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Damascene Carpet
- Title/name : Damascene Carpet
- Production place : Damascus?
- Date / period : Sixteenth century
- Materials and techniques : Wool, asymmetrically knotted
- Dimensions : L. 164cm; W. 118cm
- Conservation town : Paris
- Conservation place : Jacquemart-André Museum
- Inventory number : T 746-2
Four squares, of either almond green or royal blue colour,
each with a sixteen point star at their centre, stand out against the fire red
background. Small vegetal motifs - florets, cypresses, rosettes –cluster around
the stars as if drawn by a magnet. The quoins which fill the squares are
ornamented with a sort of mosaic. At the top end of the area, two more squares
are only half shown. The border framing the whole is made of a succession of
multi-lobed medallions and elongated ovals; a stem with lozenge florets marks
the corners.
Produced towards the middle of
the sixteenth century, it seems, this specimen remains faithful to the
geometrical style which was imposed in Islamic countries at the end of the
Middle Ages, for the decoration of court carpets or those destined for the
homes of wealthy citizens. Where did this fashion stem from? Probably from a
greater desire to integrate the carpet in the architectural environment and
thus to increase its grandeur. The
similarity between this decoration and that of the mosaics and ceramic tiles,
or again that of the doors and the marquetry ceilings is noteworthy. The style
is “international” and was developed both in the East and the Muslim West and
would continue in use for a very long time on certain media. Nineteenth century
Moroccan doors in carved wood still had this type of decoration, as can be seen
from a work in the Institut du Monde Arabe (Paris).
The attribution of this type
of carpet to the Syrian capital still remains uncertain, even if the general
term damaschino, appears a few times
in the Venetian inventories of the Renaissance period. The type of manufacture,
like the decorative features, undeniably links “Damascene” carpets to the
Mameluke carpets from Cairo: the same motifs of stars, yew trees and florets, and
the same technique of asymmetric knots. Nonetheless, the wool in Damascene
carpets is not spun in S ply(clockwise), as it is in those from Cairo, but
rather in Z ply(anti-clockwise), and the weft is in a reddish or pinkish beige
wool. The pile is also less dense. Their production, probably launched in
Mameluke Syria
towards the end of the fifteenth century, must have continued quite a long time
under the rule of the Ottomans, possibly until the end of the seventeenth
century?.
We know that Renaissance painters
in Europe found oriental carpets fascinating. Their mysterious decoration allied them with
“l'art des Mages” (the art of the Magi), to borrow André Malraux’s expression. This
specimen demonstrates the point. At the top of the carpet, the last two
squares, half depicted, give the sense of belonging to a much vaster construct
which would extend behind the border, like a night sky with stars glimpsed
through an open window. That is, if the
carpet is hung vertically. It presents a different interpretation on the ground;
the fire red background looks like a pool of water scattered with lotus flowers
and reflecting a fiery sky above.
REFERENCE BIBLIOGRAPHY
Dimand, M.S.,
Oriental Rugs in the Metropolitan Museum of Art, New York, 1973, p.183, fig. 157.
Pinner, R., Denny, W., Oriental Carpet and Textile Studies, Vol. 1,
Londres, 1985.
Grant Ellis, Ch.,
Oriental Carpets in the Philadelphia
Museum of Art, Philadelphia, 1988, p. 128-131, n° 41
The Eastern Carpets in the Western World, (exh. cat.), London, 1983, p.
67, n° 30.
Tapis, Présent de l'Orient à l'Occident, (exh. cat.), Institut du monde arabe, Paris, 1989, p. 48-49
Le Ciel dans un Tapis, cat.
exp., Institut du monde arabe, Paris,
2004, p. 100, n° 9.
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