Vintage village runner featuring a repeating boteh design on a black field. The impressive wide border displays a stylized peacock motif.
The carpet was handwoven in the Hamadan district, a constellation of villages that produces many of the finest tribal and geometric rugs in the world.
Strong colors including brick red, black, blue, and white — with olive green and orange accents.
Condition is excellent with some light wear on the wool pile. The fringes and side cords are in fine shape.
There is some abrash in the black field. (Abrash is variegation in the dye color to create a painterly effect in a carpet’s colors.)
Last photo shows the back of the rug.
This runner can be placed in a high foot traffic area of the home.
The exact size is 9 ft. 9 in. by 3 ft. 7 in. 1970s. Natural wool pile on cotton warp.
Boteh figures have a prominent role in the history of rugs and textiles. This pattern, which has also appeared in India, has been popular in Persian carpets for several centuries.
Copied by the British textile industry, the design is known as Paisley, named after the Scottish town which produced the textiles in mass. The boteh served as a key element in Persian rugs long before the British borrowed it for their textiles.
The boteh, which can look like leaves, drops of water, little cobras, tadpoles, and many other figures, may date all the way back to Zoroastrianism.
Wikipedia posts the following on the origins of the boteh:
“Some design scholars believe it is the convergence of a stylized floral spray and a cypress tree: a Zoroastrian symbol of life and eternity. Paisley is the quintessential visual metaphor of Iran’s bifurcated and tormented identity – riven between Arabic Islam and pre-Islamic Persian creeds. It is a bent cedar, and the cedar is the tree Zarathustra planted in paradise. The heavenly tree was “bent” under the weight of the Arab invasion and Muslim conquest of Persia. The “bent” cedar is also the sign of strength and resistance but modesty.
According to Azerbaijani historians, the design comes from ancient times of Zoroastrianism and is an expression of the essence of that religion. It subsequently became a decorative element widely used in Azerbaijani culture and architecture.”
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