Analysis of Shirvan Presentation Carpet

The details of this carpet show that it belongs to the tradition of "OLD SHIRVAN". This includes the two and one-quarter square meter (2 ¼ m5 ) size, dimension of which are 128 cm wide by 176 cm long; the high quality wool with which it was made; the quality and chemical composition of the dyes. Additionally the character of ornament , such as the border design and particularly the symbols above the Tsar's right shoulder as depicted in the photograph to the left.

Material for the "OLD SHIRVAN" carpets is the best quality wool, from the finest sources. For example by using only wool from the belly of the sheep, and taking care that no wool comes from diseased or dead sheep. The Shirvan weavers are famous in their use of colouring by the rarest natural dyes of which their techniques in dying created a richness and depth of colour which has proven by time to be colour-fast.

In addition there was experimental use of aniline dyes beginning in the 1880's. Orange being a colour virtually impossible to achieve with natural dyes, this colour was therefore created with an aniline dye. This fact is one of the interesting specialities of this rare historical memorial. The knots of carpet are made of traditional Caucasus type "Giordes", and they are closely adjacent to each other (compactness in this carpet is approximately 288,000 knots per m5 ). The pile is cropped in the short tight fashion of Shirvan.,

The border, including seven stripes with geometrical motifs, and with drawings of the birds, stars, wine-glass and leaves, offers codified wishes 'good luck' and confirms the fact of this carpet belonging to tradition "OLD SHIRVAN".

From a technical view the finish of the carpet's sides, the selvage, the techniques used in knotting the fringe, the style of the warp and weft interactions, all prove beyond doubt the origin. By comparison, of the ornamental motifs of the investigated carpet with well-known samples of Azerbaijan "OLD SHIRVAN"s, the following findings.

From "Catalogue of Carpets of Azerbaijan, published USSR, 1952", the following literal coincidences were discovered: These coincidences, taken together with the symbols, techniques and coloration noted earlier, confirm the fact of belonging this carpet to the tradition "OLD SHIRVAN".

1. Ornaments with wine-glass and leaves completely coincides with samples on tables # 33, 36,45
2. Ornaments with stars completely coincides with samples on table # 42;
3. Toothed ornaments near the red-white drawing of interlaced cord completely coincides with samples on table # 26;
4. Ornament, represented stylised flower bud, which is situated in the comer of lower sector, and defined as a stamp of master from Marsali tribe, completely coincides with samples on table # 38.

The centre of carpet includes two parts. The upper part is a picture of an icon, around it we can see its own frame made of red ornaments in blue field, in what it is easily noticed drawings of the Cross. The colourful gamut is very harmonious: red, beige, and light-olive wonderfully distinguish and underline bright, rhythm-organised ornaments, give us sense of holiday formed festive frame for central figures:

The Iconography can be traced to one of the most sacred icons in Russia - The Yaroslavskaya Oranta from the 13^th century, kept in State Tretyakovskaya gallery, Russia. Our supposition was supported by senior research worker of Restoration's department Parphyonova T.G. (Kremlin museums) and ex-head former of Research department, candidate of historical science Lebedeva I.V. (Andrey Rublyov Museum).

These icons are a united pose of Our Lady with up-lifted arms in prayer, drawing Christ Emanuel in medallion form on Our Lady's breast, with star-shaped decorations on shoulders figure, and "zarukavniki" (special sleeves), embroidered by pearls.

But on Yaroslavskaya Oranta Our Lady was drawn in whole height, while the icon on carpet is a half-length portrait. Probably, true original icon for weaver, who made this carpet, was latest icon, history of which we should know later. (Editor's note: Please see the report on Icons in the printing, which depicts a number of icons of similar nature).

The lower part of the central field is a portrait of Alexander III and Tsarina Marie Feodorovna. They are drawn in full tsarist regalia: crowns, ermine mantle, medals, and jewels. The Tsar holds "derzhava" (orb) and "skipetr" (sceptre), the symbols of royal power. The figures are situated under bright-red canopy with golden-yellow fringe and tassels. From below figures are framed by stylised moiré ribbon.

Portraits were not usual for Caucasus carpets. The majority of eastern carpets belong to Muslim culture. Muslim dogmatism forbids drawings of alive beings. But at the same time, it is known, that this interdiction was not always kept. For sample we can see Persian "luxurious" carpets with many figures of people, close to famous Persian miniatures in style. Caucasus tradition did not totally refuse from drawing portraits, but figures of people were always strictly stylised.

In that case we can see unique memorial, which was made for the special celebrations, we can suppose, that working at portraits was difficult for the weaver, but he made it with bright success. This portrait is stylised, ornamental and plain, but nevertheless it is a portrait.

Apparently, the carpet with the portrait of Alexander III was made to special order and it used a special pattern, which was made by another artist. The pattern maker had access to a painting of the coronation and the ikon. These patterns, called "cartoon" in the textile trade, were painstakingly transferred on ruling paper, where every square signed a knot. In this carpet another cartoon would have been made of the Ikon being modelled, then a complete cartoon of the entire carpet made which included all details of the two panel cartoons.

The Motherland of carpets is The East. And namely there people lend increasing symbolical importance to carpets. Carpets form the ancient eastern dwelling, are used as a bed and a seat, a saddle consists of carpets, five times a day carpets are used in time of prayer. All of these functions keep in many and many special knots of wool or silk threads. It can give birth of a lot of associations, such as: Ancient knot written language, and sea-knots of Phoenician seafarers, and knots, named "Tsitsyt" on Jewish "talits". Concentrated energy, kept in a carpet, in its ornament, colour combinations and rhythm of composition promise good fortune and happiness for its owner.

The method of creation of a carpet is simple yet incredibly labour-consuming work. First the cartoons, which here would involve trips to St. Petersburg or Moscow from the Caucasus to make the patterns, the carding of the wool, gathering of the natural dyes, the cleaning and dying process, then finally the actual construction.

The number of knots, that skilful weaver can make during a day, is fluctuating between six and ten thousands. Before knotting the weaver must string the numerous weft threads (vertical threads from top to bottom) as the framework upon which the carpet is constructed. After knotting, the carpet must be trimmed and beaten. This carpet containing approximately 575,000 knots with a tight weave and many colour changes the weaving, framework, and trimming time would be about 150 days. A reasonable estimate of the total time involved in all processes for this carpet is about one year or more.

Carpets were presented to ancient sovereigns as special, magnificent and valuable gifts. A carpet was kept in a family and was given from one generation to next. From this point of view, the carpet with coronation portrait of Alexander III and Tsarina Maria Feodorovna, which was presented Tsar Alexander III from Shirvan, one of Caucasus regions in Russian empire, is the last memorial, confirming all claims of ancient traditions.

Alexander III was a true Russian autocrat, who made the real attempts for unification of Russian lands, of strengthening of empire's borders. For a long time the reign of Alexander III was described by historians as a time of reaction. But now this point of view has began to change. Although, the best Russian historians always marked the positive features of the reign of Alexander III: 'Foreign policy of emperor Alexander III was notable for definition and steadiness…Constancy of Russian Sovereign in maintenance of the common peace and sincerity of his peaceful disposition gave him the denomination 'peacemaker'.

The date of accession was 1881, but as was common, only later would come the actual ceremonies attended by royalty and officials world-wide. Coronation celebrations in 1883 were made with great splendour and enterprise. There were such magnificent arrangements as unveiling of Christ The Saviour Cathedral, for the first time in Moscow electricity illumination was organised, the best Russian artists were invited for the decoration of this celebrations. For example, Victor Vasnetsov, the famous Russian artist, made menu for restaurants in honour of this celebration.

The central field of this carpet was divided on two parts. The lower part of the central field is a portrait of Alexander III and Tsarina Maria Feodorovna at the moment of the coronation, this fact is confirmed by the detail eye-witness accounts, which were published in 1883: '...descending down the Red Porch, His Majesty Emperor with Her Majesty Empress were pleased to stand under the canopy and slowly proceeded to the Cathedral...', the other eye-witness remembered: '…and, standing under a canopy, and stalked with crowns and purples, and His Majesty Emperor with "derzhava" (see photo) and "skipetr" in his hands, to The Archangel Cathedral .

Alexander III ascended the throne after his father Alexander II, who had been killed by a bomb explosion. He was very cautious of attempts on his life. For celebrations, few representatives of nobility, ambassadors of foreign Powers and superior complement of Officers corps were admitted straight to the Kremlin. The celebrations for people were organised on Moscow's streets and they could watch the solemn procession only a great distance away, from some elevated place.

According to recollections of the wonderful Russian artist Vasifij Surikov, the figure of Alexander III stood out by mighty height and stateliness and he was seen from afar, making imposing and solemn effect. At once after Coronation celebrations special albums, calendars and cards with pictures of scenes of solemnity and its description were published. On one of these pictures the Tsar and Tsarina were printed standing under a canopy with royal regalia in hands..

Such gift could be presented for special case. It is well-known fact, that Alexander III was passionate collector of works of art, especially he loved the works of obscure folk masters (icons, carpets, unique dishes), which were delivered to him as a present through his courtiers in attendance. K.P. Pobedonostsev, ober-procurator of the Synod, who exerted great influence on the Tsar (for example, S. Lubosh called him 'the inspirer of new reign) often promoted such kind of replenishment of the Tsar's collection, and traditionally after the gift was presented, there had to be an audience, at which a grantor could set forth his request.

The ceremony of presenting carpets to sovereign is the century-old tradition of the East. But how can you present this gift, showing, that it is very valuable and it is absolutely unusual, and at the same time you must flatter to Tsar's taste? Alexander III's passion to collect of icons was well-known. For instance. throughout the entire journey of Tsar's cortege during Tsar's travel to Volga's area in 1881 'big delegations from all strata of society gathered for salutation Their Majesties and for presentation to them icons, bread-and-salt, and local works of art".

Knowing about Tsar's passion to icons, an unknown grantor orders not only traditional, and, of course, valuable hirvan, carpet, but expresses the wish to see the picture of icon in the central field of carpet. How our research shows, the choice of icon was not casual and has the deep symbolic meaning. Customer meant definite best wishes to Tsar's family, ordered to picture namely this icon. The photograph depicts Empress Maria Feodorovna during the 1888 trip with Abdul- Akhad-Khan, Emir Of Bukhara.

During analysis of the problem of creation of the carpet namely with portrait of Tsar's pair, it is necessary to remember, that gifts of works of art with the portraits of the members of Tsar 's family were traditional for Russian court. On the left is pictured a Tsar Peter 1st (The Great) tapestry portrait. (81 x 64 cm collection of Moscow Kremlin Museums)

It is known, for example, that ladies from Yaroslavl (during the travel of Alexander III to the Volga's area) presented to Her Majesty Empress special address, in which they asked to receive from them

"…a picture, which is made by professor Makarov in Saint-Petersburg, the plot of this picture is God, who blesses the children, the portraits of whom are the portraits of Sons and Daughter of Their Majesties"

Alexander III kept works of art presented to him with care and put these gifts, as a rule, either in summer residence in Alexandrijskij Peterhofskij cottage, or in Gatchinskij palace.

"...during the alteration of Alexandrijskij cottage the luxury carpets were brought first", and…"..,floors and walls covered with rich eastern carpets" .

After Alexander III, the tradition continued with Nicholas II, as exampled by this portrait. However this example is a mass produced item for sale to the people, not an item designed for the Royal couple. Nonetheless it remains an important historical representation, and such items are a fine addition to any Russian art collection.

At our time, when collectors, who have possibilities to collect rare works of art, are appearing in Russia again, it is especially important, this memorial of decorative and applied art , which has significance as a historical memorial too, will be returned to Russia. We must remark that the period of reign of Alexander III is not presented enough in our museums.

The exhibition "Coronation of Russian emperors", in the Schusev Museum of architecture not long ago, showed that the least quantity of documents were kept concerning the Alexander III reign. By the words of M.G. Rogosina, the senior research worker of photo-archives in Schusev Museum of architecture, this period is represented very scantily. Senior research worker of photo-archives there, Saygina L.V. added that the mistakes of soviet historians must be corrected by the modern scientists:

The time of Emperor Alexander III was a very interesting period in Russian art. Alexander III collected a good collection of works of art. Especially valuable part of this collection is a part of folk works of art. Tsar's assistants were well-educated experts and had a subtle taste. There are many interesting pieces of folk art (carpet, porcelain and the like) in this collection. I am sure all of these pieces have a great art and material value.

(Signed)

Elena Kobkova