Animal Figures in South Persian Rugs

Illustration 12. Detail from a Luri khorjin (saddleback) panel, early to mid-19th century. The two-headed animal theme appears in the stylized form on the horse's back.

Illustration 13. Detail from a late 19th century Luri saddlebag. The two-headed figure on the horse's back is more stylized and includes a human form, much like the ancient bronze shown in Illustration 11. Unlike the horse in Illustration 12, this horse has a feed-bag in place.

Illustration 14. Detail from a 1930s Luri saddlebag from the vicinity of Khoramabad in Luristan. The overall forms are similar but, compared to Illustrations 12 and 13, this rendition shows severe degeneration. Courtesy of Janos Farago.

Moorey has proposed an alternative explanation of how motif parallels touching on "Luristan bronze" images and tribal weavings came about. He suggests that some of these ancient bronzes from disturbed graves had been available in Luristan from time to time above ground since antiquity. According to this scenario, weavers may have copied motifs from the bronzes after these chance discoveries, possibly within recent centuries. If he is correct, the parallels I have noted would not be "ancient" in the same sense advanced in my proposal. In responding to this thoughtful alternative I would refer to the widespread distribution of two-headed and multi-headed woven designs among tribal populations in relatively separate areas in Asia (the Zagros, Anatolia, and Central Asia). This factor offers evidence concerning the longevity of these motif-traditions. The wide distribution of animal forms, especially ones that do not appear in nature, such as two-headed animals, implies a longer rather than a shorter history of dissemination.

It is not premature to propose a broad working hypothesis, one of several to be considered: two-headed and multiheaded animals were first woven in significant numbers in the Zagros and entered design vocabularies of Lurs, Kurds, and other tribes in Iran, possibly including Baluch peoples. Through migrations and trade, these particles of a "woven vocabulary" passed to other regions. In westem Iran, this probably involved Kurds or their precursors, whose movements into Iraq, Anatolia, and the Caucasus led to significant Kurdish populations in all of these regions.

Illustration 15. Detail from a Luri/Bakhtiyari bag panel. Unlike smaller bags of this type which have single columns, this example has multiple columns. Each animal-head has a line extending from the top, suggesting a horn. Courtesy of Bennie Norris.

Illustration 16. An "animal-head medallion" from a Lori/Bakhtiyari bag. Each head features red threads indicating eyes. Most have two horns extending from the top of the heads. Courtesy of David and Alexandra Opie.

Illustrations 17 and 18 show distinctive animal forms that frequently appear in larger bags of this type, always in borders. These peculiar motifs are unique to Iranian Zagros nomads and may be extremely old. A widely distributed and long lasting body of ancient art found in Mesopotamia, Anatolia, and the Zagros featured human or humanoid figures flanked by animals. Gender references in these human forms vary, at times being explicitely male, at times female, with the balance showing no clear evidence of gender. Human figures between paired-animals in Illustrations 17 and 18 have no clear gender. In their placement between amimals, they bear a plausible resemblance to a large body of ancient models. Illustration 19 shows a cylinder seal impression from the third millennium, B.C. expressing this mythological theme. It is important to emphasize that the comparison I wish to draw here is a highly general one. The possibility of a direct link between this specific seal image (Illustration 19) and Luri woven figures (Illustrations 17 and 18) is remote. However, the possibility exists of more general ties. Art themes involving human and animal figures, often labeled "master or mistress of animals" were a common feature of "Luristan bronzes" and comprise a theme which links this body of materials to other Near Eastern art of the third through the early first millennia B.C.

Illustration 17. Detail from a Luri/Bakhtiyari khorjin. "Siamese-twin" animal figures are separated by a human form. Near Eastern art produced from the third through the early first millenium B.C. commonly pictured humans or humanoid figures on the same level and in direct contact with animals. As a working hypothesis, the author suggests possible links between this widespread body of art and similar Zagros woven figures. Courtesy of Bennie Norris.

Illustration 18. Another example of the human-flanked-by-animals theme.

Illustration 19. Sumerian seal (carved cylinder), early dynastic period (third millenium B.C.). "Master or Mistress of animals" themes took many forms in ancient Near Eastern art, including this Sumerian example. Specific mythological refrences are obscured in this case. Courtesy of the British Museum.

Illustration 20. Detail from a Luri or Qashqa'i malband, early 20th century. Animal figures have been favorite artistic themes among nomadic peoples since the first millenium B.C. or earlier. Courtesy of an anonymous collector.

Illustration 21. Detail from a pile Luri malband, c. 1930s. Author's collection.

At present, south Persian nomadic weavers are copying traditional woven patterns which include animals and are selling these weavings to external markets. During earlier periods, rugs with lions, peacocks, birds, two-headed animals, horses, and other figures reflected local tastes, the taproots of which extended deep into the Iranian past. In collecting and protecting examples of the final expression of ancient folk traditions, we participate in a vital phase of any art form: preservation, appreciation, and study. Fortunately, choice examples representing the heights of this long-lasting but fragile tradition still appear on the market from time to time.

Detail, Khamseh Confederacy rug, second half 19th century, depicting confronting birds.

Notes

12. For a restatement of this aspect of the "Luristan bronze" studies, consult Donald Wilber's article, "Luristan Bronzes," in Oriental Rug Review XI/5, June/July, 1991.

13. See also, "Fragments of an Ancient Puzzle," by James Opie, HALI 53, p. I32.

14. Wertime and de Franchis published several in Lori and Bakhtiyari Flatweaves. Other examples wil1 appear in The Art of Tribal Rugs to be pubiished in 1992 by Calmann & King, London).