Showing posts with label prague. Show all posts
Showing posts with label prague. Show all posts

Thursday, 13 March 2008

A Rare Oushak Carpet In A Czech Castle Catches The Rug World’s Eye

PRAGUE, March 14, 2008 – The Czech Republic’s economic rebound has brought more than the restoration of historic buildings whose beauty was long hidden under sooty and cracking plaster.

It also has seen an upsurge of interest in the country’s many art treasures, including – for oriental carpet lovers – the valuable rugs held in state and private collections.

One of these treasures can be seen in the most recent edition (Winter 2007) of ‘Hali,’ the leading international magazine covering the world of carpets, textiles and Islamic art. The carpet, an Ottoman from the second half of the 16th century, is the oldest one in the Czech Republic and its magazine debut marks the first time it can widely be seen in color.

The historic carpet hangs in a castle in the south of the country that is associated with the wealthy Schwarzenberg family. It was woven in the Turkish city of Oushak, famous in Ottoman times for its fine rugs.

The Schwarzenberg piece is one of the renown “white oushaks,” which were named for their white background and were much prized in renaissance Europe. This one is decorated with mysterious symbols known as “chintamani” that appear as triangles of dots above two wavy lines. The Turkic symbols are believed to harken back to Buddhist times in Central Asia.

The appearance of the carpet in ‘Hali’ is the latest sign of a revival of interest both outside and inside the Czech Republic in the country’s rug collections.

The same carpet, which rarely leaves Hluboka Castle, also recently appeared in a major domestic exhibition of pieces held by Czech museums and private collectors. The exhibit in Brno this winter followed similar showings in Prague and Plzen that have drawn sizeable crowds over the past few years.

The visitors to the exhibits are curious to rediscover oriental carpets after they have been an almost forgotten item in Czech households for many decades. How they became so forgotten is a curious tale from the communist era, when many traditional status symbols were turned upside down.

Miroslav Jungr tells the story in his 2005 book “Oriental Carpets,” itself the first Czech-language collectors’ handbook to be published since before World War II. Born in 1942, he writes from personal experience.

Jungr notes that until World War II, oriental carpets were a standard part of any successful family’s décor in a society that maintained the values of turn-of-the-century Europe.

“My grandmother, who had four daughters, bought oriental carpets as part of the dowries that they would take into their marriages,” he recalls. The carpets came from a selection of high-quality carpet shops in Prague which at the time did good business.

But with the communist coup in 1948, oriental carpets were branded capitalist luxuries. The retail shops disappeared and were replaced by something unique to the communist era: state-owned antiquity shops.

The “Antikva” shops were always full of rugs, porcelain, and other collectibles. The stock came from formerly successful families which had to sell their valuables to pay a “millionaire’s tax” that was passed just before the communists seized power and nationalized most private property. With no businesses or other such holdings to liquidate to pay the tax, there was nothing for these families to do but liquidate their personal possessions at the antique shops.

In effect the antique stores were pawn shops and their purpose was to earn hard currency for the party. Their staffs were usually the wives of party officials and they sold only to foreign diplomats and touring groups.

The effect on Eastern Europe’s heirlooms was like that of a vacuum cleaner moving them West at absurdly low prices. Jungr says the shop staffs often had only the crudest ideas of the collectibles’ value and priced them to sell quickly.

As oriental carpets were devalued in communist Czechoslovakia, they were replaced as status symbols by what was truly hard to get: modern Western-grade home furnishings.

Most in demand was plain wall-to-wall carpeting. Such carpeting was produced domestically by the long-famous commercial carpet factories in northern Bohemia. But the product was almost entirely destined for export.

Jungr says that people, including himself, would go to any lengths to find a friend-of-a-friend who had some contact with the factories or with the rare state shop stocking their goods. A bribe was absolutely necessary to bring home the prize.

In his apartment in Prague, Jungr still has one room covered in white wall-to-wall from that era. It represents a trophy hard to give up even now. The choice for those who didn’t go to such lengths was shabby wall-to-wall carpeting produced for the socialist and third world markets in gaudy patterns.

Today, oriental carpets cost in Prague about what they cost anywhere else in Europe. A number of mid-range shops do consistent business but an early attempt at a higher-end collectors’ shop failed after several years due to lack of buyers.

That raises a question for Jungr and other rug enthusiasts in the country. Is the loss of habit for oriental carpets in home furnishings permanent, especially given today’s global trend toward minimalist decors?

Or, will the rediscovery of the lost family heirlooms – now so frequently on exhibit -- rekindle interest?

It is a question only time, and fashion, will answer.

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Monday, 18 February 2008

A Trove Of Turkish Kilims In A Small Prague Museum

PRAGUE, February 18, 2008 -- The pretty baroque capital of the Czech Republic may not seem a likely place to find a museum collection of antique village and prayer rugs from the remotest corners of Turkey.

But the rugs – 1,265 of them – are stored in vaults for the city’s small ethnographic museum, the Naprstek Museum of Asian, African and American Cultures located in the heart of the ‘old town’ district. Bequeathed to the museum in 1994, they are still awaiting a complete cataloguing and a permanent display space.

Dagmar Pospisilova, head of the museum’s Asian Department, says the collection is the largest of its kind outside of Turkey. It ranges from simple and complex kilims to sophisticated pile carpets produced in workshops. The rugs come from villages and towns in both western and eastern Anatolia and offer a rich illustration of Anatolian folk traditions.

Dr. Pospisilova shows as an example a 19th century pile carpet woven by nomads as a sleeping mat in Central or Eastern Anatolia.

How the collection came to Prague is a story almost as fascinating as the pieces themselves.

The owner was the late Rainer Kreissl, an antiques dealer who specialized in many different forms of art, from European to Asia. But he had a special personal attachment to two things in particular: African statuary and Anatolian weavings.

He began his collecting during the 1960’s, at a time when rare finds were still possible in Turkey as well as Africa. And he had the money and contacts to pursue the best.

Born in 1924, in then Czechoslovakia, Kreissl originally was expected to follow his father’s profession as a hops farmer. But an early childhood success selling a mosaic he made of discarded bits of porcelain to an aunt convinced him to follow his artistic instincts instead.

Fate, however, often disrupted his plans. His mixed Czech-German family was spared the expulsion of ethnic Germans from Czechoslovakia after the second world war. But the communist rule that came next was far from favorable for a professional art dealer.

Kreissl’s eye for collectibles attracted members of the foreign diplomatic corps and, with them, the attention of the Czechoslovak intelligence service. The police wanted him to be an informer. Knowing the consequences of refusing, he fled to Germany in 1963.

There, he arrived penniless. But he soon joined a prominent auction house for fine arts, later becoming the head of its Munich branch. Later still, he spent six years as an independent dealer in San Francisco.

His wide travels took him to Turkey at a time when most museums were still interested in acquiring Ottoman carpets and most collectors were looking for West Anatolian prayer rugs from Gordes or Milas. He was among those just beginning to turn instead to village rugs that offered other expressions of traditional Anatolian weaving.

As he told an interviewer once: “I went to workshops, to homes, to mosques, and I began to get a reputation as an eccentric, who would buy any old tattered rag. Later, people began bringing things to me themselves.”

Just how the antique rugs found their way to Kreissl’s home over the succeeding years remains one of the enduring mysteries around his collection. It is generally believed they came with the tide of Turkish guest workers into Germany. The workers smuggled in valuable pieces obtained from mosques -- legally or illegally— to sell for extra income. Kreissl would have been well placed in Munich to buy them.

Murray L. Eiland Jr. and Murray Eiland III, in their textbook ‘Oriental Carpets,’ note this sudden outflow of valuable pieces from Turkey’s mosques.

“By the 1990’s,” they observe, “collectors began to take an interest in early Anatolian pieces that were often fragmentary and had apparently migrated from Turkish mosques and other repositories to Western collections in little over a decade.”

As for Kreissl, he kept his trade secrets secret. But he was always ready to buy to a good piece, whether or not he had the money on hand.

“Once I didn’t have enough cash, so I paid with a new luxury car,” he recalled.

As he became an expert on Anatolian village rugs, and wrote about them, he urged Westerners to stop regarding eastern weavings as ‘oriental,’ that is, outside of their own art history. Instead, he argued, Turkish motifs draw on many pre-Islamic sources, including Western and Christian traditions.

Among the evidence he cited were similarities between some rug motifs and the patterns found in Hellenistic art or in the painted markings on columns in Cappadocia’s underground churches.

Kreissl’s death in 2005 at the age of 81 leaves his argument unresolved. But his donation of his entire collection, intact, to a single Prague museum puts it within the reach of other rug scholars should they want to try to prove, or disprove his thesis.

The collector's gift to the museum was honored by the Czech Republic with a set of two commemorative stamps in 2003. One shows a Turkish prayer rug, the other - shown here -- a Turkish carpet for everyday use. Both images were taken from rugs now in the Naprstek Museum.

Several years before Kreissl died, a journalist asked him to identify the most consistent source of joy in his life.

“When I discover something,” he replied. “I don’t have to actually own it. I am simply happy that I discovered something beautiful that otherwise people would overlook.”


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Related Links


Museum:

Naprstek Museum of Asian, African and American Cultures: Anatolian Carpets
http://www.aconet.cz/npm/extras/asia_anatol_carpets/eindex.html


Books:

Internetboekhandel:Art As Tradition (by Rainer Kreissl 1995)
http://www.nnbh.com/nurpage.cgi?nur=645&sort=alfa&find=3777468207#3777468207

Amazon: Gates To Heaven (by Rainer Kreissl 1998)
http://www.amazon.de/Himmelspforten-Rainer-Kreissl/dp/377748170X

Amazon: Infinite Variety (by Rainer Kreissl 2000)
http://www.amazon.de/Unendliche-Vielfalt-Anatolien-Rainer-Kreissl/dp/3777487201

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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