Fine Afghan Ferreghan Recreation
of Antique Persian
The lovely “antique finish” Agra hanging in WINDOW LEFT measures 8.10 x 12.3. This piece was hand-knotted in northern Afghanistan by ethnic Turkmen women over a period of 11-12 months using handspun vegetally dyed, local Ghazni wool.
The city of Agra contains the most perfect jewel of Islamic art in India, the renowned Taj Mahal (one of the Seven Wonders of the World). The construction of the Taj Mahal and the creation of this exquisite Agra pattern took place during the Mughal period. The caliber of design during this time remains unrivaled.
The classic color palette, for these pieces include delicate shades of blue, green and fawn. The artist’s use of a rich earthy brown thoughtfully grounds and adeptly elucidates the piece’s refined motifs of soft blues, ivories and pale greens. The backdrop of spring green creates a refreshing ambiance. The artist’s design dating back to the 1600’s endures in a glorious fashion:
“A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams and health,
and quiet breathing. “
The stellar Afghan Suzani hanging in WINDOW RIGHT measures 9 x 12.3. This piece was hand-knotted in northern Afghanistan by ethnic Uzbek women over a period of 7-8 months using handspun, vegetally dyed, local Ghazni wool.
The color palette of madder red, coral and charcoal radiates; the citron, gold, and kelly green keep it fresh, while the ivory and pale blue bring in air and add a lightness to the piece.
The enchanting Suzani is comprised of two designs: one representing the heavens, the other the earth. The heavenly design consists of big red flowers, referred to as “orbs”, think orbit. The flowers symbolize the sun, moons and stars. The earthly design is a “Chor-chirog”design, which signifies Sacred Fire. In this charming motif, four oblong palmettes, called “bodoms” branch out from a central flower. The bodoms symbolize fertility and life. The “Sacred Fire” has an expurgatory power, which removes bad thoughts and preserves the good energy.
The artist’s charming, balanced and lively design (from heaven above and earth below) elevates and grounds a space with a happy energy
“It was one of those happy days that God grants us sometimes on earth
to give us an idea of the bliss of heaven.”
Johann David Wyss.
The graceful Afghan Heriz beautifully grounds the room. The effect is very appealing and encourages all who enter to rest and engage.
Interior designer, Edward Lobrano uses Oriental rugs “because of their ability to work well in his transitional interiors that meld the traditional with the contemporary.” The Decorative Carpet, Alix G. Perrachon. The graceful Afghan Heriz contributes in no small part to all the elements of the room coming together flawlessly.
Displayed in WINDOW LEFT is a lovely Antique Persian Bijar measuring 8.9 by 11.8. This piece was hand-knotted in western Persia by Kurdish women, using handspun, vegetally dyed, local mountain sheep wool.
In spite of their “coarse” weave, no other type exceeded the beauty or durability of the Persian Bijars made during the period of 1923-30. The extensive use of various Persian motifs is unequalled. Also, central to the artist’s design in this piece was the use of the lovely French rose cluster design, which originated from French tapestries.
The artist uses a radiant rose cluster for the central medallion and thoughtfully integrates the rose “bouquets” into key sections of the navy field. The four outer ivory and slate blue quadrants brighten the piece, stylishly directing the eye to the lavish inner field overflowing with a wonderful assortment of stylized flowers. Peacefully grounding the gorgeous Bijar is a quiet and sophisticated main border.
An artist knows that “Great things are done by a series of small things brought together.” Vincent Van Gogh. This gorgeous Bijar is a work of art that will not only please the eye with its beauty, but satisfy the mind with the extensive and thoughtful use of many “small things”.
The striking Afghan Khotan hanging in WINDOW RIGHT measuring 9 x 12.7 was hand-knotted in northern Afghanistan by 4 Hazara women over a period of 6-7 months using handspun vegetally dyed local wool.
The Khotan design originates in East Turkestan, located on the Silk Road in close proximity to both China & Persia. The Khotan incorporates motifs from both regions. This stellar piece is an Antique reproduction.
The 6 guard borders include 2 swastika borders, a “T” or “thunder” border (Chinese influence) and 2 charming floral chains plus the trefoil (Persian influence). The two cultures framing the intriguing Khotan bring a happy synergy. “Alone we can do so little; together we can do so much.” Helen Keller.
The central medallion contains the classic Khotan motif, the pomegranate, which represents life and abundance. In this primitive depiction which brings a carefree vibe, the pomegranate is portrayed as a shrub
The abrash (variation of color due to different dye lots) adds texture and softens the piece. The artist’s palette of madder red and charcoal draws in warmth while the breath-taking inner field of light blue brings in air and a freshness.
This exceptional piece which combines strong lines and gentle, happy flowers brings a fresh, complex and happy vibe to a space – where thinking and smiles may live together harmoniously.
This sophisticated Antique Lilahan ca. 1925 measuring 5’2″ x 6’6″ was hand-knotted in the village of Lilahan in western Persia by Armenians. This exceptional piece is valued at $3,500. The vibrant palette includes red, navy, cornflower blue, chestnut, rose and burnished gold. The artist’s design showcases a stunning center medallion which represents “window to heaven” surrounded by a red field overflowing with a variety of exquisite, thoughtfully placed floral designs. The main border beautifully frames the piece with stylized floral elements including palmettes.