Tribal art Of Anatolia
What is Kilim ?
Most probably, the weaving artefact is the first invention of human beings, made to be used for the most basic items of utility, up to the most prestigious artefact, for a simple decoration or symbolic tribal identity. Flatweaves, certainly began with the simplest method of interlacing of vegetable or animal fibres. Men widening his field, while passing from hunting to food-picking and from unicolor to multiple colour weaving, thanks to new materials for weaving and colouring, with new weaving techniques. Men enlarging his vision with the crossing of other cultures, the kilim became a matter of competition between tribes and families for self-identification. The nomad's world is reflected from the most sensitive up to most archaic details in the colours and the designs of the kilims. The nomads of Anatolia have cleverly combined the qualities of utility and the embellishment of the habitats and the way of living within their woven artefacts. Serving as protection against freezing cold, rain, snow, and burning summer heat. Using their kilims as floor coverings, as blankets, as tent walls for the division of private rooms to preserve family life. Kilims were indispensable elements for praying, religious and civil ceremonies. The flatweaving technique has also permitted to nomads to weave strong and very decorative bags to store and to transport cereals, personnel and tribal belongings, food and clothing. Bands to attach or decorate the tents, to tie the bags on to the animals while moving one step to another.With such simple needs and using very primitive looms they managed to develop various and authentic weaving artefacts which we know today as kilims. Like most pretended kilim connoisseurs on their web sites, I could write several pages about kilims, especially about Anatolian kilims. Instead, I want to make you to feel and get in touch with the real kilims, and let them come to you, as it came across from the centuries with its own perception, tang, language and mysticism. The kilims in my collection were selected with the severe! education of these ancient Anatolian sayings. Which is almost the summery of my curriculum vitae: To be a connoisseur “one must be born on a kilim, and brought up breathing the wool perfumed with vegetable colours.??? & “Come and see me with the kilim you have made (woven), says the future bride to the groom, to make me believe that you are mature??? (ability-skilful- abt for marriage). In spite of the remarkable diversity of designs, ethnic, tribal, regional and religious differences, all kilims of Anatolia have a common tongue, with fascinating visual expressions, reflected by the eternal vales in between weft and warp on the stage of geometrical forms, orchestrated with vegetable dyed notes. All these combinations and with their fascinating adaptability, made the nomads of Anatolia to create pieces to cut the breath. Certainly there is a kilims in my collection which will take you to the past, while making you to enjoy the present and company you to the future, with their joy and inexpressible visual expressions. While exploring the kilims exposed, If you did not find one to talk to and if you really wish to find one, just contact me to obtain an enter code, to see more old kilims (non exhaustive). I Just do not want to divulge my collection. Only want to share the last survivors of real old Anatolian kilims with the people who are interested. By now, you certainly remarked my difference: Because “DETAILS MAKE MY DIFFERENCE". And the truths are hidden in details.
14000 BC up to 21st century
The weaving process was developed in different parts of the world at various eras. At first, the historians admitted the sheep’s domestication 9000 BC as birth period for the weaving art. According to fragments of kilims found in EGYPTE 1500 BC In SOUTH AMERICA 2600 BC at CATALHÖYÜK in TURKEY 6500 BC at last in TURKMENISTAN, are estimated to 14000 BC. This means the Bronze Age. For sure, kilim art reserve more surprises in the future. Each discovery is still enlarging our vision and enriching our culture in 21st century as it did in 14000 BC. The embellishment of kilim art began with the big migration of nomads from the Tibet towards Anatolia (375 AD-11th century). In addition, began to be sophisticated with expansion of Muslim faith. Islam religion has given nomads, and the settled tribes, a system of existence coining the homeland traditions to the new land with their skills and practices of pre-Muslim past, and weaving art riched to its zenith during Safavid, Seljuk, Mameluke and Ottoman empires periods. Besides providing comfort, Kilims took a form of family and tribal wealth as well as the jewellery, herd, flock and horses. In case of sudden need of commodity or crisis, could be sold or exchanged for currency in main bazaars near by. The weaving art has always been a female work, and part of a women’s daily round of occupation during the encampment or house holding. It was a duty more likely to start and stop as she desires, rather than continuous work. Particularly young girls, young women and their families would improve their skilfulness and standing for their marriage, as kilims consisted the most important part of the bride’s dowry, insuring a source of wealth for her future family. Each marriage within the same or different tribe was an instrument of rapprochement between tribes or families, enforcing their financial and commercial situation, up to unification of their forces rather than forming just a new couple. As weaving art was an unavoidable part of education, the future brides learned from their mothers and other members of the tribe, they most probably created their masterpieces with a sense of pride, duty and love. Adding their personal inspiration, with a fear of not being unable to realise a kilim, which should bring out not only her messages that she wants to awake in her entourage, or to someone to make her dreams come true. Enriching the designs and patterns transmitted from generation to generation. Spiriting in it totems of her superstition beside the familial, tribal and regional ones. Like good luck and fertility, ensuring the continuity of tribal identity. With the worry to create a dowry of quality. That is why this art, named kilim, created with rules and guidelines, has a visual eloquent able to communicate with anyone in any language. As mentioned above, I do not wish to talk too much, but for fear to forget a detail, and the worse is, when you live in kilim and kilim in you, it is rather difficult to behave oneself. Nothing else could expire such a feeling better than “each time I look at this kilim, it tells me to eat it??? saying used by young girls for the kilims that they want to keep for their dowry... The rest of the story will be told to you, while you looking at my collection. Certainly there is one kilim, which will whisper to you “eat me???.
Long existence quick disappearence
So far, the type of kilims similar to the ones above had been made until late 19th century (1860). The infiltration of synthetic dyes at first, then the industrial Revolution ! Activated unmitigated disaster for tribal artefacts especially for kilims. By the end of 1st World War, the indigenous vegetable dying process had been almost entirely taken over, and the expansion of using pre-dying machine spun yarns had degenerated, not only the weaving technique but also the weaving quality of Anatolian kilims.For sure, these radical changes brought facilities and rapidity for production, but took away the greatness of old kilims, it wasn’t just the creation of superlative weaving and ability of the person of the past, but also from her extraordinary selection of material and preparation of washing, combing, spinning and dying, she was therefore able to obtain the qualities needed to make amazing colour combinations, because of her intimate participation in the different periods of processing. She was now able to create with her heart and soul.