Collectible History in Anatolian Kilims
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During the 18th and 19th centuries in rural Anatolia, generations of nomadic women demonstrated their artistic and practical sensibilities by creating colorful flat-weave carpets known as kilims. These rugs with their deep reds and bright blues would adorn thCollectible History in Anatolian Kilims
During the 18th and 19th centuries in rural Anatolia, generations of nomadic women demonstrated their artistic and practical sensibilities by creating colorful flat-weave carpets known as kilims. These rugs with their deep reds and bright blues would adorn the families’ tents and cover the belongings that were loaded onto camels during migrations between winter and summer pastures, a lifestyle that has largely vanished in what is now modern-day Turkey.The women’s painstaking work is now the focus of an exhibition by The Textile Museum at The George Washington University in Washington, D.C., through December 23. “A Nomad’s Art: Kilims of Anatolia” showcases 36 pieces from the collection of Murad M. Megalli, a J.P. Morgan executive and alumnus of the university who died in a plane crash in northern Iraq in 2011. Seen in public for the first time, the geometric, boldly colored kilims are shown alongside photographs by the intrepid American scholar Josephine Powell, who died in 2007.The museum’s senior curator, Sumru Belger Krody, explains why the distinct weaving tradition that created these kilims is considered a valuable art form. (This interview has been edited and condensed.)Scholars have described Anatolian kilims as a valuable artistic tradition. Why are these rugs important?Anatolian kilims hold significance far beyond their visual impact. Most importantly, they are the only surviving, tangible evidence of their makers’ nomadic lifestyle. Each demonstrates the complicated interactions between the creative energies of a weaver, her community, and her exposure to the social, economic, and political environment in which she lived. These 18th- and 19th-century kilims can be seen as remarkable examples of the power of these nomadic women to create an artistic tradition that has endured for centuries and still resonates with contemporary audiences.This is a remarkable legacy, given that the female creators of kilims did not have a formal arts education and lived in a patriarchal society. It is also highly ironic that in spite of these social constraints, it is their work, and no other lasting cultural manifestation gives testament to their centuries-long way of life.But what makes them works of art?The artistry of kilim weaving is in every element of its making. The mastery began with beautifully dyed wool and the use of saturated colors. The weavers cleverly selected and paired traditional motifs built with triangular and hexagonal forms. They balanced open and decorated areas in design layout, leaving the textile feeling neither crowded nor empty. The textiles were created with skillful weaving that respected the inherited tradition while showcasing the weaver’s originality and individuality.Who was Murad Megalli and how did the museum come to have his collection?Murad Megalli demonstrated his passion for textiles by assembling impressive collections of Central Asian ikats and Anatolian kilims, both of which are now part of the Textile Museum collections. An alumnus of The George Washington University (BS 1980, MS 1983) and a trustee of the Textile Museum, he was first introduced to the world of textiles when he moved to Istanbul in 1987 and developed a close friendship with the American scholar and photographer Josephine Powell. He was inspired by the beauty, range of colors, and designs of the textiles, but he also was impressed by, and interested in, the history and culture of the people who created and used these works of art. Megalli bequeathed his collection of Anatolian kilims and established the Megalli Family Endowment to promote research projects, educational programs, and publications about Central Asian ikats and Anatolian kilims.Tell us more about his collaboration with Powell and why you paired the rugs with her photographs?Josephine was an ethnographer and photographer who worked tirelessly to document the textile traditions of nomads in Turkey, determined to spread knowledge about the importance of weaving in Anatolian rural life. She visited Turkey for the first time in 1955, and over the course of the next 20 years she lived in Istanbul and traveled throughout Anatolia. She was also a good friend of Megalli’s who helped and guided him in developing his knowledge of this material, and they both amassed large kilim collections. Her photographs highlight the important role weaving played in rural Anatolia and the need to protect the tangible artifacts of a now-lost way of life. This exhibition showcases pieces from his collection and a selection of photographs from her archive, which is now housed in the Suna Kirac Library of Koc University in Istanbul.How are Anatolian kilims distinct from other cultures’ flat-weave carpets?Their color selection and their designs make them Anatolian. Kilims from the Caucasus and Iran, for example, have an aesthetic that differs from Anatolian kilims, which are bolder and use more saturated, strong colors.There’s almost a feminist aspect to the show, in that the rugs are the work of women who passed their skills from generation to generation. Was the weaving strictly for practical purposes (to protect nomadic tents, for example) or was this one of the few creative outlets for women in that era?While textiles in general were produced by women and men depending on circumstances, this material is strictly women’s work. Yes, they are produced for practical purposes and yes, this was one of the few creative outlets for nomadic women in that era. Women who lived in other environments might have had more options.For many people who travel through Anatolia and beyond, buying a rug is an essential rite of passage. For others, it becomes an obsession. What is the appeal of collecting rugs rather than, say, paintings?I think people collect textiles in general because they are so close to human experience, and they are intimately connected to human culture. If one is interested in cultures, textiles are the best window to enter.What advice would you give a novice who wanted to start a modest kilim collection?Anyone who wants to collect in a new area needs to study the literature, and that goes for kilims as well. That way, people will develop what they like, or don’t like, about them and collect the ones that are of most interest to them. Good color, good wool, good design are three areas that one should pay attention to when buying, and that is only developed by studying and viewing many examples before you start collecting.Which is your favorite piece in the exhibition and why?I have several favorites, based on the stories they tell. It’s a combination of things: These kilims have very fine wool and beautifully dyed yarns. The weaver was able to strike a balance between open and designed space that leaves the kilim feeling neither crowded nor arid/empty. She also artfully selected and juxtaposed traditional motifs, but still was able to express her originality in myriad ways by combining traditional designs. Also, new favorites pop up each time I walk through the galleries.What will happen to the kilims once the exhibition ends?They will go back to our storage to wait for the next exhibition. Meanwhile, researchers and scholars can request access to them for study purposes. We are also developing an online module to make our collections available for public viewing.https://www.blouinartinfo.com/ Founder: Louise Blouin Read more