This is a prayer rug, an antique, and a joyful exploration of religious devotion through experimentation with color and shape.
A journey in geometry and color field
Two complementary colors dominate the rug. The field is a saturated tomato red, naturally dyed from madder root. Its warmth is complemented by indigo-dyed bands, dusty and mellowed by nearly two centuries of exposure. Throughout, subtle variations in the blues and reds lend visual interest and movement.
The entire rug is an artistic exploration of negative space and geometry. The most prominent motif is the equilateral triangle at top—a weaver’s translation of the prayer niche (mihrab), one of the defining elements of Islamic sacred architecture.
This motif is echoed by the four major bands of triangles. Fractally, each triangle group is composed of smaller triangles arranged geometrically.
Cutting across the rug are narrow bands arranged in a ‘running dog’ pattern. These too are created from smaller equilateral triangles, an unusual variation on the common motif.
Finally, the weaver also plays with negative space in the narrow sawtooth border. As the border skips across bands, the colors used in the border shift from red to blue to offset the field.
A Devotional Weaving
Mainline Islamic thinking requires that a Muslim pray in a clean space. This simple proscription has often, but not always, been carried out through the use of a woven mat (sajjadah). However, specialized prayer rugs with a directional arch in imitation of sacred architecture are not universal. Among antique village kilims, prayer rugs are found most commonly in the greater Ottoman world (Petsopoulos, Kilims: Flat-woven Tapestry Rugs, 1979, p. 66-75). These pieces are immediately recognizable and highly collectible due to their evocative compositions and association with spiritual tradition.
This rug was woven in the middle of the 19th century in Anatolia. The distinctive use of repeating triangle motifs identifies it as a piece woven in or around Balikesir, a west Anatolian city that serves as an outlet to the Sea of Marmara (Petsopoulos, Kilims: Flat-woven Tapestry Rugs, 1979, p. 76-83).
Condition and Use
This rug is in very good condition. Minor old repairs to the edges are noted. However, the wool remains lustrous and smooth, likely a result of its occasional use for prayer.
Despite its age, this kilim is structurally sound and firmly woven, without any stiffness in the wool. It will withstand moderate foot traffic during floor use, or as a wall-hanging or decorative throw. If used on the floor a rug pad is recommended to reduce wear.
