Baluch Rug
Northeast Persia, Khorasan Region

Baluch-type rugs can be very difficult to photograph and accurately reproduce on a computer monitor.

On this rug, I acknowledge defeat.  Actually, it more like hopeless frustration followed by the eventual acceptance of defeat.

The juxtaposition of color (one shade of red adjacent to a darker shade of red, for example) and the lustrous wool made this rug extremely hard to photograph.

The accompanying detail views are, however, quite good and convey some of the color nuance and other subtleties of the rug.

This rug came from the collection of an experienced and knowledgeable collector.  It is, in reality, a fine example of Baluch weaving.

2'8 " x 4'7" (8" kilim at top) (7" kilim at bottom)

314

The late Jeff Boucher brought Baluch-type tribal weavings into international collecting prominence. (Boucher, Jeff, Baluchi Woven Treasures, 1989).

Jeff Boucher identified qualities he considered important in a rug. He then collected with discipline, determination and great success.

To enter his collection, a Baluch rug was required to be in excellent condition, the wool had to be lustrous and thick and the rich colors had to be produced from all natural dyes.

This small rug, in near perfect condition, with all natural dyes and lanolin-rich wool, is the essence of what one might call a 'Boucher-Rug'.

It has, in addition, some interesting features that make this a very special and unusual rug.

The Border: In general, the borders of Baluch rugs tend to be rather prominent and often quite elaborate.

Here, the border design is the frequently seen 'running dog' motif.

This design is customarily seen as 'guards' on both sides of a main border, as an outline to a major field motif, or as an exterior 'guard' to a large, main border.

In this rug, the 'running dog', in ivory and in the singular form, is used as the primary and only border.

The ivory of the border is the only place where the color is used in the pile portion of the rug.

This technique is not often seen in Baluch work.

These elements of color and dimension both frame the field and focus the viewer on its composition.

This technique does not appear to have been done in a haphazard manner but rather is the artistic inclination of a skilled and experienced tribal artist.

The Field: The field design is an over-all or repeat diamond lattice.

The unusual feature is the design within the diamond.

There are 'animal' or 'bird' heads facing each other. A small diamond separates these motifs.

The unusual feature is the two humanoid figures at the top and bottom of the diamond.

These figures have large lobster shaped claws. (at least they look like lobster claws to someone like me who was raised in the State of Maine).

That personal note aside, it is interesting and a bit puzzling to notice that this appears to be adaptation of a design seen in 19th century flat weave tribal work from Northwest Azarbayjan, specifically those of the Shahsavan of Moghan and Savalan. Wertime, John, Sumak Bags of Northwest Persia and Transcaucasia, plate #69 at page 126 and plate #70 at page 127.

Condition: The condition of this rug is nearly perfect.

The pile is full without evidence of wear or damage.

The extant kilim ends are in perfect condition although slightly reduced on one end.

Portions of the original end braid are still preserved.

Diehr, Frank Martin, 'Treasured Baluch Pieces from Private Collections'

Page 36 (the 'ocean wave' border is used as an outside border guard to the primary or main border)

Page 38 (the 'ocean wave' is used as an outside border guard and and outline to the central field motif)