BAKHTIARI – INDIAN EXCLUSIVE HANDKNOTTED CARPET 70 x 144 cm
Bring timeless beauty to your space with the BAKHTIARI, a stunning piece from our ORIENTAL collection. This HANDKNOTTED Carpet, crafted in India, features a Multi Color palette and measures 70 x 144 cm. The intricate design highlights the artistry and cultural heritage of its region, making it a perfect choice to enhance any room. Whether placed in a cozy living room or a stylish office, the BAKHTIARI adds warmth, elegance, and sophistication to your decor.
Dkr 2,950
Availability: 1 in stock
Additional information
| Size | X-Small (< 1.10 Sq. m.) |
|---|---|
| Color | Multi Color |
| Width | 70 cm, 2.29 ft |
| Length | 144 cm, 4.724 ft |
| Area | 1.01 Sq.m., 10.85 Sq.ft. |
| Pile | Wool |
| Fringes | Cotton |
| Thickness (Approx) | 14 mm |
| Age | New (< 30 Years Old) |
| Knots per sq.m. (Approx) | 275000 sq.m. |
| Origin | India |
| Group | 9 |
| Shape | Rectangle |
Description
HISTORY OF CARPETS OF INDIA
Rug weaving almost certainly does not extend back into India’s remote past; yet the Indus Valley is the site of one of the earliest major civilizations, which appears to have been centered in abandoned cities discovered near Harappa and Mohenjo-Daro, both in Pakistan. This culture flourished from about 2500 B.c. to 1500 B.C., and although the reason is not known precisely sits end roughly coincides with the beginning of the Aryan migrations. Subsequently a series of small Aryan kingdoms was established across the north, advancing slowly down the Gangetic plain. The sixth century B.C. witnessed the growth of new religions, as Gautama Buddha and Vardhamana Mahavira founded the movements’ culminating in Buddhism and Jainism.
More of a threats were the raids that began in the last decades of the tenth century by the Ghaznavids, who were based in the arid mountains around Ghazni (Afghanistan). Under their best-known leader, Mahmoud (971-1030), the Ghaznavid Empire stretched from Mesopotamia to the upper Ganges Valley, including the Punjab and most of north western India. In 1206 a Ghorid general established the Sultanate of Delhi, which remained a seat of power under four succeeding Moslem dynasties. Hindu kingdoms were slowly eliminated, as Moslem power spread over the Gangetic plain and into the Deccan. Even parts of the south, which had previously been resistant to invasion, succumbed to Moslem domination.
Moslem power did not provide political unification, however, as a number of independent Moslem kingdoms arose throughout the subcontinent. No effective opposition was offered to Tamerlane’s incursion in 1398-1399, but this was more of a raid than a permanent conquest.
The founder of the Moghul dynasty was Babur, a descendant of both Tamerlane (“Timur”; thus, the dynasty of his descendants in eastern Persia was the “Timurid”) and Genghis Khan (the term “Moghul” is derived from “Mongol”). While still a boy Babur was driven from his ancestral domain in Ferghana by the Uzbegs, but he and his followers subsequently were able to seize Kabul. After years of sporadic success and failure in central Asia, he turned toward India and finally, from 1526 to 1530, conducted a series of campaigns that swept over the north as far as Bihar. His successor, Humayun, was not such an effective warrior, and in 1544, after a defeat by the Afghan leader Sher Shah, he took refuge in the Persian court of Shah Tahmasp. (The considerable significance of this event, from an artistic point of view, will be discussed later.) There he enlisted Tahmasp’s help and laid the groundwork for a successful return in 1555.
Humayun was succeeded in 1556 by his son Akbar, the greatest of the Moghul emperors. Reigning until 1605, Akbar firmly established Moghul dominion over the entire north and into the Deccan. The following emperors, Jahangir, Shah Jahan, and Aurangzeb, extended the empire throughout the south, but they were not gifted administrators, and their ambitious building projects left the empire economically less sound. By the beginning of the eighteenth century the central power had weakened, and the subcontinent again broke into a number of small states, some of which were Hindu. These states were unsuccessful in resisting the invasion of Nadir Shah from Persia or subsequent raids of the Durani Afghans. By the late eighteenth century India was so exhausted from internal warfare and invasions via the historic routes of the northwest that the British encountered surprisingly little resistance in expanding their original role as traders into their eventual one as rulers of the Indian empire. The nineteenth century and first half of the twentieth were dominated by the interface between India and this European power, which profoundly changed the economy and way of life of many Indians. The British influence is still strongly in evidence, and English is the only language widely understood in all parts of the country.
One reason so much attention has been given here to the military vicissitudes of India, particularly in the north, is that this history relates to the question of when weaving began and who introduced it. A number of commentator have, in my opinion, been too willing to assign a late date, theorizing that Akbar imported the craft (carpets as well as weavers) in a fully mature form from the Persian court. While Akbar may, indeed, have imported Persian crafts¬ men, one cannot be certain that carpet making was unknown in India prior to that time. The invasions of northern India from central Asia were so numerous, and occurred over such a long period that one can scarcely imagine that pile carpets would not have been brought into India on many occasions and that they would not have been woven in northern India at least. The early Aryan migrants came from a central Asian environment where carpets probably were commonplace, as did the Scythians and Kush- ans. Both the Ghaznavids and Ghorids came from carpet-making areas, and the five Islamic dynasties that ruled as sultans of Delhi had strong Persian and Turkic components. Surely the Moghuls were not the only likely instigators of carpet weaving, and the craft could have existed in the north among the Moslems for some time before the arrival of the Moghuls.
The historical record becomes clearer with the arrival of the Moghuls, who came from an area in which carpets were certainly used in the princely courts. Babur’s journal does not show him to have been greatly interested in the arts, but at one point, during a visit to Herat, he mentions sitting with a friend on two carpets that faced each other on a balcony of the palace.1 He also was aware of the painters attached to the court at Herat, noting that Bihzad painted faces with beards better than he did beardless youths. Still, there is no reason to think of Babur as a patron of the arts. His son Humayun, however, was apparently a man of refined tastes, and when this monarch was forced to take refuge in the court of the Sefavid rulers of Persia in 1544, he was exposed to that great flowering of Sefavid art that produced what are still regarded as among the greatest carpets and the finest miniatures in the history of Persian art.
The Ain-i-Akbari, a chronicle written by Abul Fazl, the emperor’s minister and friend, is specific about Akbar’s interest in carpets:
[Akbar] caused carpets to be made of wonderful varieties and charming textures; he has appointed experienced workmen who have produced many masterpieces.
From this it would seem that the Moghul palaces were decorated with a variety of rugs, with locally woven materials included along with imports from major Persian sources.
Uttar Pradesh Major Carpet Centers Bhadohi, Mirzapur, Varanasi, Agra
The populous state of Uttar Pradesh is currently the center of the Indian weaving industry, which probably developed here in the late nineteenth century. Nevertheless, Jaunpur and Allahabad are mentioned in the Ain-i-Akbari, and weaving was no doubt introduced here during Moghul times.
Bhadohi
The nearby towns of Bhadohi, Gopi Gunj, and Khamaria produce the same types of carpets, and a limited production occurs in literally thousands of villages in eastern Uttar Pradesh. There are approximately five hundred thousand weavers in the state.
Mirzapur
Mirzapur is the most important carpet weaving city in Uttar Pradesh in terms of volume of goods produced. There is no clear evidence that significant weaving took place there during Moghul times, but there are many stories. Several sources quote the tale of a caravan from Persia, including carpets and weavers, that was looted in the Mirzapur area during the seventeenth century. In gratitude for his survival and the hospitality extended to him, one of the weavers, Luqman Hakim, settled in the village of Ghosia and allegedly taught the craft to the villagers. A likelier introduction is that weaving spread from Jaunpur or Allahabad, both carpet centers during the Moghul era. By the time of the Paris exhibition of 1867 Mirzapur carpets were of sufficient quality to win acclaim, and they were apparently among the most finely knotted nineteenth century types.
Varanasi
The art of hand-knotted carpet weaving in Varanasi has deep roots in the region’s cultural and artistic heritage. The city has been a hub for silk weaving since ancient times, and the skills and techniques have been passed down through generations. Traditional motifs, designs, and craftsmanship have been preserved and adapted over the years, creating a unique style that reflects the cultural richness of Varanasi.
Varanasi continues to be a significant center for the production of hand-knotted silk carpets. The weaving process involves highly skilled artisans who meticulously hand-knot each thread to create intricate patterns. The carpets are known for their luxurious feel, exquisite designs, and attention to detail.
Agra
The tradition of carpet weaving in Agra dates back several centuries. During the Mughal era (16th to 19th centuries), Agra became a significant center for arts and crafts, including carpet weaving. The Mughal emperors, known for their patronage of the arts, played a crucial role in promoting and developing the carpet industry in Agra. The weavers in the region were skilled in creating intricate designs and patterns, often influenced by Persian and Central Asian motifs.
Agra continues to be a prominent center for hand-knotted carpet production. The city is known for its high-quality carpets that showcase a blend of traditional craftsmanship and contemporary designs. Artisans in Agra produce a variety of carpets, ranging from those inspired by historical Mughal designs to more modern and innovative patterns.
Rajasthan – Jaipur
Jaipur has a long history of arts and crafts, and the city became a significant center for carpet weaving during the reign of Maharaja Sawai Jai Singh II in the 18th century. The Maharaja encouraged various art forms, including carpet making, and artisans from different parts of the country were brought to Jaipur to contribute to the city’s cultural richness.
Jaipur continues to be a prominent center for hand-knotted carpet production. The city’s carpets are known for their vibrant colors, fine craftsmanship, and diverse designs. Jaipur’s weavers produce a range of carpets, from traditional patterns inspired by Rajasthani culture to more contemporary and innovative designs to cater to changing market preferences.
Kashmir
There are tantalizing hints that carpet making in Srinagar, Kashmir’s capital, may have predated arrival of the Moghuls in India. Both locally and in the rug literature one hears a story (remarkably consistent for this kind of “traditional” information) that begins with Tamerlane’s invasion of India in 13 98.79 Allegedly Sultan Sikander of Kashmir submitted to the conqueror and sent his son as a hostage to Samarkand. The young man spent seven years in this most cosmopolitan of early fifteenth century cities, and when he returned he brought with him several artisans and a taste for the fine arts. When he ruled as Sultan Zain-ul-Abadin (1423-1475) he allegedly imported from Persia and central Asia carpet weavers as well as other craftsmen. Whether or not the story is true, at least the externals check with historical fact.
There are no reports of Kashmiri carpet manufacturing during late Moghul times, and by the early nineteenth century shawl weaving apparently occupied the city’s attention. The origin of this craft has been hotly debated; some suggest that it was introduced from Persia in the fifteenth century, while others think it was indigenous. It was mentioned in the Ain-i-Akbari, and by the late eighteenth century it had become a major enterprise, with a brisk export trade and market throughout India.83 A competing industry was established in Scotland, however, in Paisley and Norwood, and eventually, after the British had imposed a series of restrictive tariffs and trade rules on the Indian product, it deprived the Kashmir industry of its major markets. Consequently large numbers of skilled weavers were deprived of employment at the time when the demand for handmade carpets was increasing.
Many rugs are also woven with an all-silk pile, and these usually show the same designs as the wool and silk rugs. A smaller number are woven in mercerized cotton, which is softer and has an even greater luster. In both cases the warps are almost always of cotton, which distinguishes these rugs from the typical silk- warped Persian silk rugs. Despite their fine workmanship, Kashmiri rugs still sell for considerably less than Persian rugs of comparable quality, and they must be seen as one of the rug bargains currently available.
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