About the Antique Rugs of the Future Project
Sheep Breeds of Azerbaijan
Shearing, Sorting, Washing, Carding, Spinning
"The advantages of handspun yarn to machine spun yarn"
Rediscovery of Ancient Natural Dyes
Our Natural Dyestuffs
Difference between synthetically and naturally dyed rugs
Weaving and Finishing Steps
Galleries of ARFP Caucasian Azerbaijani Rugs
Vojtech Blau Perepedil
Size (metric): 150x210 cm
Size (ft): 4'11"x6'10"
Area: 3.15 m2
Density: 170 000 knots per square meter, totally 550 000 knots
Weaving period: 3 months
Colors (12): madder red, aqua blue/green, light green, forest green, medium green, midnight blue, light blue, navy blue, gold yellow, maroon/antique ruby, natural ivory, natural brown.
Dyes: 100% natural dyes: madder, weld (Reseda Luteola), indigo, pomegranate skins, walnut husks, natural brown sheep wool, natural ivory sheep wool - all are eco-friendly and non-toxic
Materials: Handcarded and handspun wool for pile, ivory wool warps and madder dyed red wefts
Handwoven in Azerbaijan
Design: The design belongs to the group of carpets produced in the Caucasus in the 18th and 19th centuries that are now considered as precursors to the Perpedil weavings of the late 19th century. Perepedil carpets, named after the northeast Caucasian [Kuba (VD)] village, usually exhibit a wide variety of rams horn motifs along with vine arabesques, tulips, and birds. Many of these design elements originate in the patterns of Caucasian embroideries. For an example of such embroidery, see Burns, James D., The Caucasus, Traditions in Weaving, Seattle, Court Street Press, 1987, plate 49. These carpets went through numerous transformations throughout the centuries. The hallmark rams horns design itself can be considered as a later variation of the earlier blossom design. For a transitional carpet, where the rams horn motif is still clearly a part of the blossom design, see Yetkin, Serare, Early Caucasian Carpets in Turkey, London, Oguz Press, 1978, vol 1, pg. 89, plate 37. Here, the repeat concept of earlier weavings of the 17th century disappears with motifs standing isolated in a single vertical row. The practice of isolating a number of elements from a richly varied design and using them as the building blocks of new compositions is typical of many carpets from the Caucasus. The only repeating motifs in the field of the carpet offered here are the in- and outward-facing pairs of rams horns that flank different decorative elements, creating a new pattern in every row. The fields bold and free design is contained by a floral-inspired main border. A similar Caucasian carpet is in the collection of James D. Burns, see Burns, James D., op. cit., plate 20.
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