranged dots embellish also the yellow ground border, looking like colourful confetti. A very fine rug with an outstanding sense of balance, expertly woven by an artist whose illegible signature is inscribed at the top of the central niche.
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 | Niche Rug with Four Coupled ColumnsORIGIN Karapinar, Central Anatolia SIZE 105 cm x 146 cm3'5" x 4'9" PERIOD Circa 1720Here four pairs of coupled columns support four small mosque-like architectural forms, against an emerald green perspective; the contrast with the camel background adds greatly to the three-dimensionality of the composition. Early Turkish prayer rugs best display the ‘window over the infinite’ imagery, skilfully highlighting its spiritual monumentality. |
 | Rug with curved nicheORIGIN Anatolia SIZE 112 cm x 189 cm3'8" x 6'2" PERIOD Circa 1800A rug that speaks a primal lexicon, beginning from the unusual shape of the top of the niche and continuing with the syncopated rhythm of the field, sparsely decorated with randomly arranged motifs. Even the border looks peculiar, with the sawtooth leafs appearing as if suspended in air by the absence of the ever present calyx motif. The palette here is particularly pleasing, and paint a picture of an ancient, uncontaminated nature that I find myself yearning.
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 | Ivory Çeki Tulu Niche Design RugORIGIN Karapinar, Central Anatolia SIZE 103 cm x 143 cm3'4" x 4'8" PERIOD Circa 1900This archaic looking niche design rug is distinguished by the extra weft loop pile technique, which is one of the earliest forms of weaving that preceded the creation of the pile rug. The dark brown wool defines the direction of weaving as well as the niche itself, reduced here to its basic elements. Its simplification is reminiscent of the elibelinde motif as it appears on central Anatolian kilims, and is of clear Neolithic memory. The use of metallic thread adds a touch of preciousness to the composition, placed as a round motif at the heart of the niche, probably as a protective amulet.
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 | Red Ilme Tulu Niche Design RugORIGIN Karapinar, Central Anatolia SIZE 98 cm x 143 cm3'2" x 4'8" PERIOD Circa 1900The large hooked triangle that dominates the composition of this other Tulu acts as a directional motif delineating the prayer niche, which follows the direction of weaving. It could just as well be meditation element connected to the ancient cults of the Neolithic period, as the large triangle is rendered in such a way as if it was depicting a giant pregnant Goddess. The traces of henna painting on the left border emphasize its ritual significance.
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 | Tulu Prayer RugORIGIN Karapinar, Central Anatolia SIZE 110 cm x 165 cm3'7" x 5'5" PERIOD Circa 1900The overall composition of this niche design rug relates it to a group of white ground central Anatolian prayer rugs, mostly woven with more traditional motifs. The primitive nature of the drawing imparts here a cave-like appearance to the niche. The use of silky Angora mohair wool (filik in Turkish) is characteristic of the most precious Tulus.
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 | Yatak with Stepped NichesORIGIN Cappadocia, East Central Anatolia SIZE 140 cm x 202 cm4'7" x 6'7" PERIOD Circa 1760I have always been in awe of this rug. It has a very deep soul and at the same time it’s full of joy and hope. Watching the rainbow as my eye reaches the top of the stacked niches of varying widths is an experience that taught me a lot about Anatolian colour. The three fork shaped elements that embellish the narrower niches feel both archaic and humorous. The eye motifs that punctuate the ever changing colours of the background gently transport us to an other-worldly dimension.
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 | Erzurum Prayer Kilim in Wool, Cotton and Metal ThreadORIGIN Anatolia SIZE 120 cm x 170 cm3'11" x 5'6" PERIOD Circa 1830This acquisition is the latest both timewise as well as in terms of placement. It’s also the only flatwoven prayer rug, its presence being amply justified by its refined texture composed of a niche entirely worked in extremely fine cotton, metal thread and only minor touches of wool, the later being predominant in the carnation pattern of the border. The very light denim blue of the cotton background contrasts exquisitely with the ivory and metal thread of the tree elements, giving the peaceful impression of exiting an house of prayer at dusk, after having performed a deep, inner meditation.
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