Imre Jakabffy (szerk.): Ars Decorativa 2. (Budapest, 1974)

GOMBOS, Károly: An interesting Tekke-Turkoman carpet

added that on the carpet besides the mentioned designs there can be seen many other geometrical, vegetal-floral and other motifs as well figuring in a perfect harmony. The ends of this carpet too — as the ones of all Turkoman carpets of bigger size — are finished by a flat-woven web. Top end: 30 cm wool kilim, bottom end: 24,5 cm wool kilim. These ends of brownish-red ground are decorated with 3 blue stripes. The ground colour is worn and conserved. The carpet's form is regular. Its knotting is close and faultless. Its material is finefibred supple wool shorn at spring. It is lustrous, soft as velvet, smooth and thin, though its dense weave is of 3050 knots to dm

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. The pile of 3 mm height is cut perfectly therefore the carpet's surface is equally plain. Its rise is dated with right to the years between 1800 an 1850 but we do not think we would be far from the mark dating it to a much earlier period, because timing of Turkoman carpets is a proverb for difficulty. The antiquity of the carpet is proved by the brightness and easy light of the colours. It is a work of perfect execution, each design is knotted exactly. On the surface of several square metres there is no defective design at all, is made of wool painted with natural dyestuffs, therefore it is hardwearing and durable. It is a specimen of Turkoman carpets in remarkable condition dated to the end of the 18th or to the beginning of the 19th century. Six colours are only applied. Never can be found more than 6, 7 or perhaps 9 colours on Turkoman textiles. The Turkoman carpetweaving women could produce a large scale of variety of hues with these basic colours. We can find in this case too an abundance in colours' shades because the woolyarn does not dye equally within even one colour. So after the pile's trimming, fresh tints arose and under the light and shade's effect or yarn's dropping the quality and variety of colours are of hundred of kinds. The introduction even of merely one Turkoman carpet postulates the brief clarification of the most important scientific questions in connection with the theme and a brief account of the results in the international and national researches relating to the same theme. It is specially as necessary because general works on the Turkoman art have been published only recently. The beauty and worth of a carpet are judged by its technology of weaving, by its composition, colouring and form. The utilitarian nature of Turkoman carpets is assured by their artistical beauty and durability. Prof. G.A. Pugacenkova writes in her book entitled "Art of Turkmenia" that the Turkoman rug "is practical and beautiful. There is no need to have fears for fraying, wearing out, damage from rain and sun. It is easily cleansed, does not lose its colour. These are the reasons of that it was liked equally by nomadic peoples and burghers."

7 These carpets were made by nomadic Turkoman tribes. The requirement of prime necessity for them was to carry easily and fast the indispensable equipment of nomadic stockbreeding life and put everything in its place inside the yurt. Turkomans were surrounded by carpets from birth to death. And this is not merely a symbolical statement. They sat, ate and slept on carpets. Carpets were used for the bag carrying the bride's trousseau, the cradle rocking the baby, the sack of corn, the stand of comb or cosmetics or jewels, the saddlecover of the brave Turkoman riders, the saddlebag (for feed), the coarse, heavy camel cover and the different kinds of fittings in the yurt: the 134