The evolution of the oriental rug design is likely more complex than one may expect. When studied, most carpet designs appear to have evolved out of their primeval forms which transformed in time to fit their historical and religious context.
What may appear as a fundamentally Islamic objet d’art, the prayer rug for instance, consists of elements which are a fusion of several motifs transcending their historical and religious contexts.
In fact, what is referred today as ‘an Ottoman niche motif’ arguably evolved out the symbol of the tree of life which predates the Islamic traditions.
Below, are examples of tree of life rugs forming a niche (mihrab), a motif that prevails in Islamic arts.
The so-called ‘head and shoulders’ prayer rug design also inscribes the symbol of the ‘Tree of Life’ as seen in the beautiful Beluch work, and it may be argued that the niche motif (mihrab) evolved as a matter of coincidence rather than a planned idea.
What is typically viewed as a classic Ottoman ‘columns and niche prayer design’ is, with all likelihood, an Anatolian invention but it dates to a period when Asia Minor was in part also home to a large Christian population.
Below, are ancient Armenian prints from Christian manuscripts juxtaposed with what are evidently echoed in Ottoman prayer rugs.
The origins of rug designs are often rooted in ancient mythologies and reflect the long-forgotten symbols. Over millennia, the boundaries of religions had become blurred and motifs transformed and merged into new political and religious environments.
A.G.
Special thanks to Mr Arto Tavukciyan for his guidance and invaluable help in writing of this humble article
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