Our opening exhibition, Masterpieces of the Khans, features selected masterpieces from my collection that were commissioned by the Khans of eighteenth and nineteenth century Persia. Each carpet was chosen for their rarity, exceptional beauty, size, and condition, and have the distinction of having been featured in my book, The Splendor of Antique Rugs and Tapestries.
One in particular carries the dedication to a regional governor, while the masterpiece of the show is a very rare and large "audience" carpet, certainly commissioned by a Khan or possibly the Persian emperor himself.
The term, Khan, is a title bestowed upon rulers and high-ranking officials in cultures across the Middle East, Central and South Asia. While associated with Islamic culture and regimes, the term is actually more ancient, originating during the rule of the Xiambei people of the Eastern Eurasian Steppes (modern-day Mongolia) in the second century, AD.
Audience Carpet
Senneh, West Persia
Late 18th Century
12 feet 11 inches by 21 feet 4 inches, 3.95 by 6.50 meters
This is an exceedingly rare audience carpet, distinguished by its large size and condition, woven in the late 18th century in Senneh, Persia (present day Sanandaj) possibly for Fath-Ali Shah Qajar (1769-1834), the second Shah of the Qajar dynasty who ruled from 1797 until his death in 1834. Illustrated in plate 36 of Mr. Nemati’s landmark book.
What sets this example apart is that the same fine weave of the smaller carpets has been employed in a large size. Audience carpets are actually four carpets in one, each with a specific purpose. The top rug called enthroned is for the King and his throne. Two carpets on each side indicate where guards are to stand, and the center is reserved for individuals seeking an audience to approcah and kneel to the throne. The reason there is no border in the bottom of the carpet is to remind the audience that from this point they are at the presence of the crown and must proceed accordingly. The central walkway consists of the same Herati design flowers and delicately drawn leaves as the rest of the carpet, but the prominence of colors has been reversed. The three other sections of the rug contain the typical rusty color of Senneh intertwined with light purple, salmon, olive, taupe and navy blue outlines.
Literature: The Splendor of Antique Rugs and Tapestries, Parviz Nemati, PDN Communications and Rizzoli, 2001, plate 36, pp. 76-77
(Price upon request.)
Rendering of Fath Ali Shah (1769-1834) seated upon his throne and protected by his guards
Farahan Carpet
West Persia
19th Century
14 by 26 feet, 4.25 by 7.90 meters
This massive carpet from the Farahan (Faraghan, Ferahan or Feraghan) district south of Tehran features a central field with traditional infinite herati design common in rugs from this region, but with the added charm of small birds interspersed throughout. Illustrated in plate 44 of Mr. Nemati's book.
The cream spandrels on both ends of the carpet, with their claw-shaped hooks, create a striking frame and are typical of the region. The black primary border is a version of the famous Zili-Sultan vase-and-flower motif with the addition of the decorative birds.
Enlargements have been reproduced in the spandrels and the colors in the carpet have been employed with great artistry and are quite varied.
Literature: The Splendor of Antique Rugs and Tapestries, Parviz Nemati, PDN Communications and Rizzoli, 2001, plate 44, pp. 86-87.
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(Price upon request.)
Bakhtiari Carpet
West Persia
19th Century
15 by 24 feet, 3.95 by 6.50 meters
This huge Bakhtiari carpet was made for a Bakhtiari Khan and features an inscription in a cartouche in the top border that translates to “Made for His Excellency Ali Akbar Khan Bakhtiari in 1303”, 1885 in the Roman calendar. It is illustrated in plate 77 of Mr. Nemati's book.
This most probably refers to Ali Akbar Khan Husam al-Dawla, Governor of Tabas (formerly Golshan), capital city of the Tabas county in the southern Khorasan Province.
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These Khan carpets are rare and important, and have been the subject of much academic research. The pattern is a variant of the herati design which is intricately drawn, however, this is offset by the white ground which imparts a certain rhythm to the design. Note that the bottom border and field become somewhat squashed as the end of the rug is reached by the weavers. The complex major border is a rare, perhaps unique, interpretation of a 17th century strapwork border. A masterpiece of draftsmanship which has all the charm of a tribal weaving.
Literature: The Splendor of Antique Rugs and Tapestries, Parviz Nemati, PDN Communications and Rizzoli, 2001, plate 77, p. 120.
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(Price upon request.)
