ARMENIAN RUGS AND CARPETS. Folk Arts Museum's Collection
Folk Arts Museum’s collection ARMENIAN RUGS AND CARPETS
PUBLISHED
FORWARD
As the Director of the Folk Arts Museum named after Hovhannes Sharambeyan, it is my profound honor to introduce this special album dedicated to the extraordinary array of Armenian rugs and carpets housed within our museum. This publication is not just a catalog of textiles; it is a vivid narrative of Armenia’s rich cultural and historical tapestry, told through the intricate patterns and vibrant colors of our traditional rugs and carpets.
The inspiration behind this project is rooted in our commitment to preserving and celebrating the unique cultural heritage of our country. Armenian rugs and carpets are renowned worldwide for their beauty and intricacy. Each piece stands as a testament to the skill and artistry of generations of weavers.
This album aims to provide an insightful exploration of the diverse types and styles of Armenian textile art. It offers readers a glimpse into the history, symbolism, and craftsmanship that these magnificent pieces embody.
I extend my heartfelt gratitude to the Ministry of Education, Science, Culture and Sport of the Republic of Armenia for their invaluable financial support in bringing this vision to fruition.
Their commitment to cultural preservation and education has made this project possible. Their support is an embodiment of our shared belief in the importance of safeguarding our heritage for future generations while introducing the rich rug weaving heritage of our forefathers to the world.
Furthermore, I cannot fail to acknowledge rug expert Ashkhunj Poghosyan, whose in-depth knowledge and years of dedicated research have enriched our understanding of Armenian rug weaving traditions.
This album is also a product of the tireless efforts and unwavering dedication of my colleagues at the Folk Arts Museum.
Each page, a result of their countless hours of creative endeavor, bears the imprint of their expertise and passion for Armenian cultural heritage. Their contribution has been invaluable, and I am profoundly grateful for their commitment and hard work.
I trust this work will serve as an introductory guide to the world of Armenian textile art. We hope that it will not only educate but also inspire a deeper appreciation, understanding, and research of this vital aspect of our national heritage.
As you pursue these pages, may you be transported through time and space, discovering the stories woven into the very fabric of our nation’s history.
We are proud to share this rich legacy with you and hope that this publication will be a treasured resource for all who seek to learn more about the magnificent world of Armenian rugs and carpets.
Lusine Toroyan Director, Folk Arts Museum named after Hovhannes Sharambeyan
THE COLLECTION OF RUGS AND CARPETS IN THE FOLK ARTS MUSEUM NAMED AFTER HOVHANNES SHARAMBEYAN
Museum collections are of particular importance for studying the history of Armenian rug and carpet (also known as flatweave, kilim) weaving culture, including its decorative, technical, and technological aspects and peculiarities. Armenian museums are widely known for housing large collections of rugs, each with its distinct characteristics. The collection of the Folk Arts Museum has one notable feature: Hovhannes Sharambeyan, who contributed significantly to its organization, primarily aimed to collect rugs with Armenian inscriptions or those unequivocally belonging to the Armenian rug weaving culture.
The majority of the rugs in this collection fit these criteria. The collection includes a large number of carpets and other items made using carpet weaving techniques, such as bags for bedclothes, saddlebags, salt sacks, etc.
Over a relatively short span of approximately forty-five years, a unique collection of about 450 rug and carpet samples has been assembled here at the museum. The collection was mainly put together in the 1980s. Its creation was driven by an awareness of the importance of Armenian rug weaving culture and its research. The need to study the history of Armenian rugs and carpets, to identify their types and distribution areas, and to present the place and significance of Armenian rug weaving art within the Oriental rug weaving art system was also recognized.
It is no coincidence that in those same years, the collection of rugs and other types of woven textiles kept in the National Museum of Armenian Ethnography and History of the Liberation Struggle was also created, which includes several thousand carpets and rugs.
The collection kept at our museum resulted from donations, purchases from individuals, and cooperations
with antique rug stores in Yerevan. These were years of heightened interest in rug weaving art, and plans were underway to establish an Armenian Rug Museum and gradually form a group of rug experts in Armenia to address related issues.
In this context, Hovhannes Sharambeyan’s active participation as the museum’s director, both in the establishment of the museum as well as in the creation of its collections, was significant.
It is therefore no coincidence that the collection contains many rugs and carpets featuring dated Armenian inscriptions and ethnographically precise details. Most of these pieces originate from the 19th century and are vital for historical and comparative research. They accurately reveal their places of origin, thus allowing for comparative research that aids in the identification of the geographical regions and the periods of creation of similar rugs.
They also provide the opportunity to substantiate the existence of rug and carpet weaving traditions in the locations of their origin in previous centuries. The importance of such rug samples as primary sources for studying the Armenian rug weaving culture was duly considered.
In terms of museum valuables, the collection features abundant field data on the topographic and chronological aspects of the rugs and carpets stored here. This data, along with other criteria, served as the basis for determining the origin of these rugs and other textiles.
On the Grouping and Typology of Rugs and Carpets
In presenting the collection and in rug studies in general, grouping and typological classification are of key importance. We have a rather rich field of ethnographic materials that enable us to make certain corrections in various typologies used in professional areas.
It should be noted that some of these typologies have significant drawbacks, while others lack a scientific basis. This specifically refers to generalized names of rugs used by researchers, which denote a nation, ethnic group, or a lifestyle
A scene with stylizations typical of Armenian rug weaving art
and religion, such as “Seljuk”, “Turkish”, “nomadic”, “Islamic” and others. There have been attempts to use these terms to associate the origin of rug weaving culture in historical Armenia and Asia Minor with the arrival of Seljuks and subsequent Turkish tribes. Such attempts continue to this day.
We advocate for a typology of rugs and carpets based on the key composition of the decorating system and the names of regions characteristic of these types. Moreover, when using geographical names, it is advisable to avoid adapting a specific type of a rug to a particular region or settlement, as this can distort the origin and ethnic belonging of the rugs.
Based on the above-mentioned concerns, our classification assigns a geographical name to a type only if it is thoroughly substantiated by different sources. At the same time, it is necessary to emphasize that we in no way try to exclude the possibility of similar rugs being made by other ethnic communities.
We also use names that denote the functional nature or decorating theme of the rug and carpet types, which have gained universal recognition in professional circles. We have tried to emphasize as much as possible the names of individual compositions, the principles of decorations used and the terms that indicate their semantic content. This approach helps avoid preconceived opinions about the origin and distribution areas of these types, as rugs from different ethnic units with the same functional significance and decorative composition can naturally be grouped under the same category.
In the comprehensive study of cultural values, the creation of a unified typology system should be prioritized. This complex and lengthy task requires research-based studies anchored on historical and comparative principles.
In describing the types of carpets and rugs presented here,
Main composition of
Rug “Chartar”, with altar patterns, 1280s, Cilicia
the “Chartar” type
we primarily focused on the name that highlights the main composition of each type. This approach avoids assumptions about the origin and distribution areas of these rugs and carpets, as the same type may encompass rugs from various ethnic groups, sharing similar designs and functional purposes.
When naming a particular composition, we have emphasized the need to use clear and concise wording that conveys an understanding of its form and style. Geographical names have also been used. When doing so, based on the above-mentioned considerations, we assigned a geographical name to a type only when there was strong evidence from multiple sources maximally substantiating such classifications. This method helps to minimize the risk of significant inaccuracies in their assigned origin.
As a result, in this album, the following criteria are adopted for naming the types of rugs and carpets:
◊ The name of the region or settlement where the type is most characteristic
◊ The name of the geometric shape of the rug’s field
◊ The name of the thematic focus or the main composition of the decorating system
◊ For carpets, we used the technical method of their creation as the basis for classification, considering types such as bilateral, straight or slantly twined, zileh, etc. In doing so, we followed the principles previously mentioned for categorizing them
The various types of rugs and carpets are organized into distinct groups, with emphasis on their thematic, compositional, as well as their presentational aspects. As a result, the following groups of rugs are distinguished:
◊ With thematic pictorial compositions
◊ With altar compositions
◊ With plant-floral compositions
◊ With cross patterns or cross-shaped compositions
◊ With large geometric compositions
• Rhomb-like
• Many-sided
• Contained in one frame
◊ With star-shaped patterns
◊ Pattern-striped
◊ Dragon rugs
◊ With “Jraberd” compositions
Considering that the names of regions have undergone numerous changes over time, when naming rug and carpet types by region, we have primarily used the early medieval toponyms of Greater Armenia (Mets Hayk or Armenia Maior). The museum’s collection encompasses rugs and carpets from all these groups, underscoring its significance. In the album presented, carpets and other textiles are displayed separately, categorized according to their respective groups and the specific types within them.
Main composition typical of the rugs of the “Paraka” type
Types of rugs and carpets in the collection and their distribution areas
The album’s central aim is to make it appealing and accessible to a broad audience interested in rugs and carpets. To achieve this, we have emphasized the concept of rug and carpet typology at the outset. This framework guides our presentation of the diverse selection of rugs and other textiles housed in the museum. Moreover, where relevant, we have further categorized these items into subgroups within their respective groups for easier navigation and understanding.
Within the collection, the most numerous are those adorned with large geometric patterns. Notably, rugs featuring rhomb-like compositions have been classified into a distinct subgroup. These rugs are further differentiated by their linear motifs and the intricacies of their rhomb like ornaments. Consequently, we have organized them based on these characteristics and have identified them by the name of the principal distribution center associated with each type.
This particular subgroup includes numerous rugs distinguished by a jagged, sawtooth rhomb-shaped border and a design that integrates four rosettes. A quintessential example from this category is a rug created in 1881, which features a date inscribed in Armenian letters. This classic piece is a part of our collection.
The collection also features variants of these rugs, all of which are traceable to the rug-making centers in the Varanda province of Artsakh. Notably, the village of Chartar stands out in this province for its long-standing rug-making traditions. In recognition of this, we have named this particular type of rugs after Chartar, highlighting both the main composition used and its most renowned center of production. This distinction underscores the significance of Chartar in the realm of traditional rug-making.
Rugs from the rug weaving centers in the Artsakh province of Varanda, such as
Composition typical of the rugs of the “Memling” type
Chartar, known for its ancient rug weaving traditions, particularly the “Chartar with a Rhomb-shaped Pattern” style, are also included in the collection. A standout example is rug No. 10985, created in the 1890s in Varanda’s Taghavard village, notable for its aesthetic quality and harmonious color shades.
While these designs were prevalent across various rug weaving centers in historical Armenia, certain styles were more characteristic of specific centers, which influenced the naming of each type.
The 1913 rug is a typical example of the rhomb-shaped rug with hooks, woven in Meghri. This rug features main compositions neatly encapsulated within separate square frames. Generally, it’s evident that rugs of this subgroup were produced in all the rug-making centers throughout historical Armenia, each contributing its unique regional touch to the overall style.
These rugs are emblematic of the historical traditions of Armenian rug-making, with roots dating back to the 11th-13th centuries. This is evident from the niche decorations found in medieval Armenian manuscripts. Within this subgroup, we also have rugs classified under the “Kashatagh” type, a designation we have assigned.
The decorative scheme of these rugs closely resembles that of the “Chartar” type, with the primary difference being in the design of the four rosettes. In the “Kashatagh” rugs, these rosettes, encompassed within a larger rhomb-shaped frame are more linear, which in turn is set inside a smaller, distinct frame. Rugs of the “Kashatagh” type are predominantly associated with the rug-making centers of the historical Kashatagh province in Artsakh.
A notable sample for professional circles is rug No. 10233, which belongs to a subgroup characterized by “Many-sided large compositions”. This rug, known as “Paraka” according to our typology, is associated with rug weaving centers in Lori. It stands out for its unique decorating system, particularly the presence of plant-floral details. The main composition of these rugs shows a diverse range of variants, leading to the formation of separate rug types, all of which are present in the museum’s collection.
Although predominantly characteristic of northeastern rug weaving centers of historical Armenia, it should be mentioned that variants of these designs were also known in Western Armenia, especially in Northern Turuberan, and the rug-making centers of Upper Armenia (Bardzr Hayk) and Vanand.
The collection features a significant number of rugs known for their large, many-sided compositions, classified under the “Memling” type. These rugs, traditionally produced in the rug-making centers of historical Armenia and its surrounding regions, are represented
in our collection through various versions linked to specific areas such as Artsakh, Syunik, Tavush, Vanand, and Bagrevand. These rugs are notable for their distinct decorative details, border designs, color schemes, and the portrayal of the main composition. Additionally, each rug embodies technical and technological features that are characteristic of the specific rug weaving center from which it originates.
Among these, rugs No. 640 and No. 10023 are especially notable, having been published and presented to professional circles multiple times. Rug depictions of this type are known from European Renaissance paintings, particularly those of Hans Memling, hence the name “Memling” given to them.
The collection also features rugs decorated with compositions that cover the entire rug field and are enclosed in one frame. This group is special because the compositions can distinguish rugs from all other groups when enclosed in one frame. A typical example is rug No. 9841, with a “Memling” composition, woven in 1899.
The late dragon rugs also hold a significant place in our collection, both in terms of their quantity and the richness of their content. They carry the decorative traditions of classical dragon rugs while also showcasing their evolution over time. The collection includes examples from the “Khndzoresk”, “Guhar”, “Sisakan”, “Vayk”, and “Masyatsotn” (or rugs woven by the communities situated at the foot of Mount Ararat, also known as Masis) types, primarily originating from the regions of Artsakh, Syunik, Tavush, and Utik. These rugs are particularly notable for reflecting the unique technological and decorative nuances characteristic of the rug weaving centers in these regions.
In this regard, rug No. 10854, dating from the second half of the 19th century and belonging to the “Khndzoresk” type, is particularly interesting
due to its unique color solutions and detailed border decorations.
Although the collection of late dragon rugs of the “Khndzoresk” type is smaller than the largest collection at the National Museum of Armenian Ethnography and History of the Liberation Struggle, it includes more variants and is thus a valuable
“Guhar” dragon pattern
research source.
The collection also features “Vayk” type rugs from the “Khndzoresk” subgroup, characterized by the same “Khndzoresk” composition but the dragon stylizations have various linear forms.
Among the late dragon rugs, we have significant pieces from the 1680 period, including the “Guhar”, “Sisakan”, and “Masyatsotn” types. These exemplify the “Guhar” rug decoration tradition, featuring woven Armenian letters, dates, and extensive inscriptions. Although they are few, these rugs are highly valued for their intricate decorative details and their historical and cultural significance.
Of particular scientific interest among these is the 1904 rug No. 3645 from the “Guhar” subgroup of late dragon rugs. This piece, notable for its dated Armenian inscriptions, is believed to have been produced in the rug weaving centers of Sisakan.
The collection also features examples of the renowned “Jraberd” (Chelaberd) type. A key feature in the decoration of these rugs is an element known as the “Ornament of the World” in Armenian manuscripts. This motif is not only central to the “Jraberd” composition but also a significant element in the design of the famous “Pazirik” rug, which has been preserved to the present day.
Rugs of the “Jraberd” type predominantly represent the regions of Artsakh, Sisakan, and Vayk. Additionally, one notable sample in the collection is linked to the rug-making centers of the Lilahan-Hamadan areas.
In terms of historical and cultural importance, two rugs from the collection stand out. Made in 1809 and 1815, they are part of the “Star-shaped” group, characterized by a prominent star ornament. These rugs are classified under the “Vorotan” subgroup (named by us). Originating from the rug-making centers of Artsakh, they have dated Armenian inscriptions, making them significant sources of insight into the rug-making traditions of Artsakh.
The presented collection includes a large number of rugs from the “Plantfloral” group. This group encompasses rugs with floral ornaments, almondshaped ornaments (boteh), tree motifs, and similar designs. Notably, those adorned with tree motifs stand out. These compositions, whether represented within frames or not, are arranged in regular rows. They are further enhanced
“Khndzoresk” composition
by geometric decorations and animal-shaped stylizations, emphasizing the symbolism inherent in these designs and their connection to ancient Armenian ritual concepts. Particularly, rugs from the Vaspurakan and Urmia Lake basin centers, known for their accurate tree pattern depictions, exemplify this style. It’s also notable that several Kurdish tribes in these regions have adopted similar rug-making techniques.
The “Berdadzor” rug, as classified in our typology, is significant for understanding the history and types of Armenian rug-making culture. Such specimens are rare in Armenian museums. Their decorations are primarily floral, with some examples incorporating elements from the late dragon rugs of the “Khndzoresk” type.
Included in this group is a rug with floral compositions influenced by the French “Savonnerie” rug-making firm. It references Armenian designs and is technologically linked to the Varanda province’s rug weaving centers in Artsakh, especially Shushi. This group also features rugs with floral motifs and rose bunches, common in all Armenian rug weaving centers.
The collection also has rugs characterized by a cross pattern or cross-shaped compositions. Here, a sample belonging to the type characterized by a cross-like axis and shield-shaped composition, known as “Vahan” (shield) or “Sevan-Vahan”, is very unique.
Unlike classic “Vahan” rugs from the the Sevan basin, Northern Artsakh, and Tavush, which typically feature a single main composition, this variant repeats the design in an interlocking pattern. It’s typical of Vaspurakan, Upper Armenia (Bardzr Hayk), and Northern Turuberan’s historical Armenian rug weaving centers. We believe this rug, part of the Bagrevand-Vanand rug weaving centers, dates back to the late 19th century. The “Lori-Pambak’’ subgroup is also represented, including two “Lori” type examples.
The collection also stores “Pictorial”, “Alter”, and “Pattern-striped” group rugs, all of which are presented in this album. A notable piece is a “Pictorial” type rug from Shushi, distinguished by its unique image stylizations and detail richness.
Besides Armenian centers, the collection includes rugs from other East Asian centers, notably Shiraz and the Lake Urmia basin in Asia Minor.
“Pattern of the world”
Main composition of the rugs of the “Vorotan” type
Composition of a carpet with a many-sided complex design, Cilicia-Lesser Armenia
Carpets form a significant part of the museum’s textile collection. They are diverse, varying in the ways of weaving. The majority of them are bilateral (double-sided). Although fewer in number compared to the rugs in our collection, they nonetheless represent all historical Armenian carpet-making centers and their decoration and technological traditions. We highlight carpets from Asia Minor Armenian centers, featuring rich geometric, rhomb like and many-sided compositions. A prominent example is a Cilician center carpet, typically comprising two sewn-together panels with large many-sided compositions. These designs were popular in Asia Minor centers, known for their soft, harmonious colors.
A separate group consists of carpets from Western Armenian centers, diverse in technology and decorative compositions. Here, geometric main compositions are enriched with animal stylizations and geometric plant patterns.
Northeastern Armenian centers are well-represented in the collection, including carpets with small floral designs arranged in regular rows. The finest examples are attributed to the Vanand-Shirak-Javakhk carpet-making centers, including Kars and Gyumri, noted for decorative detail richness and often featuring Armenian calligraphic inscriptions.
The field ethnographic materials suggest that these carpet types, characterized by fine floral and almond-shaped patterns, became more widespread in the Shirak, Javakhk, and Gugark centers after the 1830s, coinciding with the settlement of Armenians from Greater Armenia in these regions.
A significant portion of the carpets in the museum relate to the carpet weaving centers of Artsakh, Syunik, and Utik. Among them are carpets decorated with many-sided designs presented in regular rows and adorned with hooks resembling stylized bird heads, known as “Darakhlu”. These carpets are known in several variants but consistently share the same main composition and presentation principle. A notable feature is the separation of the main composition rows with ornamentation decorated with “Khoyeghjur” (ram’s horn) stylizations. Besides the aforementioned regions, variants of this carpet type were also found in Vaspurakan, Arakspar, Southeastern Caucasus, and other carpet weaving centers, where they are known by the same name “Darakhlu”.
The collection includes carpets with “tree of life” motifs enclosed in rhomb-like frames, typical of the carpet weaving centers of the Dizak province of Artsakh. While this carpet type has a limited distribution scope, its main decorating element directly represents the idea of the eternity of nature and life, a concept with numerous variants in Armenian rug weaving culture.
Carpets named “Varanda” and “Kashatagh”, widely known in the carpet weaving centers of Northeastern Armenia and the south-southeast Caucasus, are also part of the collection. These two types are characterized by variants of the “Flowering cross” composition enclosed in rhomblike frames. The main elements of their decorating in these regions vividly convey ritual-magical ideas. Special emphasis is placed on the meaning of the main compositions and details decorating the open areas of the carpet field, including starshaped patterns, zoomorphic symbols, and human figures. These types of carpets, characterized by rich decorating details, were primarily produced in the carpet weaving centers of the Varanda province of Artsakh, particularly in Chartar and Taghavard.
Other textiles made using carpet weaving techniques also feature in the museum’s collection. Notably, carpets called “Soumakh” differ in technique: patterns and compositions are created by threads passing between pairs of warp threads on the front side, making the decorating system visible only on the front. After each row, a weft passes through, resembling the rug weaving technique. These carpets in the collection date back to the second half of the 19th century and originate from Artsakh. One published in this album is a classic example of this type, demonstrating the nuances of carpet weaving and the high level of perfection in the decorating system.
Mixed-technique carpets form another distinct type. Their decorating system comprises colored stripes of various widths decorated with techniques such as “bilateral”, “shulal” and, in some cases, “straight or slantly twined”. This type of carpet was mostly characteristic of the carpet
Main composition of
Composition typical of the carpet weaving centres of Western Armenia
Main composition of the carpets of the “Darakhlu” type
the carpets of the “Varanda” type
weaving centers of Western Armenia, particularly Vaspurakan and Turuberan.
Among Armenian folk art rugs, carpets, and other items created with similar techniques, there are also various traditionally used objects in Armenian everyday life, such as bags for bedclothes, saddlebags, horse blankets, etc. These items are notable for their unique presentation of decorative details and harmony of shades. Various techniques were also employed in their creation. Such household objects were popular across all carpet weaving centers of historical Armenia and represented the traditions of each region. Many of these items, particularly those from Artsakh and Syunik, are recognized by experts as belonging to Turkmen nomadic tribes like the “Shahsevan”, “Avshar” and “Tarakiama”. While exploring the possibility of such artifacts being created by these tribes, which is certainly a possibility, we assert that specialists in this and related fields should be thoroughly knowledgeable about the cultural heritage and practices of both the indigenous and immigrant communities established in historical Armenia. This understanding should encompass a detailed origin of their cultural activities. Such in-depth knowledge will enable experts to avoid expressing unsubstantiated views as far as possible.
The Chronological Description of the Collection
In determining the chronology of the rugs in our collection, we have adhered to two main principles. Firstly, when ethnographic or archival data are available, these sources are given primary importance. In their absence, we rely on the distinctive technical, technological, and decorative characteristics of each rug. The collection spans from the early 19th century to the 1970s. Notably, it includes several rugs with dated Armenian inscriptions, such as two “Vorotan” type rugs from 1809 and 1815. Additionally, five rugs from the 1870s and 1880s hold significant value for the study of Armenian rug-making culture. The collection also features 37 rugs from the 1890s to the 1920s, marked with Armenian inscriptions.
Carpet border
Beyond these dated inscriptions, five other rugs have Armenian inscriptions. For researchers, these pieces are invaluable for understanding the specific types and origin of the carpets, as well as the evolution of their designs. They also play a crucial role in the museum’s exhibits, offering visitors direct insight into the communities that crafted them and their unique aesthetic sensibilities.
The Description of the Ethnic Belonging of the Collection
The majority of the samples in the collection are attributed to Armenian carpet and rug weaving centers. However, the collection also encompasses samples from the carpet and rug weaving centers of other ethnic communities in historical Armenia and neighboring regions. About a dozen rugs, for instance, belong to Persian rug weaving centers, including two from the Shiraz weaving centers that illustrate the ancient rug weaving traditions of the Qashqai people.
Additionally, there are numerous rugs from the north-western areas of Persia, particularly from the ethnically diverse regions of Malaher, Lilahan, Hamadan, and the Urmia Lake BasinAtrapatakan (Atropatene). These rugs predominantly represent the traditions of various Kurdish tribes, as well as the Shahsevans and Avshars of Turkmen descent. It is important to note that the decorative systems of rugs and textiles woven by these tribes and Armenians show significant similarities and repetitions. Technological and color features are key in identifying the ethnic origins of these rugs. These characteristics help in determining ethnic belonging and allow for appropriate differentiation.
Several rugs and carpets are attributed to the rug and carpet weaving centers of Shaki, Shamakhu, Derbent, Khachmas, and their surrounding areas in the South-Eastern Caucasus. These regions, known for their rug and carpet weaving culture, are significant for identifying the traditions, technical-technological, and decorative features characteristic of the local communities, especially the Lezgins and the Tats. However, the presence of hundreds of thousands of Armenians, who had settled in these regions from Artsakh, Utik, and Syunik over the centuries and Carpet, mixed technique, /fragment/
were also engaged in rug and carpet weaving, complicates the differentiation of ethnic origin. Thus, a clear understanding of the region’s demographic history is essential.
A notable collection sample presents the carpet-making culture of the Kumika-Avar tribes, characterized by a unique stylization of the “tree of life” composition, representing the ancient decoration culture of the Dagestan tribes.
While the collection primarily includes rugs from historical Armenian rug weaving centers, not all centers are represented. Artsakh, Syunik, and Tavush are well-covered, with several samples showcasing the carpet weaving traditions of Vanand, Basen, and Bagrevand. However, carpets from several prominent carpet weaving centers of Western Armenia, such as Dersim, Kharberd, and Tigranakert provinces, are absent.
Two rugs featuring an altar motif represent traditions typical of Armenian rug weaving centers in Asia Minor.
The Scientific and Cultural Significance of the Collection
The rug, carpet, and related collections at the Folk Arts Museum serve as a vital source for studying the history and intricacies of Armenian and Near East Asian rug and carpet weaving culture. This includes insights into typologies, geographic distributions, and the ethnic groups involved in their creation. Notably, the collection’s significant number of rugs featuring Armenian inscriptions is especially valuable for researchers of Armenian and East Asian rug weaving culture. It is unfortunate, that despite the clear evidence of Armenian rug art’s ancient origins and rich history, its role within the broader East Asian carpet culture often remains under-appreciated in professional circles. The publication of this album, along with showcasing the collections from the museums of the Republic of Armenia, is intended to right this wrong.
Saddlebag /fragment/
The collection’s importance extends beyond academia; it provides a comprehensive overview of the various rug types developed in the historical Armenian rug-making centers, along with their decorative and technological aspects.
With this publication, we aim to bring the depth and uniqueness of Armenian rug and carpet art to the forefront for both experts and the general public. We hope that this album will highlight the significant role and value of Armenian rug and carpet art within the wider context of East Asian carpet traditions.
There is an Armenian inscription in the upper part of the rug field which reads: “I..AMI 1877 (In the year of 1877) E..KI..V”, in the upper line, “G Q”.
Published: Catalogue of Hovhannes Sharambeyan Museum of Folk Arts, p. 10, ph. 3
Rug “Boteh”
Shamakhi, mid-19th century, wool, cotton, 162*120, double knot, Inventory No:1724
There is a dated Armenian inscription on the wide border which reads “In the year 1902”, along with a few letters, such as “a”, “i” in the field of the rug.
Published: Ghazaryan M., Armenian Carpet, Los Angeles, 1988, p. 70
There is a dated Armenian inscription on the wide border which reads: “1914 OHANOV”, immediately below it, in the same direction, it reads: “1914 MANIK”.
There are dated Armenian inscriptions in the upper part which reads “1915 HO”, in the middle part, “H”, “Hav”, “Sargisean Hazaravard”, in the bottom part “Iskuhi Barishka 1914, 20 reptemberi (September)”.
1. Poghosyan A., The Collection of the Rugs in the Folk Arts Museum of Armenia: “Armenian Rug Weaving Art” Collection of materials of the First Republican Conference, Yerevan, 2011, ph. 20
2. Poghosyan A., Rug weaving Culture of Artsakh, Historico-Ethnographic illustrated study, “Scholars’ Press”, Saarbrücken, Germany, 2015, ph. 44
44 Rug “Savonnerie”
Shushi-Goris, beginning of the 20th century, wool, 395*116, double knot, Inventory No:10717
There is an Armenian inscription in the upper part of the field which reads: “AYS KHALICHAS PATKANUM E…MIKHAYELIN” (This rug belongs to… Mikhayel).
Published: Poghosyan A., Rug weaving Culture of Artsakh, Historico-Ethnographic illustrated study, “Scholars’ Press”, Saarbrücken, Germany, 2015, ph. 61
There is a dated Armenian inscription on top which reads: “1903 am…” (In the year of 1903).
Rug “With a cross pattern” Artsakh, beginning of the 20th century, wool, 260*132, double knot, Inventory No:11135
RUGS WITH A MANY-SIDED LARGE COMPOSITION
Rug “Memling”
Igdir-Kaghzvan, second half of the 19th century, wool, 215*127, double knot, Inventory No:640
Published:
1. Catalogue of Hovhannes Sharambeyan Museum of Folk Arts, p. 18, ph. 11
2. Poghosyan A., Rug weaving.- series “Peoples and Cultures”, “Armenians”, editors Vardanyan L. M., Sar Kisisiyan G. G., Ter-Sarkisyants A. E., “Nauka” Publishing House, Moscow, 2012, p. 201.
There is a dated inscription in the field of the rug which reads: “MA IAI 1898, MGO”.
Published:
1․ Catalogue of Hovhannes Sharambeyan Museum of Folk Arts, p. 13, ph. 14
2. Poghosyan A., Rug weaving.- series “Peoples and Cultures”, “Armenians”, editors Vardanyan L. M., Sar Kisisiyan G. G., Ter-Sarkisyants A. E., “Nauka” Publishing House, Moscow, 2012, p. 202
As a 13th-century Italian traveler Marco Polo mentions:
“Armenians and Greeks who live in cities are engaged in crafts and trade. The most delicate and beautiful rugs in the world are woven here. The names of these cities are Como /Iconia, Kasseri /Caesarea, Sevasto/ Sebastia, etc.”
Marco Polo, Journey, Translated from old French by I. P. Minaev, introductory article, comments and edited translation by K. K. Kunin, L.
62 Rug “Memling”
Vanand, second half of the 19th century, wool, 296*104, double knot, Inventory No:10237
64 Rug “Memling”
Lori-Tavush, end of the 19th century, wool, 202*125, double knot, Inventory No:10458
Meghri-Goghtan province, end of the 19th century, wool, cotton, 282*107, double knot, Inventory No:10939
67 Rug “Memling”
Vayk, Khachik village, end of the 19th century, wool, 300*135, double knot, Inventory No:11117
68 Rug “Memling”
Shaki-Zakatala, beginning of the 20th century, wool, 130*80, double knot, Inventory No:11148
Rug “Tavush”
Gardman, end of the 19th century, wool, 280*180, double knot, Inventory No:9968
Rug “Tavush”
Shaki-Zakatala, end of the 19th century, wool, 230*140, double knot, Inventory No:10852
Published: Poghosyan A., Muradyan T., Traditions of Armenian Rug Weaving Culture in Northeastern Transcaucasus“Armenian Knot”: Traditions of Carpet Weaving Art. Proceedings of the international Conference. Yerevan, 20-22 November, 2013, Ministry of Culture of the Republic of Armenia Yerevan, 2016, p. 3
72 Rug “Tavush”
Gardman-Jraberd, end of the 19th century, wool, 260*146, double knot, Inventory No:11119
Rug “Tavush”
Gardman-Tavush, beginning of the 20th century, wool, 246*142, double knot, Inventory No:11070
73
74 Rug “Kogovit”
Gardman-Sotk, second half of the 19th century, wool, 300*154, double knot, Inventory No:9205
75 Rug “Kogovit”
Sotk-Gegharkunik, second half of the 19th century, wool, 246*120, double knot, Inventory No:9969
Rug “With a many-sided stepped composition” Artsakh-Zangezur, beginning of the 20th century, wool, 250*110, double knot, Inventory No:11115
Rug “With a many-sided stepped composition”
Artsakh-Zangezur, beginning of the 20th century, wool, 390*124, double knot, Inventory No:10925
There is an illegible Armenian inscription on the rug.
78 Rug “Paraka” Lori-Tavush, end of the 19th century, wool, 194*152, double knot, Inventory No:10233
79 Rug “Paraka”
Tavush, end of the 19th century, wool, 240*130, double knot, Inventory No:10541
80 Rug “Paraka”
Zangezur, beginning of the 20th century, wool, 296*123, double knot, Inventory No:10920
There is a dated Armenian inscription in the upper right corner of the outer border which reads: “1902”. Published: Poghosyan A., Rug weaving Culture of Artsakh, Historico-Ethnographic illustrated study, “Scholars’ Press”, Saarbrücken, Germany, 2015, ph. 101
There is an Armenian inscription in the upper border of the rug: “AYS KHALIN PATKANUM E JACOB GEVORGIANCIN, YISHIR, OG, 1913 (This rug belongs to Jacob Gevorgiants, remember, O.G. 1913)”.
On both edges of the rug field there is a one-line inscription which reads: “AYS KHALICHAN YES KORCECIM HAYKANDUT VARDENESEANC, AYS KHALICHAN YES KORCECIM YEGHSAPET VSENC MARTI 10-IN 1914 (I wove this rug, Haykandukht Vardenesyants, I wove this rug, Yeghsabet Vsents, on March 10, 1914)”.
There is a dated inscription in the upper part of the rug field which reads: “19 ...09”.
Rug “Chartar”
Varanda, 19th century, wool, cotton, 394*102, double knot, Inventory No:10935
There is a dated inscription in the upper part of the rug field which reads: “MANISHAK MARGAREANC”. Published: Catalogue of Hovhannes Sharambeyan Museum of Folk Arts, p. 24, ph. 20
There is a dated Armenian inscription in the upper part of the field which reads: “1881 AN”. Published: Poghosyan A., The Collection of the Rugs of the Folk Arts Museum of Armenia: “Armenian Rug Weaving Art” Collection of materials of the First Republican Conference, Yerevan, 2011, ph. 22
114 Rug “Chartar”
Varanda, Nngi village, end of the 19th century, wool, 173*91, double knot, fragment, Inventory No:10931
There is a one-line inscription on both edges of the rug field. The one on the left is illegible, with only the clearly visible date. It reads: “PM 1916 MG”. On the right side, the inscription reads: “PATKANI AYS KHALICHAN MKRTICHIN (This rug belongs to Mkrtich)”. In the rhomb pattern on top, it reads: “ASHKHEN ZA”.
116 Rug “Chartar”
Varanda, Taghavard village, end of the 19th century, wool, 338*92, double knot, Inventory No:10985
There is a dated Armenian inscription in the upper part of the field which reads: “1902 AMI. SOGHOMON TER ASTSATUREANTS” (In the year of 1902, Soghomon Ter Astsatureants).
Rug “With a rhomb pattern”
Artsakh, Khachen, beginning of the 20th century, wool, 267*146, double knot, Inventory No:11161
Rug “With a hook pattern”
Artsakh, end of the 19th century, wool, 234*144, double knot, Inventory No:11106
Rug “Pattern with rhomb in a border with hooks”
Sotk-Gegharkunik, end of the 19th century, wool, 260*152, double knot, Inventory No:10145
Rug “Pattern with rhomb in a border with hooks” Zangezur, 1937, wool, 247*120, double knot, Inventory No:10964
The date is woven in the upper corner of the rug: “1937”, the following words are woven in the center: “VARD (rose)”, “PATK”.
122 Rug “Shulaver”
Shamakhi, mid-19th century, wool, cotton, 282*110, double knot, Inventory No:11073
123 Rug “Kashatagh”
Artsakh, Dizak-Bargushat, beginning of the 20th century, wool, 220*110, double knot, fragment, Inventory No:9973
There is an unclear dated Armenian inscription in the upper part of the field which reads: “1809 ti..as”. Published: Poghosyan A., Rug weaving Culture of Artsakh, Historico-Ethnographic illustrated study, “Scholars’ Press”, Saarbrücken, Germany, 2015, ph. 96
It has an illegible dated Armenian inscription: “I 1875 ADAT.BI.GG.” (In the year of 1875…. ADAT. BI. GG)
Published:
1. Poghosyan A., The Collection of the Rugs of the Folk Arts Museum of Armenia: “Armenian Rug Weaving Art” Collection of materials of the First Republican Conference, Yerevan, 2011, ph. 19
2. Poghosyan A., Rug weaving Culture of Artsakh, Historico-Ethnographic illustrated study, “Scholars’ Press”, Saarbrücken, Germany, 2015, ph. 91
3. Catalogue of Hovhannes Sharambeyan Museum of Folk Arts, p. 22, ph. 16
4. Poghosyan A., Rug weaving. - series “Peoples and cultures”, “Armenians”, answer. editors L.M.Vardanyan, G.G. Sar Kisisiyan, A.E.Ter-Sarkisyants, “Nauka” Publishing House, Moscow, 2012, p. 203
There is a dated Armenian inscription in the upper part of the field which reads: “1899 AMI (In the year of 1899)”
Published:
1. Poghosyan A., The Collection of the Rugs of the Folk Arts Museum of Armenia: “Armenian Rug Weaving Art” Collection of materials of the First Republican Conference, Yerevan, 2011, ph. 21
2. Catalogue of Hovhannes Sharambeyan Museum of Folk Arts, p. 19, ph. 12
In the central part of the rug’s field there is an unclear dated Armenian inscription: “A. S. T. P. V. A. A. KH. P. K. ․․․․․․1914”. One can also read “h” written in the lower part.
Published:
1. Ghazaryan M., p. 164, 165
2. Poghosyan A., Carpets.-Armenian Folk Arts, Culture and Identity, Ed. by L. Abrahamyan and N.Sweezy, Bloomington and Indianapolis, 2001, p. 153
152 Rug “Khndzoresk”
Varanda-Sisakan, end of the 19th century, wool, 238*135, double knot, Inventory No:7870
153 Rug “Khndzoresk”
Artsakh-Zangezur, end of the 19th century, wool, 250*165, double knot, Inventory No:9896
In the upper corners of the field there is an Armenian inscription which reads “Maral” and “Balakhanum”. In the right corner there are also illegible letters. “Balakhanum” is woven twice, while “Maral” is woven thrice on it.
Published: Catalogue of Hovhannes Sharambeyan Museum of Folk Arts, p. 13, ph. 6
Published:
Rug “Vayk”
Sisakan-Vayk, 19th century, wool, 262*105, double knot, Inventory No:10556
1. Poghosyan A., The Collection of the Rugs of the Folk Arts Museum of Armenia: “Armenian Rug Weaving Art” Collection of materials of the First Republican Conference, Yerevan, 2011, ph. 23
2․ Poghosyan A., Rug weaving Culture of Artsakh, Historico-Ethnographic illustrated study, “Scholars’ Press”, Saarbrücken, Germany, 2015, ph. 27
There is a dated Armenian inscription: “1904 B SH A M”.
Basing himself on rich historical and bibliographical material, also a special comparative analysis of the earliest carpets kept in different museums of the world and private collections, Volkmar Gantzhorn mentions:
“All the ornamental patterns and compositional motifs of Oriental carpets stem from the Armenian cultural area.”
The Christian Oriental Carpet | Volkmar Gantzhorn Yerevan, History Museum of Armenia, 2013
198 Carpet “With striped patterns” Lori-Shirak, second half of the 19th century, wool, 307*168, Inventory No:11019
199 Carpet “With striped patterns” Lori, second half of the 19th century, wool, 305*164, Inventory No:11195
Carpet “With a hook pattern”
Lori, Jiliza village, 1878, wool, 369*150, Inventory No:11072
There is a dated Armenian inscription: “1878 AMI...” (In the year of 1878).
պատմության, Եր., 1981: [Davtyan S., Episodes of History of Applied Arts in Medieval Armenia, Yerevan, 1981]
2. Թաթիկյան Վ., Արցախի
Եր., 2004: [Tatikyan V ., Ancestral Carpets of Karabagh, Yerevan, 2004]
3. Թեմուրճյան
Եր., 1955: [Temurtjyan V ., Rug Weaving in Armenia, Yerevan, 1955]
4. Պողոսյան Ա , Հայաստանի
2011, էջ 61-69: [Poghosyan A., The Collection of the Rugs of the Folk Art Museum of Armenia: “Armenian Rug Weaving Art” Collection of materials of the First Republican Conference, 61-69, Yerevan, 2011]
5. Պողոսյան
շուրջ.-
հանդես», 2001, N2 , էջ 236-250: [Poghosyan A., on the issue of the origin of carpet weaving in Armenia: “Historical-Philological Journal” 236-250, 2001]
6. Քուրտյան Հ., Գորգը
Վենետիկ, 1947: [Kurtyan H., Rugs of Armenians, Venice, 1947]
7. Исаев М., Ковровое производство Закавказья, Тифлис, 1932. [Isaev M., Rug Production of Transcaucasia, Tiflis, 1932]
8. Казарян М., Армянские ковры, М., 1985. [Ghazaryan M., Armenian carpets, Moscow, 1985]
19. Poghosyan A., Rug weaving Culture of Artsakh, Historico-Ethnographic illustrated study, “Scholars’ Press”, Saarbrücken, Germany, 2015.
20. Poghosyan A., Tatev Muradyan, Traditions of Armenian Rug Weaving Culture in Northeastern Transcaucasus /Հայոց
Knot”: Traditions of Carpet Weaving Art. Proceedings of the international Conference. Yerevan, 20-22 November, 2013, Ministry of Culture of the Republic of Armenia Yerevan, 2016, pages- 308-315:
21. Poghosyan A., Carpets.- Armenian Folk Arts, Culture and Identity, Ed. by Abrahamian L. and Sweezy N., Bloomington and Indianapolis, 2001, pages 150-158.
