Bearskin Rugs of Central Asia

 

Bearskins of Central Asia

You just want to roll in one, so immediate is the thrill ¹

Long piled shaggy bearskins of Central Asia are referenced by many variations of the word Julkhirs. What is a bearskin rug?  Bearskins were woven by Central Asian nomads in Uzbekistan, Afghanistan and Tajikastan - Amu Darya, the Oxus.  Uzbeks, Arabs, Kirghiz and Turkmen Uzbeks were the principal weavers of the shaggy pelt like rugs called Julkhirs. Other similar shaggy bearskins are found in Tibetan weavings – TsukTruk.

Stories abound about the origins of Central Asian Bearskins – the very name stirs the imagination – mountainous rugged terrain, cold windy mountain peaks, wild bears - their skins preserved and made into sleeping rugs – fiction. Some weavers of bearskins were hallucinating whilst weaving, their erratic weavings the result of long periods of hallucinogenic drug intake. ²

Primitive bearskins with their soft thick shaggy wool are a patterned facsimile of shaggy animals and an archaic link to a distant past. Extant examples give us a glimpse into this lost world of nomadic existence.

Julkhirs in Samarkand Uzbek, literally means Bearskin, in other locations called Pati Zulvarak or Julvarak. ³ Khirs in Nurata Uzbek means bear. ⁴ The meaning for the Turkmen Uzbeks of the Nurata Basin, Julkihrs was a saddle blanket of a rich man, jul - saddle blanket khirs - rich man. ⁵

Also interpreted as, skin of bear, djulchir, djul-y-khyr, djul-ykhir,julekhers, julkhyr (joorli-hur), Julhir, julykhir, jul-I-Khyr, julykhyrs,  , julihorc, Culkhir, Joolkhir, Joolkhyr, Joolykhyr, Joolykhyrs, Cunkur, Julkyr, Jul-i-khirs

Call them want you want, if you are lucky enough to own one of these rare shaggy bearskin rugs you won’t care how it’s spelt or pronounced the joy they bring is immense.

Bearskins used to illustrate this post: Collection The Author

1 Cater, M. The Bearskins of Oxiana (Antiques and Art in Queensland 2005) 58

http://www.orientalcarpets.com.au/home/newsletters/essays.html

2 Tanghe, P.  Wouters, H. Van Tongerloo, A. Pollet, L. Boenders, F. Beaulieux, D. Djulchir Tissus de defense et de protection (Kredietbank, Bruxelles, 1995) Illustration 27, 138

3 Moshkova, V. G.  Carpets of the People of Central Asia (George O’Bannon,  Arizona Lithographers Tucson, Arizona, 1996) 331

4 Moshkova, V. G. 333

5 Moshkova, V. G. 121

Uzbek Julkhirs Samarkand The Turkestan Album 1871 - 1872

 

Julkhirs were woven by semi nomadic Uzbeks and traded at the markets in Bukhara and Samarkand.² Nineteenth Century Julkhirs from Uzbekistan are rare, harsh use on the ground and floor as seating meant that the long shaggy pile of Julkhirs rugs became threadbare quickly. In 1944 and 1946when Moshkova visited the Turkmen Uzbeks of the Nurata basin no new Julkhirs were found and older examples were mostly threadbare.³ Nineteenth century photographs provide tangible evidence of how julkhirs primitive rugs were used. The Library of Congress in Washington houses the collections of The Turkestan Albums 1871 – 1872 and Sergei Mikhailovich Prokudin-Gorskii who also photographed life in Uzbekistan between 1907 and 1915. Often Julkhirs are referred to as sleeping or bedding rugs – these Samarkand Julkhirs were used as seating rugs on the floor or the ground alongside other flatwoven rugs, pile rugs, and carpets. Photographic evidence provides a snapshot into the daily use of julkhirs rugs in their original setting.

IMAGE of musician seated on Julkhirs; Library of Congress, Prints & Photographs Division, Turkestan Album Collection, Reproduction Number: LC-DIG-ppmsca-14711

1. Moshkova V. G. Carpets of the People of Central Asia (George O’Bannon,  Arizona Lithographers Tucson, Arizona, 1996) 83 (ref Semenov ¹³¹ Dudin ¹³²)

2. ibid., p .112

Alpujarra Rugs – Moorish Covers from Andalucia

 

Alpujarra Rugs – Moorish Covers from Andalucia

Up for auction – intimate personal bed covers from Andalucia Spain: an Alpujarra “Rug”; Sotheby’s New York 1999. Description: “Inscriptions of Juan Sanchez at the top and Maria Cruz Vicente at the bottom”. Or this: an Alpujarras bed covering woven for the family “Antonio Mertines”. ¹ Personal inscriptions attest to the uniqueness of Alpujarras rugs  – private exclusive hand woven. The written history of these weavings from Eastern Andalucia is littered with references to rural peasants and artisans involved in craft and the creation of simple bed covers – custodians of a long tradition. Weaver’s lives intertwined in woven wool and cotton; inscriptions of names - woven birds, dogs, ducks, lions, flowers, flower baskets, trees, vases, combined with lattice borders or meandering flowers, grapes and leaves. Using a restricted colour palette, coarse looped pile on a woven foundation, minimalist and utilitarian, creating an intensely rich and personal narrative – intended for the home and never for sale. W Kent compares Alpujarras rugs to Central Asian, Persian, Turkish and Caucasian traditions – rugs woven by young women as part of their future dowry here confirmed by names, dates and terms of endearment. ²

A remnant of Moorish textile traditions, textile industries existed in Granada Province between tenth and fifteenth centuries. The region became the last stronghold of the Moors. Small villages and terraced farmlands cling to the side of the mountains on the Southern ranges of the Sierra Nevada, just sixty kilometers long and ten kilometers wide known as Las Alpujarras, a province of Granada. Arabic place names are littered throughout the Alpujarras along with examples of cubic architecture, reminiscent of Berber architecture in the Atlas Mountains of Morocco.

Alpujarra rugs were woven on narrow beam looms in two or three pieces then stitched together. In the rug used to illustrate this post thick two ply coloured wool inlaid pile wefts were used to create a shaggy looped pile surface, there are no "knots" just inlaid pile wefts, representing an early primitive rug pile technique.³ One or two shots are randomly inserted at various intervals along the shed depending on where the desired colour is used. The coloured wefts are drawn up over gauge rods, forming the loops that constitute the pile. Five or six gauge rods can be used at one time, they are withdrawn once the loops have been formed.⁴ The wefts used for the loops are laid one on top of the other and can be seen on the front and back of the rug, thus one colour may show on the front and a different colour on the back. Wefts (sometimes described as unbleached linen) ivory cotton singles with three shots forming balanced plain weave between inlaid pile wefts.

Sometimes long fringes are woven separately up to twenty centimetres long stitched on four edges in alternate colours from the main colours of the rug. Weavers often used only two colours some variations can include up to ten. Colours include turquoise, indigo, various shades of blue, yellow, a golden honey colour, white, black, cherry red, tomato red, deep yellow, cream, saffron yellow, lime green, and red.

Persian, Turkish, Gothic, Renaissance – motifs, religious symbols, names, the natural world, dates, interpreted and expressed throughout the centuries. Moorish traditions remained woven into the designs long after the Moors were expelled from Granada. Weaving of Alpujarras rugs continued up to the 19th century, featuring floral and animal designs with bright colours – Moorish echoes through time.

ALPUJARRA LOOPED-PILE RUG ANDALUCIA SPAIN, CIRCA 1860

Collection: The Author

Description:This example shows an abrashed turqoise blue green field – red and saffron yellow, aged patina with richly coloured geometric motifs two borders including a lattice outer border. Yellow red and turqoise fringe. Woven in two strips stitched together, areas of wear, some re-piling, old linen patches on reverse. Approximately 7 ft. 6 in. x 5 ft. 6 in. (228cm. x 167 cm.)

Warp: Ivory cotton.

Wefts: 3 shots Ivory cotton

“Pile Design wefts”: Looped wool

Sides: Plainweave, extra turquoise weft

Ends: Plainweave

Extract From ARTFACT.com

Christie's - London - 1996

LITERATURE Bernheimer, Otto: Alte Teppiche des 16.-18. Jahrhunderts der Firma L. Bernheimer, Munich, 1959, pl.126. The loop piled rugs woven on the Los Alpujarras hills south of Granada have been known for a considerable time. Early this century they were given more importance possibly than is accorded to them now. Vitall Benguiat for example thought one sufficiently important to include it in the most important section of his sale (The V. and L. Benguiat Collection of Rare Old Rugs. American Art Association sale catalogue. New York, 4 December 1925, lot 24 (ill.), date altered from 1803). Cornelia Bateman Faraday (European and American Carpets and Rugs, Michigan, 1929) devotes a considerable amount of space to them. The looms on which they were woven were narrow, necessitating their manufacture in (usually three) vertical panels which were then joined. The designs were often influenced by the Cuenca interpretations of Anatolian designs; the chrysanthemums in the present border are typical. Another feature which occurs in a number of examples is the central rectangular panel. This can be found surrounded by an inscription which is often dated, the Benguiat example already noted being an example. Another rug, in the Victoria and Albert Museum, whose design includes vases of flowers, is dated 1797 (Bennett, lan: The Country Life Book of Rugs and Carpets of the World, London, 1977, p.269).

1 Scobey, J. Rugs & Wall Hangings Period Designs & Contemporary Techniques The Dial Press New York. 1974 p.82

2 Kent, W W. The Hooked Rug Dodd, Mead & Company New York. 1930

3 Mallett. M Woven Structures A Guide To Oriental Rugs and Textile Analysis Christopher Publications Atlanta. 2000. p.31 Looped pile and inlaid pile techniques explained in detail.

4 Scobey, J. op. cit., p.82

A Kirghiz Pieced Skin Cover Primitive Skins from the Stone Age

This pieced skin cover is so primitive it looks like it came straight from the stoneage and wouldn’t look out of place in the cartoon “The Flintstones”. Vivid saturated natural Indigo and Orange-Red dyed strips, stitched together with coarse and shaggy natural shades of brown and black hide. Creating a tangible and expansive view into a long lost nomadic past.

These animal skin covers are rare, not much is known about their origins or use. James Blackmon had brought some of these to the marketplace in the mid nineties. Eventually an example from the collection of Dr John Sommer came back to the market via James and I snapped it up. Another example is held in the collections at the De Young Museum in San Francisco.

James Blackmon wrote, “ I would date the sheep skin rug to the late 19th or first part of the 20th because the dyes appear to be natural. It is difficult to date these things because there are not many examples to compare. I have seen pieces with only natural, un-dyed sheep skin used and I have seen one or two with some synthetic dyes used. This one I would say is in the oldest group of these skin rugs. I have had 5 old ones over the years and all came about 13 years ago. Since then I have not seen others of this natural dyed type. It must have been a small, remote community where these survived, since after they came to market and relatively high prices were established for them, none or only a very few have surfaced in the market place since. This defies the usual pattern and market logic for newly discovered, old ethnographic items. Once something is discovered there tends to be many more that come out of the woodwork to meet demand.”

Two examples were published in John Wertime's landmark article "Back to Basics: Primitive Pile Rugs of West and Central Asia" Hali 100 in 1998. Wertime discusses the use of the needle and it’s invention 20,000 or more years ago as being central to the original creation of these tanned covers. The ability to stitch animal skins together to make larger items probably pre dates woven rugs.

Made up of a number of pieces of animal hide strips in varying sizes, determined by the size and shape of the original hide. Stitched together to form a complete cover, usually from different types of animal. The preservation of the hides is a key element to their intended use. In Central Asia there is a long history of tanning. A distinction needs to be made between tanned goods where the fur has been stripped from the hide or alternatively softened and treated hides where the fur remains. Nazif Shaharani in “The Kirghiz and Wakhi of Afghanistan” discusses the method of treating Yak hide as well as Karakul Sheep, where the fur remains. “Yak hide is untanned but treated (oiled and softened).” Further, “The hides of sheep, goats, lambs, and kids are utilized in many ways. By treating and softening wool-covered sheepskin the Kirghiz make long fur overcoats. Sheepskins are also used to make fur mats that are used as mattresses.” In “Die Kirghisen des Afghanischen Pamirs” by Remy Dor & Clas Neumann some clues are given, “Next to the stove lay a sheepskin”. Included is a reference to an old Pamirs Kirghiz proverb. “In the past tanning was women’s work. So the following proverb attests: She who brings with her a skin of Russian leather, (supple and well tanned) will carry to wealth her marriage. Contrary, the property of a bad wife, she spoils the hide and puts the married couple in debt”.

The Wakhan corridor is extremely cold and inhospitable. The Kirghiz Yaks and Karakul sheep (turki qoey) have long thick coats as protection from the cold. Our rug illustrated here combines Karakul sheep and Yak or Goat hide. The Yak or Goat fur is particularly long, up to sixteen centimetres. Karakul sheep and Yak were the two types of hides that were “softened” for use by the Kirghiz. This process of softening hides, dip dyeing, stitching and embroidering produces a minimalist design aesthetic. Even though our example is primitive by nature it was created with a greater ideal that was of obvious importance to its original owner. At least 100 years old, this cover is remarkably well preserved. James Blackmon wrote, “All examples I’ve had show native patches and repairs and were in the early group. This one has less of this damage than the others. It was well kept.”

Dip dyeing was used as a technique to add colour and enhance design in some examples. Before sewing the strips of hide together, some covers were dip dyed. Dip dyeing is a process where the entire woven strip or selected piece of skin is dyed prior to stitching all elements together to complete the design. The obvious choice for dip dyeing would be white pelts, although I’ve seen black goat hair dyed with indigo! Arab Nomad Julkhirs from nearby Qataghan were also dip dyed. Minimalist design and sparing use of bold and graphic colour is evident in Kirghiz, Arab, and Uzbek weavings in the region. Indigo and deep saturated reds were commonly used throughout the Northern border regions of Afghanistan and Uzbekistan.

Notes from a friend who has been conducting research in Afghanistan since 2007, his example has an embroidered edge and is not dip dyed. Mainly consisting of darker coloured strips of natural Karakul sheep.

Robert “News from my colleague in Kabul. He is a highly educated fellow from rural Wardak province South West of Kabul. I showed him my pieced skin rug, he recognised it instantly. According to him it is all sheep’s wool. He called it Pachmani. Pachm means wool in Persian. He said people do not create these pieces anymore but used to make them, even in his area which is Pashtun and where Pashtun Kuchi nomads used them. His grandfather has some at home. Interestingly he said that people never used these pieces as mats, they were far too costly for this purpose. Instead they used exclusively namads (felts) on the floor. The pieced skin covers were used as night covers or folded on the shoulders when seated in the tent during winter.

These pieced skin items are probably not some type of yatak or mat but rather covers. That’s why there is some embroidery on the part we considered as the back but which should be the front. To use fur in direct contact with the ground is not convenient at all, the fur can become dirty and damaged easily. Washing these pieced skin rugs would be almost impossible. It is very important to keep the tent clean and well ordered and the use of such materials is not really relevant in this case. It is better to use these covers close to the body for warmth. Contrary to this Namads (felts) provide a solution as a floor covering to keep the warmth in.

I remembered that a few years ago in Kirghizstan some nomads welcomed me in their yurt. They gave me a piece of camel fur as a cover for sleeping. I do not remember if it was a simple fur (I guess so) or a patchwork like ours but the practice is related. It is also interesting to note that Kirghiz use fur for some large warm jackets they call “Ton”.

I am not sure that the pieces discussed with my colleague were patchwork items with embroidered edging. They were probably simple furs un-dyed with simple patchwork strips.

A few years ago I found some fur pieces in the Peshawar market, they were simple, undyed and a little different. So they may be like those of the Pashtuns and our examples which are more elaborate, specifically pieces created by Wakhi or Kirghiz.”

Kirghiz Rams Horn Detail

Kirghiz Wakhan Corridor

Kirghiz Rams Horn

Rugs or Covers?

These pieced skin covers do not show the usual signs of wear and were probably not intended for use as a floor rug. As with most cold climate rugs and covers, the intended purpose was insulation from the cold. Our example has an embroidered red, two cord, edge binding, finished in typical Kirghiz style with a rams horn motif in one corner. There is evidence to suggest that these were used with the fleecy side against the body like a cloak worn as a cover at night. When worn on the outside the embroidered design would be prominent.

Some terms which have been used to describe these covers.

Wraps, Rugs, Blankets, Covers, Hides, Pelts & Mats.

pachm wool in Persian

pachmani Kuchi Pashtun covers

postak sheep and goatskin mats Kirghhiz Wakhan Corridor 7

postdagi

takhta postak Wakhan Corridor Kirghiz mattresses, fur mats

tushak

Kirghiz Emroidered Edge

1 Personal communication James Blackmon  2007.

2 ibid.

3 Wertime, J. Back to Basics: Primitive Pile Rugs of West and Central Asia (Hali 100, 1998) pp.86-87.

4 Shahrani, M. Nazif The Kirghiz and Wakhi of Afghanistan Adaptation to Closed Frontiers and War University of Washington Press, Washington 2002 p. 75 The hides of sheep, goats, lambs, and kids are utilized in many ways: By treating and softening wool-covered sheepskin the Kirghiz make long fur overcoats. Sheepskins are also used to make fur mats that are used as mattresses. 94 Yak hide is untanned but treated (oiled and softened) 102. Wolves & Foxes are shot and used to make fur hats and fur linings for other garments. 108 Most Kirghiz have fur mats to keep themselves comfortable at night. p.108.

5 Dor, R. & Neumann, C. Die Kirghisen des Afghanischen Pamir Akademische Druck- u. Verlanganstalt, Graz 1978 p.86.

6 Dor, R. & Neumann, C.op. cit.,pp.86-87.

7 Shahrani. M. Nazif op. cit.,p.377. Poostak, sheep & goatskin mats. p.275.

Kirghiz Shaggy Pieced Skin Rug