Showing posts with label carpets. Show all posts
Showing posts with label carpets. Show all posts

Thursday, 31 July 2008

In Afghanistan's Turkmen Rug Belt, It's Globalization vs. Tradition

ANDKHOY, Afghanistan; August 1, 2008 -- Twice a week the men whose wives and daughters weave the traditional red rugs of Central Asia come to this town in northern Afghanistan to sell their work.

The carpet bazaar is a rectangular courtyard with a two-floor gallery of traders’ stalls on every side, and the men approach it with trepidation.

Many of the men have dropped in as onlookers on the previous market day to learn what they can about the going prices. Now, accompanied by friends for support, they file into the courtyard and squat around its perimeter with their bundled rugs.

When the traders walk by to inspect what they have, the bargaining begins. First, the carpet is spread face-down on the dusty ground. The uncut top is of no interest; it is only the back the trader wants to see.

He inspects for knot density and evenness of weave. He folds the edges to see if they meet in the middle. And he looks for evenness of tension by carefully measuring the length and width at various points. And all the time he is checking for flaws.

Then he makes an offer: $75. The seller, who wants $120 won’t hear of it. Slowly the offer creeps up to $85 and onlookers begin to exhort the seller to agree. The trader tries to grab the seller’s hand and pump it to show there is a deal. A third person joins the negotiations, probably an agent of the trader, and pretends to be a fair-minded broker.

But still the seller refuses until, finally, the meeting breaks up. No deal.

The seller will test several more traders before he chooses between accepting what seems to be today’s price or coming back another day. He knows that on Mondays and Thursdays, so long as this is Andkhoy, the traders will be here.

Andkhoy’s bazaar is described in fascinating detail in a report prepared for the World Bank. The authors, Adam Pain and Moharram Ali of the Afghanistan Research and Evaluation Unit surveyed the town’s carpet business over the years 2001 to 2003.

Their work offers a look into a world of sellers and buyers that few Westerners ever see as the famous red rugs of Afghanistan begin their journey to the outside world.

The men who come to the market are heads of Turkmen households that produce carpets on an independent basis. These families have the financial means to purchase wool on credit and usually have at least one other source of income such as land or livestock. They are the most successful producers because when they sell their carpet, they keep the full selling price.

How much can these independent weavers earn? The profit depends a great deal on the quality of wool they are able to buy.

If they weave with low-quality wool from Pakistan, Pain and Ali calculate (in 2003) that they will earn about $25 per square meter from a traditional red rug that sells in the United Kingdom for $250 per square meter.

But if they weave what is known locally as a ‘Biljeek,’ that is a rug woven with finer wool imported from Belgium, they can earn $58 dollars per square meter on a red rug that sells retail for $429 per square meter.

Pain and Ali estimate that about 10 to 20 percent of the weavers in the Andkhoy area are independent. The rest work under entirely different arrangements and, in fact, never come to the bazaar to sell at all. Instead, they work under profit sharing or wage-labor contracts.

A minority of the profit-sharing weavers --like the independents -- still produce the Turkmens' traditional repeating ‘gul’ designs or more recent varities of red rugs such as Khal Muhammadi or Mauri. Exporters’ agents provide them the wool and the dimensions and the weavers get 50 percent of the rug’s local market value.

But today the majority of local weavers (the researchers estimate 50 to 70 percent) work under labor contracts and produce carpets that have no local roots at all. Agents give them some $35 per square meter (for a carpet that retails for $549 per square meter) and wool from the Mideast to produce Chobis that have a modified Indo-Persian design.

The Chobis -- which ironically use natural dyes while the ‘traditional’ local designs use chemical dyes - strongly resemble the commercially successful Zieglers produced in northern Persia by Western firms in the early 1900s.

Pain and Ali say that Chobi production, which originated in the Afghan refugee camps around Peshawar, came to Andkhoy as the refugees – both Turkmens and Uzbeks -- returned home.

The contract-labor terms pay as well or better than profit sharing and minimize the weavers’ risk. That makes it attractive to poor weavers even though the agents commonly reduce the final wage payment if they find the slightest flaws.

Now, as carpet production in northern Afghanistan keeps expanding, the number of contracted weavers keeps growing.

Pain and Ali note that there are clear economic benefits as the contract weaving joins sharecropping and agricultural labor as the mainstays of people too poor to own land or livestock.

But the authors also sound a warning.

They observe that the happiest position for artisans is when retail customers recognize their work as the expression of a unique artistic heritage and willingly pay more for it than they do for generic goods.

However, if generic weavings become what Afghanistan is best known for, they say, "there is little hope at present that Afghanistan’s carpets will be able to achieve that position."

(Photos of Andkhoy market from: Alti Bolaq)

(Photos of Turkmen Ersari carpets from: Carpet Collection)

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Related Links:

Understanding Markets in Afghanistan: A case study of carpets and the Andkhoy carpet market, by Adam Pain and Moharram Ali

From Andkhoy to Jeddah


Habibullah Kerimi Making a Life and Rugs in Exile


Barry O’Connell: Turkmen Rugs - Guide To Ersari Rugs and Carpets

Barry O’Connell: Guide to Turkmen Rugs and Carpets, Turkoman Rugs

Barry O’Connell: Guide to Rugs and Carpets of Afghanistan

Emmett Eiland: Afghan Rugs and Carpets - Rugs from Afghanistan

Saturday, 8 March 2008

Turkish Carpets and Showmanship Go Hand-in-Hand in Anatolia

ISTANBUL, March 8, 2008 -- In Istanbul, the saying goes, you will see the world.

But if you are speaking about the carpet business -- and how showrooms use every idea imaginable to sell to tour groups – the phrase could cover Kusadasi, Cappadocia, and many other places in Turkey as well.

Some tourists say the way Turkish carpets and kilims are sold is too aggressive. Some say it is highly entertaining. But just about everyone agrees it is unforgettable.

Perhaps that is why there are so many videos on the Internet about buying rugs in Turkey.

The videos range from very low-quality recordings to highly professional documentaries. What they have in common is a fascination with how Turkey's carpet sellers manage to make buying a rug almost a requirement for anyone visiting the country.

A Japanese blogger nicknamed Shinjushinju has put a video on YouTube called "Turkish Flying Carpets.” It offers a glimpse of how some showrooms are combining carpets with cabaret to create a rapport with tour groups:



The video shows the carpet sellers working up the crowd's appetite by spinning carpets over their heads. The effect is a bit like pizza-makers spinning dough into the air in Italian restaurants – only more novel.

Often, the showrooms offer other bits of entertainment as well. One is to pretend that there really is a “flying” carpet in the seller’s collection and to coax a member of the tour group to sit on it.

The willing participant is blindfolded and there are magical incantations from the showmen. Does the carpet rise in the air? No, until four strong salesmen each grab a corner and lift it up – with the carpet rider on top.

But what seems to most fascinate Japanese and European visitors is the show that still remains at the heart of any stop in a carpet shop – haggling over prices.

Journeyman Pictures, a London distributor of short documentaries, has put a video on YouTube called "The Carpet Sellers – Turkey." (http://www.youtube.com/watch?v=2F34Btbq1qc). It looks at the haggling process from both sides – buyer’s and seller’s.

One carpet salesman in the film says he adjusts his strategy according to the provenance of the customer. In the mass tour business, that seems to be more important in determining prices than the provenance of a carpet.

The toughest Western customers, he says, are Australians. Unlike most Americans and Europeans, they are prepared to put a seller through a long examination of his merchandise and of the art of carpets in general. These buyers want to be educated consumers, even if it requires drinking oceans of apple tea to do it.

Do people generally feel they get their money’s worth when they buy in Turkey? The answer varies with the individual.

Some people in tour groups complain that the carpet business is so strong that it interferes with their sightseeing. Tour guides sometimes cut short visits to historic sites like Ephesus in order to deliver their groups more quickly to salesmen.

Other people find that when they buy a carpet in Turkey, the carpet business follows them home – literally. That can happen when customers choose to have a large carpet shipped to their home countries rather than carry it themselves.

The carpet will be delivered but their name and address may also be passed on to itinerant rug sellers, for example, in America, who will phone them at home months later.

“Do you remember my uncle who sold you a carpet in Istanbul?” the voice may ask. If the buying experience in Turkey was positive – and often the past looks rosiest from a distance – the call may lead to a door-to-door visit.

And then, in the surprising setting of one’s own home, the unforgettable experience of buying a carpet in Turkey may begin all over again.

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Related Links

Barry O’Connell: A Guide To Turkish Rugs

Barry O’Connell: A Guide To Turkish Prayer Rugs

Jozan: Articles On Turkish Rugs

Saturday, 1 March 2008

Can Caucasian Rugs Make A Comeback In The Caucasus?

BAKU, March 1, 2008 -- It is ironic that so many countries copy Caucasian designs but to find a carpet that is actually woven in the Caucasus today is rare.

After all, it is a simple rule of economics that if there is a market there is a product. By that logic, weavers in the Caucasus should be at least as active as their imitators.

But weavers in Azerbaijan say that there are many reasons they produce and export so few carpets today compared to their rivals.

For one, the country is in the middle of an oil boom that is noticeably dislocating traditional life and livelihoods as people seek a part of it.

The city at the center of the boom is Baku, which has swollen in size to the extent that half the country’s population now lives there. Everyone wants a share of the new money but not everybody gets it, creating huge new disparities of income.

Amid the influx of people there are many village women – Azerbaijan’s traditional weaving base. They have long given up weaving at home for family purposes but are ready to work in commercial weaving because it pays an average wage and they have few other employment opportunities. Yet what they produce for Azerbaijan’s commercial weaving companies is mostly inexpensive carpeting indistinguishable from that produced anywhere else.

Vugar Dadashov is one of a handful of entrepreneurs who is trying to revive high-quality, artistic weaving in the country. He employs some 70 to 75 weavers in the outskirts of Baku and in the Shirvan, Kuba, and Kazak regions and produces 550 to 600 carpets a year.

Dadashov says the biggest challenge is to recreate the traditional knowledge base of Azeri weavers. The grandmothers and great grandmothers of the present generation had that base, but much has been lost and now must be relearned.

Fortunately, the country has long had scholars who have studied the technical structures of all the antique Caucasian rugs, so these are well known. And the designs are well recorded by museums and in art books. So, the weavers’ knowledge can be regained.

Dadashov says a key part of his revival strategy is to encourage his weavers to go back to working at home, the traditional Azeri workplace. He keeps production from his formal workshop, just outside Baku, to a maximum of 10 to 15 percent of his total output.

Other high quality operations are also focusing on small workshop and independent weaving to recreate the high-quality handwork of the past.

Anther firm, Aygun, has 35 weavers and 15 apprentices. It is located near Kuba -- a region from which more than 30 distinct carpet patterns originate -- and produces around 140 carpets a year.

But if these ‘revivalists’ are to turn back the hands of time, they have much ground to recover. That is because so much of the uniqueness of Azerbaijan’s carpet-making art was destroyed during the country’s time under the Russian and then Soviet empires.

Russia entered the Caucasus in the 18th century and spent the next century integrating the region into its economy. To spur carpet production as a profitable export item, Tsarist officials introduced the Kustar (Russian for ‘Artisan’) program in the 1860s, providing home weavers with patterns and wool while taking care of sales. Twenty years later, the newly opened Russian-built railroad was taking tons of carpets to Black Sea ports for export.

All that time, quality continuously declined. Cheap synthetic dyes were introduced wholesale. And producers introduced non-traditional designs of all kinds. R.E. Wright and J.T. Wertime note in their book ‘Caucasian Carpets and Covers’ that the new design elements included European floral sprays inspired by patterns on wallpaper or soap wrappers.

Roya Taghiyeva, director of Baku’s carpet museum, says things only got worse during the Soviet period.

“The main purpose was simply for more carpets to be woven, as it was an export product,” she says. “It brought currency, but our different schools of weaving lost their classic distinguishing features. Shirvan-style carpets were woven in Kazak, and Kazak carpets in Shirvan. No attention was paid to specific features.”

She adds: “When it got orders from foreign countries, the Azeri Carpet Union would tell producers the designs, where to produce them, in what quantity, and with what wool.”

Lost were such traditional distinctions as weaving different types of carpets in different geographical areas, with distinguishably different color values and wools. Those were the nuances which once made Caucasian carpets so prized by collectors.

As for independent carpet producers, the Soviets simply put them out of business. Dadashov, whose great grandfather was a very successful rug merchant, tells a story of how his uncle once found a fortune stashed away in the family’s old house.

The uncle, then a boy of six, put a hole in one of the rooms’ walls while playing with a stick. Crammed into the wall were sacks tightly stuffed with useless Tsarist-era rubles. It was great grandfather’s capital from his shop that the Bolsheviks closed in 1920. Communist officials later seized the discovered sacks of money and burned them in a bonfire in the Old City district of Baku.

Now Dadashov is trying to revive his family business generations later by focusing on a return to natural colors and high quality wools. He and the other revivalist producers have also returned to hand-spinning their wool and using the different grades traditionally associated with carpets of a specific provenance.

But Azeri officials continue to lay a heavy hand on the carpet industry, which the government still regards as an important source of tax revenue.

For each exported rug, producers must buy a license from the Chamber of Commerce that costs $ 113. Then they must pay customs fees.

But perhaps even more importantly, the government provides no encouragement in the form of subsidies that have become common in other carpet-producing countries.

“If a carpet exporter makes more than $ 100,000 annually in Iran, the government gives special premiums to the exporter,” Dadashov says. “In Turkey, the tax that you pay to the government is paid back to you after a while. That does not happen here.”

All this, along with the higher salaries paid to weavers in Azerbaijan than in Iran or the subcontinent, puts producers at a disadvantage on the world market. When imitators in Pakistan and Afghanistan can produce their own ‘Kazaks’ with the general outlines of the famous Caucasus design – but at a fraction of the cost – the competition is tough indeed.

The future of the Azerbaijan’s carpet industry could depend as much upon how Azeris themselves view their traditional art form as upon how the market does.

As Azerbaijan gets wealthier, two trends are noticeable.

One is a marked preference in the country for modern, machine made floor covering of the kind common in the West.

The other is a predilection among the very wealthy to give expensive hand-woven carpets as high-status gifts and the continuing custom – at all levels of society – of wrapping deceased loved ones in carpets for burial.

It is to early to predict which of these opposing pulls will prove strongest. But at Baku’s carpet museum, Taghiyeva sees part of her job as educating young Azeris about their own rich art heritage.

The museum, which moved into the former Lenin Museum when Azerbaijan became independent in 1991, stores many masterpieces of the past. But she says looking is not enough.

“Our museum was engaged in preserving and researching our carpets. But in connection with the market economy, we have changed our function,” she says.

“Today, we want this museum to be an educational and entertainment center. We have programs for children, wedding programs, we show the carpets’ important role in these events. There are a number of moments in our wedding traditions that are connected with carpets. The carpets were not only laid on the ground, they reflected the owner’s world outlook.”

Now, she says, her aim is to keep carpets as part of the identity of future generations of Azeris as well.

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Related Links

Caucasian Carpets
Barry O'Connell: Caucasian Rugs and Carpets

Vugar Dadashov
Vugar Dadashov's AzerbaijanRugs.com

Roya Taghiyeva
Article: Azerbaijan's Traditional Art Not Recognized By International Museums

Thursday, 14 February 2008

Birds and Qintamani

(Fiction - By Karel Capek, 1929)

Now, you know, once a fellow gets it into his head that he wants something, he can’t get it out again. And when he’s a collector, he won’t even stop short of murder if necessary. That’s what makes collecting a truly epic pursuit.

Ehem, said Doctor Vitasek. I know a thing or two about Persian carpets, Mrs. Taussig, and I can tell you, they’re not what they used to be. Today those idlers in the orient aren’t going to put themselves to the trouble of dying wool with insect reds, with blues from indigo plants, or with extracting yellow from saffron, much less to working with camel urine and wood extracts to get any of the other noble organic colors. Not even the wool is what it used to be. And, if I start talking about patterns and motifs, well, that’s enough to make anyone weep. It’s all lost, all that art of the Persian carpet. It is only the old pieces, the ones made before the 1870s, that have any value now, and you can only manage to buy one of them when some old family which has been passing one down, generation by generation, lets it go for what they call “family reasons,” as they like to term their debts. Listen, once I was visiting Rozemberg castle and there I saw a genuine Transylvanian – one of those little prayer carpets the Turks were weaving in the 17th century when they were conquering everything. All over the castle there were tourists stamping around in hobnail boots -- all around that carpet! – and not one of them had the slightest idea of how valuable it was – now, isn’t that enough to make you cry? But do you know the strangest thing of all? One of the world’s most priceless rugs happens to be right here in Prague, and nobody even knows it exists!

It’s true. I know all the carpet merchants in our country, and sometimes I go around to see what they have in stock. You know, sometimes the agents in Anatolia and Persia get hold of an antique piece that’s been stolen from a mosque or somewhere, and they wrap it up inside some cheap material priced by the meter and then they sell the whole bundle, no matter what’s inside, by weight alone to slip it past customs. And I start thinking to myself, what if they’ve wrapped up a Bergama! That’s why, sometimes, I just drop in on carpet seller here or there, sit down on a mountain of carpets, have a smoke, and just watch how he sells his rugs – just like he's selling sacks of coffee – all the Bucharas, Sarouks, Tabrizes. And now and then I’ll just look down and say, so what have you got down here, this gold one? And, what do you know, it’s a Hamadan! And that was how I once dropped in on a certain Madame Severynova, who keeps a little courtyard shop in Old Town and who sometimes has some fine Karamans and kilims. She’s a round, jolly lady, very talkative, and she has a poodle so fat it makes you ill. You know, one of those pudgy mutts which are so testy and asthmatic and bark so crossly – I can’t say I like them much. Listen, have you ever in your life seen a young poodle? I haven’t and I’d even argue that every poodle, like every police inspector, accountant, and tax collector, is born old, it’s like they don’t even belong to the dog species! Still, I wanted to keep good relations with Mrs. Severynova, so I always sat in the same corner where Amina the fat poodle was wheezing and snoring on a big, folded-up carpet and I would scratch her back – that, at least, was something Amina liked. And one time I said, Mrs. Severynova, these must be bad goods that I’m sitting on, they haven’t sold for three years. And she said, that’s nothing. That carpet over there has been lying in the corner a good ten years, and it’s not even my carpet. Oh, I said, you mean it’s Amina’s now? And she smiled and said, not at all, it belongs to a certain lady who has no room for it in her home and so she keeps it here. It’s in my way but at least it’s something Amina can sleep on. Isn’t that right Amina, dear?

It was at that moment that I reached out my hand and lifted up the edge of what Amina was lying on, even though she immediately started snarling. So what kind of old carpet is it, I asked, can’t I have a look? Why not, Madame Severynova said, and she grabbed up Amina in her arms. Come on, Amina, sweetie, he’s only looking. But Amina growled again. Stop it Amina, she ordered. Quiet down, you silly thing.

All that time, I was staring at the carpet and my heart almost stopped beating. It was a white Anatolian, from around the 17th century, and worn through in places. But it was one of those antique bird carpets, one of those white Anatolians that are decorated either with a field of birds or with a field of Qintamani , but never both together. That's the rule, to keep separate the sacred from the profane -- because they say the Qintamani, that triangle of three dots floating on two wavy lines, is a religious symbol that goes right back to the Buddhist times of Central Asia. But on this carpet, I know it sounds impossible, there were BOTH birds and Qintamani at the same time! The whole thing gave off a feeling of something powerful, of a miracle or, at the very least, of something utterly forbidden ... whatever it was, I can tell you, this piece was an extraordinary rarity! And it was at least five by six meters in size, a beautiful white shade, with turquoise blue, cherry red ... I went to stand by the window so Madame Severynova would not see the expression on my face. And then I said, as casually as I could: what an old rag, Madame Severynova, it must really be in your way. You know, I could take it off your hands, since you don’t really have space for it here.

That’s going to be difficult, Madame Severynova replied. This carpet is not for sale, and the lady who owns it is always traveling, she’s in Meran or Nice, and I don’t even know when she is home. But I'll try to ask her. Oh, would you be so kind, I said as disinterestedly as I could, and I went home. Just so you know, it’s a point of honor for a collector to get something rare and valuable for just a song. I know one very esteemed and wealthy man who collects books, for example. He can pay several thousand dollars for a collectible without the slightest show of emotion. But whenever he is able to wrangle a first edition copy of the works of the poet Joseph Krasoslav Chmelensky from some rag picker for a just a few cents, he jumps for joy. That’s the kind of sport it is -- like hunting that most elusive of deer, the alpine chamois. And all that is how I got it into my head that I had to have that carpet very cheaply and that afterward I would bequeath it to a museum, because something so rare really doesn’t belong to anyone. Only I did want one thing out of it: a little memorial plaque with the inscription ‘the gift of Doctor Vitasek.' After all, doesn’t everyone have some ambition?

But I’ll admit, my head was spinning. It took all my efforts to keep myself in check and not run back to that shop the very next day to ask again about the Qintamani with birds. I couldn’t think of anything else. But every day I told myself, just hang on for one more day. I was putting myself through hell, but sometimes people love to torture themselves. And then suddenly – even worse – after about two weeks a horrible thought hit me, what if someone else discovered that bird carpet? And then I flew over to Madame Severynova. I literally burst through her door.

What on earth’s going on? the surprised lady asked me. But I replied, as casually as I could, that I just happened to be in the area and remembered about that old white carpet. Would the owner sell it? Madame Severynova shook her head. What do I know, she said, she’s is in Biarritz now and no-one knows when she will return. Meanwhile, I was trying to steal a look, is the carpet still there, and sure enough it was, with Amina lying on it, fatter and more scabious than ever, waiting for me to come scratch her back.

Sometime later, I had to make a trip to London, and as soon as I arrived I dropped in on Mr. Keith, you know, the Sir Douglas Keith who is today one of the greatest experts on oriental carpets. My good sir, I said to him, what value would you assign a white Anatolian with a Qintamani and bird design, with a size that exceeds a full five by six meters square? And Sir Douglas just stared at me though his thick glasses and then, almost in a fit of anger, blurted out, "Why nothing, my man!" "What do you mean? I asked dumbfounded. Why on earth would it be worth nothing?" And Sir Douglas was almost shrieking now: "Because the carpet you describe cannot possibly exist in that size! Dear fellow, you must know that the largest Qintamani and bird carpet that I have ever seen barely measures three by five meters!" I admit, I had to blush with joy. And now it was my turn: My dear man," I said, "let’s just imagine such a piece of that size did exist, what would be its price?" "But, I’ve already told you, nothing," Mr. Keith cried out again, "because that piece you describe would be absolutely unique and how can you put a value on something that’s unique? It could as well be worth 1,000 pounds as 10,000, how would one know? In any case, such a carpet does not exist, Good day, Sir!"

You can imagine in what a mood I returned home. Good God, I had to have this rug with the Qintamani now! What a catch it would be for any museum! And now, just imagine my situation. I couldn’t just go and beg for it, because that would not be sporting for a collector. And Madame Severynova had no particular interest in selling this old rag when it was so dear to her Amina. And that cursed woman who owned the carpet was always in motion, from one health spa to another, from Meran to Ostend, from Baden to Vichy – that woman must have had a whole medical catalogue of symptoms at home to inspire her and keep her in perpetual movement.

By this time, I was going about once every fortnight to Madame Severynova’s shop just to peek in and make sure that carpet with all its birds was still in its corner, as well as to rub down that odious Amina until she whimpered with joy. And just so that all this didn’t become too noticeable, each time I went I also purchased a little carpet. Certainly, I already had at home more than enough Shirazes, Shirvans, Mosuls, Kabristans, and all kinds of other by-the-meter stuff – and I even had a classic Derbent that you wouldn’t exactly find every day plus one beautiful antique blue Khorosan. But what I experienced for two years trying to get this Qintamani, well only a collector would understand. You know, the agony of love is nothing compared to the agony of collecting, and the only thing that is really strange is that, as far as I know, no collector yet has taken his own life. Instead, most live to ripe old ages. So, at least it must be a healthy passion.

One day Madame Severynova suddenly said to me: you know, Mrs. Zanelli, who owns that carpet, she was here. And I told her I might have a buyer for her white elephant that’s been cluttering things up so long. And she said, she wouldn’t think of it, it’s a family heirloom, and I should just leave it right where it is.

That is when I decided to run over to see that Mrs. Zanelli myself. But if I thought she was going to be a lady of the haut monde, well, in fact she was one of those nasty grannies with a purple nose, a wig, and some kind of strange tick, so that her mouth was constantly twitching up her left cheek all the way up to her ear. Your Grace, I said -- and all the time I couldn’t stop looking at how her mouth was dancing up her cheek -- I would be prepared to purchase that white carpet of yours; even though it is a poor specimen, it would go nicely in my ... my foyer, you know. And as I paused for her reply, I had the strange sensation that my own mouth was beginning to jerk and jump up on the left side. Whether her tick was infectious, or whether it was from excitement, I don’t know, but I couldn’t stop mine either.

How dare you! That dreadful woman squealed. Go! Go this instant! That carpet is a family heirloom ... from Grand Papa. If you don’t leave, I’ll call the police. I don’t sell carpets, here. I am a Zanelli! Hail Mary, let this man be gone! Listen, I ran down the stairwell from her apartment like a little boy, my eyes burning with sorrow and rage, what else could I do? For another whole year, I went by Madame Severynova’s and during that time Amina learned to grunt, she was already as fat as a sow and almost completely bald. Then, finally, after a year had passed, Mrs. Zanelli returned to town once more. This time I surrendered and did something of which, as a collector, I shall be ashamed of to the day I die. I sent my friend to see her, the lawyer Mr. Bimbal – he’s one of those kindly, whiskered fellows who inspires unbounded confidence among the ladies. My thought was that this sensitive soul could persuade Madame to part with her bird carpet for some reasonable amount of money. In the meantime, I waited downstairs, as excited as a fiancé waiting for an answer from his beloved. Three hours later, out came Bimbal, wiping the perspiration off his cheeks. You scoundrel, he hissed at me, I’ll throttle you! How did I ever agree to suffer three hours of listening to the entire family history of the Zanellis? And just so you know, he shouted, you’re never going to get that carpet! Seventeen Zanellis, all buried in Olsansky cemetery, would spin in their graves if their family relic went to a museum. Jesus and Mary, you owe me! And with that he left me.

Now you know once a fellow gets it into his head that he wants something, he can’t get it out again. And when he’s a collector, he won’t even stop short of murder if necessary. That’s what makes collecting a truly epic pursuit. And that is how I decided that I would simply have to steal that carpet with the Qintamani and birds. First, I staked out the surroundings, and I learned that the entranceway to the courtyard that housed Madame Severynova’s shop did not get locked up at until nine at night. And that was good, because I didn’t want to use a crowbar when I didn’t even know how to. From the entranceway, you could slip into a cellar where a fellow could hide until they closed up the whole place. Inside the courtyard, there was also a little overhang, and if you could get up onto the roof of that you could climb over to the neighboring courtyard, which belonged to a pub, and from there you could easily make your getaway to the street again unnoticed. It all looked quite easy, the only problem was how to actually break into the shop. For this, I bought a diamond, and at home I started practicing how to carve through glass windows.

Now please, don’t think that stealing is some simpleton’s business. I can tell you firsthand that it’s harder than operating on someone’s prostate or pulling out his kidney. The first thing is that nobody must see what you are doing. And the second thing, which is tied to that, is that there is plenty of waiting and other inconvenience. And the third thing is lots of uncertainty, you never know what might happen. I can tell you, this is a tough and underpaid profession. If I ever catch a burglar in my own apartment, I will take him by the hand and tell him gently, my man, why are you going to all this trouble? There are plenty of other, much easier ways to part people from their money.

I really don’t know how other people steal, but my own experiences aren’t very favorable. On the critical evening, as they say, I slipped into the courtyard in question and hid myself midway down the stairs leading to the cellar. At least that’s how you might describe it in a police report; in reality, it looked more like this: for a half-an-hour I loafed about in the rain near the entranceway, probably very conspicuously. Finally, I decided in desperation, a bit like someone decides to go and have a tooth pulled, to come out of my hiding place and then, straightaway, I nearly ran into a servant girl who was going out to the pub next door to fetch some beer. To calm her down, I muttered something endearing, like ‘you little rosebud,’ or ‘nice kitten,’ or something like that, and this had the unfortunate effect of startling her so badly that she took to her heels. I ran back down into the stairwell to hide, but those slovenly people in the building had put a trashcan full of ashes or some other rubbish where it was right in the way; so that the main event of my stakeout was the huge racket the trashcan made as it crashed over. At that moment, the servant girl returned with her order of beer and began shouting almost hysterically to the doorkeeper that some stranger had crept into the building. Fortunately, this stalwart fellow didn’t let himself be disturbed and announced loudly that it must be some drunk who had gotten lost going out of the pub. A quarter-of-an hour after that, spitting and yawning, the fellow locked up the courtyard door and all was quiet except for, somewhere up above, loud and lonely, the servant girl hiccupping. It’s strange how loudly some of these girls can hiccup; maybe it’s out of homesickness, who knows? I was starting to get cold and, besides that, the stairwell smelled sour and moldy; I groped around and found everything I touched was slimy. Then, oh my God!, I realized that our respected Dr. Vitasek, the specialist in diseases of the kidney and urinary tract, had just put his esteemed fingerprints all over the place. By the time I thought it must surely be midnight, it still was just barely 10 o’clock. I had firmly resolved that I wouldn’t begin my cat-burglary until midnight but by 11 o’clock I couldn’t hold out any longer and I set off to steal. You wouldn’t believe how much noise a man can make when he starts creeping around in the dark but, somehow, the whole house remained blessedly asleep. Finally, I got to the window I was aiming for and with a horribly loud scraping sound I began to cut the glass.

Suddenly, there was an explosion of barking. Jesus and Mary, Amina was in there!

Amina, I whispered, you monster, keep quiet, I’m only coming to scratch your back. But you can’t conceive how hard it is, in pitch blackness, to manipulate a tiny diamond so that it cuts twice in the same groove. Instead, mine was slipping all over the pane and it seemed to be making no progress until, all at once, I pressed a little harder and the whole glass shattered. Now everybody’s going to come running, I thought, and I looked around desperately for somewhere to hide. But, amazingly, nothing happened. Then I began to grow a lot calmer, to the point finally that I simply smashed in the next glass pane and opened the window. Inside, Amina was still letting out a half-hearted bark every now and then, but it was clear that she was only pretending to fulfill her duty. I crawled through the window and rushed over to that abominable creature. Amina, I half cooed, half hissed, where’s that damn back of yours? My love, it’s your dear friend! You monster, you like this, don’t you?

Amina squirmed with delight, that is if an overstuffed sack can be said to squirm. So, I whispered to her in a very friendly way, alright, you wretch give to me. And I tried to pull that priceless carpet out from under her. But now Amina must have suddenly understood I was talking about HER property. She started growling; it wasn’t barking it was really growling. Jesus and Mary, Amina, I said to her quickly, be quiet you beast. Just wait a second, I’ll make you a bed of something much better. And rip! I pulled down a dreadful, shiny Kirman which Madame Severynova kept hanging on the wall and which she considered the rarest piece in her shop. Look, Amina, I whispered, now here’s something to really sleep on. Amina looked at me with interest but just as soon as I stretched out my hand for her carpet there was another growl so loud it could be heard clear across town. There was nothing to do but start scratching that monster again, this time with a special, luxurious rubdown that put her into ecstasy. Then I grabbed her up in my arms. But as soon as I reached for that white, one-of-a-kind Qintamini and Birds, she gave off an asthmatic wheeze and then, I swear, began cursing me. By God, you monster, I said, almost beside myself, I’m going to have to murder you!

Now listen, I don’t understand this myself. I looked down at that vile, fat, repulsive thing with the wildest hatred I have ever felt, but I couldn’t bring myself to act. I had a good knife, I had a belt around my waist, I could have cut that monster’s throat or I could have strangled it, but ... instead I just sat down next to her on that divine carpet and scratched behind her ears. You coward, I muttered to myself, with just one motion, maybe two, she would be out of the way; you’ve operated on so many people and seen so many of them off, in agony and in pain, why can’t you dispatch a poor, simple dog? I gnashed my teeth, trying to work myself up to it but in the end I just broke down in tears, maybe out of shame. And Amina just whimpered happily and licked my face.

You miserable, swinish, good for nothing carcass! I patted her mangy back and then I crawled back out the window. You could call it a strategic retreat, or a complete rout. My escape plan had been to hop up on the roof of the shed and use that to get over to the adjoining yard and then out through the pub, but I didn’t have an ounce of strength left, or maybe the roof was just higher than I’d originally thought. So, I slipped back down that stairwell leading to the cellar and stayed there till dawn, half-dead with exhaustion. What I fool I am! I could have slept comfortably in the shop on top of all those carpets, but it didn’t occur to me. At daybreak I heard the portiere opening up the gate. I waited a moment and then I headed out. The doorkeeper was still there, lingering in the entryway, and when he saw a stranger slipping out past him he was so surprised he forgot even to make a fuss.

A couple of days later I visited Madame Severynova. Bars had been put on the windows of her shop but otherwise everything was as before. That dreadful toad of a dog was wallowing all over the holy Qintamini and when she spotted me she started wagging that fat sausage that is politely called her tail. My dear Sir, Madame Severynova beamed at me, just look at our priceless Amina, she’s worth every bit of her weight in gold. A treasure! Do you know that the other night some thief crept through the window and Amina chased him off? I wouldn’t give her up for anything in the world. But she likes you, doesn’t she, Sir? You know an honest gentleman when you see one, don’t you Amina?

And that is all there is to it. That one-of-a-kind carpet is still lying there today. It is, I’m certain, one of the rarest carpets in the world. And right to this day, that hideous, mangy, stinking Amina is on it, grunting with bliss. I’m sure one day she will finally suffocate under the weight of all her fat and then I'll try again. But first I’ll have to learn to file through iron bars.

(Karel Capek, the well-known Czech journalist and novelist, published ‘Birds and Qintamani’ in his collection of short stories “Tales From Two Pockets” in 1929.)

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As Costs Rise, Iran's Carpet Producers Look Abroad

HANNOVER, Germany; January 22, 2008 --

Rising production costs are causing some Iranian producers to move operations to India and Pakistan, where labor is less expensive.

Particularly feeling the squeeze are companies which try to weave the highly ornate styles that traditonally have made Persian carpets so famous.

Those styles include Hadji Jalili -- a highly complex design originally produced in Iran from 1880 to 1925 by a renowned Tabriz workshop of the same name.

Today, producers say, recreating that level of detail using highly skilled weavers in Iran is prohibitively costly. A Hadji Jalili is woven with dozens of colors, making its production an extremely time-consuming and painstaking process.

One company that set out to recreate the Hadji Jalili carpets in sizes suitable for mansion rooms -- where they traditionally go -- soon found itself looking to the subcontinent instead.



"If we wanted to produce this quality in Iran, it would cost four to five times as much," says Kambiz Jalili, an owner of the U.S.-based firm Hadji Jalili Revivals who attended this month's Domotex carpet fair in Hannover, Germany.

He adds, "The majority of weavers even in an area of India accustomed to making very fine and very intricae designs refused to weave these because in every rug we have anywhere from 16 to 30 colors and there may be eight colors which are so similar that it is extremely difficult for the weaver to distinguish between the yarn colors and it is very easy to make mistakes."

The complexity of the rugs puts them at the high end of carpet prices -- about $ 1,750 per square meter retail. By the time they are woven large enough to fit a palace ballroom, the retail price becomes about all the market will bear.

Asked if his customers truly are palace owners, Jalali says "they better be, to be able to afford them!"

Producing a quintessentially Persian carpet outside of Iran may seem like an extraordinary example of global outsourcing.

But as Iran's economy grows with high oil prices -- which today are around $ 100 a barrel -- Iranian producers say they increasingly find themselves struggling at home.

Sadegh Miri is one of the owners of Tehran-based Miri Iranian Knots. He says that over the past 10 years, the cost for weavers in Iran has gone up "300 to 400 percent."

Miri has remained successful by focusing on antique collectors. That is another wealthy clientele which will buy new rugs of classical quality if antique ones cannot be found in the dimensions and colors they seek.

It is high-end business like Hadji Jalili Revivals but, due to the labor costs, one restricted to much smaller carpet sizes. Miri's retail prices, which reflect the differences in the Iranian and Indian production markets, range from $ 2,500 to $ 7,500 dollars per square meter.

Does the multi-generational company fear that one day it will have to relocate?

Miri brushes off the suggestion with a laugh. "If that day comes, I will stop working," he says. "I will stay in Iran and continue until the market decides."

But Miri does predict that much of Iran's lower-end carpet production will eventually follow the global migration to lower-cost lands.

"In the future, only the high-end carpets will survive and the commercial end will go to India and China because we can't compete with them regarding the prices," he says. "Even now, many Iranian producers have gone and they are in India or Pakistan and they are producing there."

Not just labor costs are rising, so are the costs of materials.





Hossein Attaran of Tehran-based Carpet Heritage says that particularly affects producers who use natural dyes and handspun wool. Those are the materials an increasing number of carpet makers bank upon to revive flagging customer interest in their industry.

Attaran says decades of mass carpet production using synthetic dyes and machine-spun wool have flooded the market with low-quality pieces from every carpet-weaving country. That has left buyers jaded and looking for less artificial products.

But as interest in organic carpets -- those colored with plant-based dyes -- grows, so do the prices of the materials themselves. Madder root, a source for red dyes, has shot up from 70 cents a kilo a few years ago to $ 4 a kilo today. Handspun wool today costs $ 10 dollars a kilo, or five times more than machine-spun wool.

That creates pressure to convince the public the difference is worth it. And in Iran it only adds to the difficulties of persuading buyers to buy expensive Persian carpets from their homeland rather than lower-priced look-alikes from elsewhere.

Carpet Heritage this year presented a new line to emphasize the long history of art and culture unique to Persian carpets. Its limited edition of "Persian Poem Carpets" has a quatrain from Omar Khayyam subtly and elegantly woven into the border of each piece.

"Bringing the two forms, poetry and carpets, together shows a very traditional way of Persian thinking about how we should appreciate life," Attaran says.

Iran’s hand-woven carpets are one of its biggest export commodites after oil. The country exported some $400 million of hand-woven carpets in 2006, the latest figures available, with the United States and Germany as the biggest destinations. The carpet industry directly or indirectly employs some 1.4 million people.

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Related Links:

News:

Reuters: Iran carpet traders hope quality will trump rivals
http://www.reuters.com/article/worldNews/idUSDAH24617320070917

Reuters: Five facts about Persian carpets
http://www.reuters.com/article/worldNews/idUSDAH24627320070917

RugArt: Annual Rug Production At 6m Square Meters
http://www.rugart.org/news/shownews.asp?id=3418&temp=english

Zawya: Persian Rugs Still On Top
http://www.zawya.com/Story.cfm/sidZAWYA20071227042009/SecMain/pagHomepage/chnIran%20News/obj4D013B07-9736-4570-BBD1F1C13DD6B6E1/


Haji Jalilis:

Barry O’Connell: PersianCarpetGuide: Guide to Haji Jalili Tabriz Rugs and Carpets
http://www.persiancarpetguide.com/sw-asia/Rugs/Persian/Tabriz/Hajji_Jalili_Tabriz_Rugs.htm

Omar Khayyam:

Wikipedia: Omar Khayyam
http://en.wikipedia.org/wiki/Omar_Khayyám


Contacts:

Hadji Jalili Revivals
http://www.hjrrugs.com/

Miri Iranian Knots
http://www.mirssg.com/english/head.htm

Carpet Heritage Company
http://www.carpetheritage.net/index.php?page=welcome.php

Advice:

How to Buy an Oriental Rug and not Get Taken on a Carpet Ride
http://money.cnn.com/magazines/moneymag/moneymag_archive/1997/05/01/225684/index.htm

Wednesday, 13 February 2008

How Traditional Are Iran’s Modern Gabbehs?

HANNOVER, Germany; January 17, 2008 --

Is it true that as life gets more complicated, designs get simpler?

There is one enduring example. It is Iran’s gabbeh carpet – today very simple, and very popular.

Gabbehs were not always the minimally decorated, sometimes single-color canvases they are now.

Originally, gabbehs had boldly colored, complex designs. Until the mid-1900s, they still looked more like tribal kilims than like modern abstract paintings.

Nejatollah Hakakian is a Hamburg dealer with many years in the rug business. He dates the change in the gabbeh’s design – and its rise to popularity in the West -- to just a few decades ago.

“Twenty years ago they started in Iran to do gabbehs with less and less designs and with tone-on-tone colors. So they changed from highly decorated carpets to more or less nothing in the field, with just a border around it, and sometimes not even a border,” he says.

“The rule today is three to four colors only, no more, when a normal Iranian carpet has seven to 17 colors. Now the Pakistans and Indians do the same, making carpets with almost no design. Mainly you just see the tone-on-tone colors.”

That simplification has had the effect of making gabbeh patterns, which have a centuries-old history among Iranian nomads, easy to mistake for Western contemporary designs. And it has made the carpet almost a household fixture throughout Europe and, increasingly in the United States.

Hakakian says he once asked a venerable German carpet dealer why European buyers did not prefer the many more complex workshop and tribal carpets Iranian producers could offer him instead.

The reply was one of the best insights Hakakian says he ever received to selling in the West.

“You Iranians are hungry to see grass that is green, but we are full of it in Europe,” the dealer told him. “We need calm and quiet, so the less design you have, the more of your carpets we can sell.”

But if the gabbeh has a heritage of rich, complex designs itself, how much of its contemporary look is still faithful to its past?

A great deal, according to Mahsa Heidarian, whose family company of the same name just won an award for Best Traditional Nomadic Carpet at the Domotex 2008 trade show in Hannover, Germany.

The winning gabbeh’s design very much resembles geometric abstract art.

The Heidarians, based in the west-central Iranian town of Shahr-e-Kord, say they won by letting their nomadic weaver add her own personal touches to a design inspired by a nomadic masterpiece from the past.

"In nomadic carpets, we don't tell the weavers anything, because it is like abstract art, it has to come out of herself to be artistic," says Mahsa Heidarian. "We just try to choose the right person to do it, who knows the tradition of making nomadic carpets."

She adds that finding the right person is not always easy. "A problem is that there are increasingly fewer nomads in Iran who have a traditional weaving knowledge base," she says. "People are increasingly settling down."

The Heidarians say the simplified patterns of modern gabbehs are obtained by magnifying just one or more of the small parts found in a traditional gabbeh. Thus, just a medallion can be expanded, or just part of a field, into a whole carpet design.



"This simplification responds to the Western market's preferences for abstract art but it is also true to tradition, because the simple element is there already," says Mahsa's husband, Arash.

He draws parallels with African art, whose spare lines so interested Europe’s abstract artists at the beginning of the last century. "There is the same immediate rapport between abstract art and nomadic art," he says.

One might argue that the rapport for modern buyers -- not all of them artists -- must go deeper than just recognizing familiar abstract patterns in a nomad's work.

Perhaps there is a longing in all modern societies for simpler things, and the art of tribal peoples -- which is the product of more elemental lifestyles -- helps to satisfy it.

True or false, gabbehs have done well exploring that possibility.

In the early 1990’s, gabbeh producers gained still more interest in the West by turning their backs on synthetic dyes in favor of natural dyes made from local plants, instead – the nomads’ traditional way of coloring the carpets. The return to nature was so successful that the carpet was one of the main attractions at the 1992 Grand Exhibition in Iran.

Authors Murray L. Eiland and Murray Eiland III note in their book ‘Oriental Rugs’ that “the next year there was such a boom in new gabbehs that it had created a wool shortage throughout the country.

The gabbeh’s marketing also got a boost from Iran’s film industry when prominent director Mohsen Makhmalbaf agreed to do a movie centered on the carpets and the Qashqai nomads who weave them. The drama, simply titled “Gabbeh,” was commissioned by an organization dedicated to the export of handicrafts, but it won prizes both at the 1996 Cannes and New York film festivals.

Gabbehs are hardly the only weavings to grow simpler over the decades and become more popular with Western buyers in the process.

Hamburg dealer Hakakian points to carpets woven by Tibetan refugees in Nepal as another example.

"The Tibetan carpet was the first with no design, just one or two colors, no flowers, no medallion. There was a high demand for that until about two years ago. The Tibetan was almost only white or off-white. Gabbeh went with darker tone-on-tones, terra cotta, blue, black, red."

Hakakian says that the Tibetan and gabbeh producers are keenly aware of each other and learn from each other's successes. The main difference between them may be in how rooted they remain in their own traditions.

The Tibetan refugees were encouraged to weave by Swiss aid agencies which helped them resettle in Nepal in the 1960’s. Today, joined by many Nepalese, the refugees are a major weaving pool for Western interior designers.

The gabbeh weavers have never had to leave home. And while some are amenable to design suggestions, the best still stick closely to their own interpretations.

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Related Links:

Gabbehs:


Barry O’Connell (JBOC): Guide To Gabbeh Rugs
http://www.persiancarpetguide.com/sw-asia/Rugs/Persian/Gabbeh_Rugs/Guide_To_Gabbeh_Rugs.htm_Rugs.htm

JBOC's Gabbeh Rugs
http://www.squidoo.com/Gabbeh-Rugs

JBOC’s Notes: Notes on Lori Gabbeh Persian Rugs
http://www.spongobongo.com/em/nm/eme9916.htm

Jozan: Persian Gabbeh Rugs
http://www.jozan.net/distrikter/gabbeh.asp

OldCarpet.com: Gabbeh Carpet Properties
http://www.oldcarpet.com/gabbeh.htm


Tibetan Carpets:

Jacobsen: Tibetan and Nepalese Weaving in Nepal
http://www.jacobsenrugs.com/nepal.htm


Contacts:

Hakakian Brothers
http://de.sireh.com/n/33/nossites_gebr_hakakian_gmbh-hamburg/

Heidarian Carpet
http://www.heidarian.com/html/Process.htm


Advice:

A Magic Carpet Ride Purchasing a Handmade Tibetan rug -- Without Getting Rolled
http://money.cnn.com/magazines/moneymag/moneymag_archive/2003/05/01/341270/index.htm

Nomadic Felt Carpets Seek A Place In Western Homes

HANNOVER, Germany; January 16, 2008 – Almost all the space for exhibiting handcrafted carpets at the annual Domotex trade show in Hannover (January 12 – 15) is devoted to woven rugs.

But at one stand, an Italian textile design house is displaying something one rarely sees at carpet shows. It is a roughly-textured felt mat as big as a sheet and its surface is brightly painted with an abstract design. The look is similar to a painting in a modern art gallery.



Even the Italian textile house 'Weave,' which produced the felt is not sure whether it is a wall-hanging or a carpet. But the Turin-based group is confident it can find a place in the market for home furnishings.

The inspiration for the product came during a trip to Nepal. While visiting a cooperative development project, one of the company’s owners was struck by some small felt purses being made for tourists.

But when the Italians asked the felt workers to try making a large felt carpet using local designs the results were unsatisfactory. So, instead of trying to recreate traditional motifs from Nepal, the Italian company asked the local producers to just make 60 large white felt carpets instead.

“We decided to make plain felt, plain white, and then bring them over to Italy and get an artist to paint on them. And from there we have had a very good feedback,” says Amanda Smythe, who is one of Weave’s representatives.

The positive feedback includes a nomination at Domotex for the carpet with the best modern design – an astonishing feat considering the low-esteem in which felt is held by most carpet connoisseurs. In the end, the felt creation did not win the prize but the company plans to go ahead with preparing more felt pieces.

In most of the world, felt is still used for inexpensive cushioning in packing cases, or for inexpensive – but itchy -- blankets and jackets, or simply as floor pads to protect more expensive woven carpets.

But where felt is still used as artwork, it has a long tradition.

In Central Asia, felt carpets are still placed on the floor of a yurt, where the thick wool helps insulate the tent from the cold ground beneath.

In Iran, too, felt was once the preserve of originally nomadic Central Asian groups like the Turkmen. Over time it also moved into homes, where room-sized pieces were used as floor covering to fill the gaps between more cherished woven carpets. But today, felt making is almost a lost skill and Iranian carpet shops barely stock it.

Still, pieces of new Iranian felt occasionally show up at Western carpet shows. That is thanks to periodic efforts by dealers to rescue what is almost a dying art.



Abolfazi Ramezani, who is based in London, displays several felt carpets that he has commissioned with contemporary patterns that resemble colorful, abstract paintings. But unlike the Italian-designed felts, the colorful designs are not painted on. Instead, they are applied in the traditional, back-breaking way, which is by kneading pieces of colored felt into a larger felt background.

Ramezani describes what the traditional process entails: “It is very hard work to get the wool to this density. They heat up the wool with very hot water and then, with their elbows, they go on and on and on to make them harder, and harder, and harder, and then they lay the design on top of that and they put hot water on it and they carry on rolling them, over and over again until the design actually gets stuck under the plain wool.”

Ramezani says dealers from Japan and Spain seem to particularly like the felt pieces, because “they are different than any other oriental carpet you see.”

One reason the felt-made carpets are striking is that they usually have different designs applied to the front and back. And the prices are affordable. At wholesale, they range from 70 to 130 euros per square meter – which is at the low end of handmade carpet prices.

Can the market for felt carpets grow larger?

The answer lies in part with Western retailers who, for now, seem barely acquainted with the art form. But it also depends on whether felt producers will continue to make such a labor-intensive product once the standard of living in their home countries rises.

And, says Ramizani, there is still one more player to consider, one that is neither a producer nor a buyer – though it certainly is a consumer.

That player is the humble moth.

“I have been told the moth has a special interest in this quality and they immediately start eating up the wool,” says Ramezani.

He notes that old felt pieces from Iran show considerable moth damage – attesting to their attraction for one of mankind’s most faithful house companions. Making felt less tasty could be one of the first challenges for anyone seriously trying to broaden the market.

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Related Links:

Central Asian Felt Carpets: Kyrgyz Shirdaks

Alibaba: Kyrgyz Felt Rugs