Vadas József (szerk.): Ars Decorativa 13. (Budapest, 1993)
BATÁRI Ferenc: Az Iparművészeti Múzeum két aprómintás "Holbein"-szőnyege
Turcoman (who were close relatives of the Otomans) carpets, we suppose that the decorative "Holbein göls" were once tribal symbols but their meaning - together with several other tribal traditions - vanished over time. The border of small pattern "Holbein" carpets are more varied, but the motifs used are mainly stylised ornaments of kufic letters, with only a few exceptions. Robert Pinner and Jackie Stanger divided the border variations into four categories 15 : A: rich decoration of plaits, asymmetrical to the longitudinal axis; B: rich decoration of plaits, symmetrical to the longitudinal axis; C: simplified, incoherent pattern, symmetrical to the longitudinal axis. These categories are in chronological order. The fourth, D group includes all other kinds of patterns developed at different stages. With its red background, carpet I. belongs to the minority among the usually blue-based Holbein carpets. The clear construction of the central field and the professionally drawn motif is combined with a sparkling composition of colours. The ribbon plaits of the border suggest that the carpet was made in the first half of the sixteenth century; examining the high quality of the drawing and colouring, however, we can limit the time of making to the first quarter of the century. Carpet II. has survived in an exceptionally good condition, its pile is high and has required only a slight restoration so far. The starting and ending woven bands have also survived at the two ends of the carpet. 40 cms of the upper right end has survived in the original form: it is folded back several times and sewn down in a 2-3 cm wide stripe. This is probably the only relic preserving the 16th century technique with which the carpets were finished after weaving. The composition of the central field is rather unusual: the arabesque rosette ("giil"), which is generally a side motif, is the central pattern here. The maker of the carpet tried to preserve the completeness of this motif, whereas the göl - probably due to the width limited by the loom - was given a subsidiary role, and is assymetrically cut at the right. According to Pinner's grouping of the borders, this carpet belongs to group D, together with the few variations lhat does not origin from kufic writing. The carpet represents the closing period in the lifecycle of the pattern in the mid-sixteenth century, and at the same time the first traits of the arabesque network of "Lorenzo Lotto carpets" can be observed. The essence of the "Lotto" pattern is the growingly independent network of arabesque quattrefoil rosettes, accompanied with the decline of the "göl" motif. The science of oriental carpets is relatively young with several basicproblems to be solved. The more exact localization and dating of the early relics within the large categories, for example, remain open questions. In the case of "Holbein" carpets, the place of making is also uncertain, the usual Us^ik origin is a mere presumption. This problem will probably be solved with the emerging research activity in the local archives. Dating is a little bit easier: there arc a few dated carpets (no Holbein ones among them), and also a few illustrations on paintings that can be connected with a certain date. We may also find a few notes written on the carpets later (no notes on Holbein carpets). Structural analysis is also promising, though it can bear results only after compairing the analiscd subject with a yet unprepared, comprehensive research material.
