Traditionally, since ancient times the carpets were used in Armenia to cover floors, decorate interior walls, sofas, chairs, beds and tables. Up to present the carpets often serve as entrance veils, decoration for church altars and vestry. Starting to develop in Armenia as a part of everyday life, carpet weaving was a must in every Armenian family, with the carpet making and rug making being almost women's occupation. Armenian carpets are unique "texts" composed of the ornaments where sacred symbols reflect the beliefs and religious notions of the ancient ancestors of the Armenians that reached us from the depth of centuries. The Armenian carpet and rug weavers preserved strictly the traditions. The imitation and presentation of one and the same ornament-ideogram in the unlimited number of the variations of styles and colors contain the basis for the creation of any new Armenian carpet. In this relation, the characteristic trait of Armenian carpets is the triumph of the variability of ornaments that is increased by the wide gamut of natural colors and tints.
History
Armenian carpet weaving, which to a certain extent coincided with weaving, passed a long way of development, starting with simple products woven on plectrum frames of various shapes to pile knot carpets that have become exquisite works of art.
According to Dr. Volkmar Gantzhorn, an oriental carpet not only does not originate from nomadic tribes, but the region of its origin is not Central Asia. The eastern carpet is a derivative of the ancient civilizations of the Armenian Highlands, lying at the crossroads of the oldest trade routes between the west, north and south.
The development of carpet weaving in Armenia was an urgent necessity, dictated by the climatic conditions of the entire Armenian Highland, the type, size and thickness of the carpet produced depended on the climate. Residential buildings and other structures were almost exclusively built of stone or cut in the rock, and they traditionally lacked wooden floor coverings, as evidenced by the results of archaeological excavations conducted in the Dvina, Artashat, Ani and other cities. Also, there was a necessary raw materials base in Armenia (wool yarn and other fibers, dyes). The most common raw material used for the production of yarn for carpets was sheep's wool, goat wool, silk, linen, cotton and others were also used. As the British Encyclopaedia notes in the 8th-14th centuries, when carpet weaving began to develop in the Middle East, Armenia was " one of the most productive regions " in this respect. This was due to the presence of " good quality wool, clean water and dyes, especially fine purple paint ". One of the main conditions contributing to the development of carpet weaving was the existence of cities in which handicrafts developed and which served as major shopping centers, as trade routes along the territory of the Armenian Highlands, including one of the branches of the Great Silk Road. About carpet fabrics in ancient Armenia, as a number of sources mention one of the main branches of Armenian art crafts. Pieces of ancient carpets were found during excavations near Yerevan, and the remnants of local wool carpets were found during Ani's excavation in one of the tombs of the Tsakhk-Dzor gorge.
Antiquity
Ancient historian of the 5th century BC. e. Herodotus (485-425 BC) notes that the inhabitants of the Caucasus, plants from which they received paint, dyed wool, then produced cloth from it, and painted them. And their color does not fade either with time or with water. In 1949, Academician Rudenko, during the archaeological excavations conducted in the Altai Mountains, in the 5th Pazyryk Barrow found a carpet of the 5th century BC. The issue of the debate is the origin of the carpet in Middle and Near East, but in particular Armenia is mentioned as a possible place for the origin of the carpet. Some researchers believe that the carpet belongs to the early Armenian .
From the information of ancient authors it becomes clear that among the practiced crafts of ancient Armenia, along with pottery and carpentry, weaving was widespread. Products of handicraft production were actively exported to nearby lands. The significant development of the weaving craft in Armenia is observed in the following, the so-called Hellenistic period, beginning from the III century BC. e.. This was a period of revival of international economic, political and cultural ties, which caused the previously unprecedented rise of transit trade. The latter paved its stable paths through Armenia, involving it in trade exchange with neighboring and distant countries. The development of handicraft production continued until the 4th century AD, economic life, crafts and art decay in Armenia, the revival of which will begin only two centuries later.
The Middle Ages
The Middle Ages is the golden age of Armenian carpet weaving, at this time a certain style is created, characteristic of Armenian carpets. Until now, only small fragments of early medieval Armenian carpets have been preserved, which were found in the covers of Armenian manuscripts during the restoration. About how these carpets looked, you can also judge thanks to medieval manuscripts, in which there are many miniatures with carpets. Among the forms and styles inherent in Armenian carpets of the Middle Ages, distinguish: "dragon" carpets (Vishapagor) - carpets depicting dragons, the tree of life, phoenix birds, triangular ornaments, serrated diamonds and symbols of eternity; Eagle carpets (Artsvagorg) with a symbolic image of eagles and snake carpets (Ozagorg) with images of snakes and a swastika in the center.
According to the testimony of Academician Nikolai Marr, who conducted the excavations of the medieval capital of Armenia Ani, inside the dwellings of wealthy citizens
«... with the exception of niches, the rest was smooth, as the house was covered or covered with carpets and patterned fabrics, with which, of course, it was difficult to compete successfully even with the Ani masters of decorative carvings on the stone. When we attack Ani on the traces of plastering and the painting of the walls and ceiling of private houses, there is reason to think that this is usually a surrogate, a cheap way of reimbursing the original rich furniture of rooms with carpets and fabrics, whose production from ancient Armenians, according to some sources, degree of development. This idea has long arisen, and the excavations of 1912 give grounds for her to express. "
In 645, Arabs invaded the lands of Armenia, and tribute was imposed on the country, which included, among other things, 20 pieces of carpets that were donated to the caliph every year. But despite the Arab rule in the Middle Ages, Armenia under the Bagratids (885-1045) is experiencing a period of economic growth, primarily due to extensive trade and economic ties with countries under the domination and influence of the Arab Caliphate. The Arabian geographer and traveler of the 9th century Yakubi informs that carpets and fabrics were made in Armenia by the order of Caliph Hishama. In the chronology of the Byzantine writer Simeon Magisterit is mentioned that in 819 the Bulgarians, during one invasion, took from Byzantines rich trophies, among which were high-quality Armenian fluffy carpets.
Armenian traders distributed carpets in bazaars and markets of various countries, in Armenia itself, according to a number of authors, among them Abu Dulaf (X century), Sunday fairs are held where, in addition to other goods, Armenian fabrics made from goat wool, called buziun, and carpets.
The flowering of carpet weaving was greatly facilitated by the excellent colors obtained in Armenia, which gave the carpet its uniqueness and bright colors. The scarlet paint - carmine, which was produced from the Armenian cochineal - an insect that makes up a separate suborder in a squad of equinoquial proboscis insects, which were abundant in Armenia, was especially famous in the ancient world.
Armenian carpets have always been highly valued. The walls and floors of the palace of the Arab Caliphs were covered with Armenian carpets, the beloved wife of the Caliph Harun al-Rashid sat on the "Armenian carpet", all other wives - on "Armenian pillows". Armenian carpets were the decoration of palaces, they measured wealth. Pile carpets were among the gifts of Armenia to the caliphs of Baghdad; It is known that at the beginning of the 10th century, 400 horses, 30,000 denarii and seven Armenian carpets were sent from Armenia to Baghdad; one of the carpets measured 60 × 60 cubits (approximately 18 × 18 m); Armenian carpenters worked on this carpet for 10 years.
In 9 - 11 centuries, Armenian colonies originate in Egypt, Ukraine, Poland, Bulgaria, Romania and Hungary. Here Armenians again began to develop handicrafts, including carpet weaving. According to the research of Russian historians of Karamzin and Glinka, as early as the sixties of the 11th century an Armenian colony was based in Kiev, which in the following century turns into an independent settlement. Local Armenians were engaged in jewelry and carpet weaving. Later colonies of Armenians arose in Astrakhan,New Nakhichevan, Feodosia, Moscow, and then in St. Petersburg. Close contacts of immigrants with their homeland are indicated by finds of tissues similar to Ani's in burials on the territory of the colony.
Armenian carpets were famous all over the old world, they were widely traded from Italy to the Volga, and small Armenian carpets were widely spread across the Mediterranean. Removal of carpets made by Armenians to the countries of Western Europe in the Middle Ages reached enormous proportions, in Europe they were a necessary accessory for the decoration of houses of wealthy classes.
17-18 century
Over time, Armenian colonies have been established in Egypt, Ukraine, Poland, Bulgaria, Romania and Hungary. Here, Armenians began to develop handicraft production, including carpet weaving. Carpets in Armenian communities, besides the workshops, were produced in churches and monasteries.
In 1604, during the wars between the Persian and Ottoman empires, the Persian Shah, Abbas I the Great, in order to retain Transcaucasia under his rule, and for the development of crafts and commerce, relocates Armenians deep into Persia. Among the Armenians of Jugha (Djulfa), who were displaced by the order of the Shah of Armenians, were also a large trade and craft center, through which the Great Silk Road branch crossed. In 1667, an agreement was concluded between Russia and the Armenian trade company of Nor-Dzhugi, according to which Armenian merchants were granted the privilege of free trade on waterways from Astrakhan toArkhangelsk and the right of transit through Russia to Western Europe.
In the 18th century, Eastern Armenia became an important economic center, through its territory there are trade routes connecting Europe and Asia. The role of the cities of Armenia in which warehouses for goods from Europe, China, India, Iran and Turkey is growing, Armenia itself among other goods exports fabrics from Karabakh and unique in color and ornamental carpets. Armenian trading houses besides representations had outside Armenia and their own markets, so the Spanish traveler Don Gonzalez, who visited London in 1730, shows that the Armenian market - walk, was located between Smittin's Street in the east and Threadneedle Street in the north, neighboring on the one hand, with Dutch jewelers, and on the other - with the Portuguese market. These markets were located in the Royal-Exchange, where Armenians traded in precious stones and carpets.
In the second half of the 199 century carpet weaving is experiencing a new rise. In Western Armenia (Turkey) carpets are woven in Karine, Baberda, Manazkert, Mush, Sasun, Van, Akhtamar, Norshen, Vostan, Arzk, Berkri, Moks, Shatah, Acne and other cities and regions with Armenian population. In Eastern Armenia and in the cities of Transcaucasia, where many Armenians lived, the centers of carpet weaving in those days were Kars, Yerevan, Olti, Surmalu, Kakhzvan, Karaklis, Karvansara, Kazakh, Khndzoresk, Dizak (Hadrut), Jraberd (now mainly the Martakert region of the NKR), some other regions of Nagorno-Karabakh, as well as Alexandropol, Akhalkalaki, Akhaltsikh, Tiflis, Borchalu, Nakhichevan, Agulis, Ganja, Barda, Shusha, Lori.
The 19th century marked the beginning of the study and collection of oriental carpets, including Armenian carpets. Armenian carpets, as a separate branch of artistic creativity, began to be studied and attracted the attention of researchers and antique dealers.
By the end of the 19th century, the active European market was formed from carpets produced in Iran, the Caucasus and Central Asia. Several dealers opened carpet shops in England, relying on procurement and transportation networks established mainly by Armenian and Tabriz merchants
Famous museums store Armenian carpets in their collections, in the London Museum of Victoria and Albert - a carpet of the 17th century, the Metropolitan Museum in New York acquired a carpet of the 16th century, they are also kept in the Budapest Museum of Applied Art, the London Textile Museum and in a variety of private collections. Classic samples of carpets are kept in the State Historical Museum of Armenia, in the Russian Ethnographic Museum.
20 century
The main structural principle of composition of most Armenian carpets made in the XIX-XX centuries is the division into medallions, which can have a variety of shapes. They can be diamond-shaped, star-shaped, cross-shaped, completely closed, or be with the silhouette of a dragon. The patterns and symbols of the carpets of this time could cover the entire carpet in a multitude of rows, could be located exclusively along the central axis or scattered, just as there could be patterns located alone in the central part of the carpet. In the Armenian carpet, the central part, borders and medallions contain many additional stylized elements: crosses, birds and snakes in combinations with symbols meaning the eternal circle of life such as solar signs, ie swastikas, countless types of sockets, Tree of Life, domestic animals, horsemen and pedestrians.
In the late 19th and early 20th centuries, in the largest weaving centers of the Ottoman Empire, Armenians had many workshops for the production of carpets. At the beginning of the new century, Charles Baker, who had good connections in the Ottoman court, gained control over Armenian weaving production in many areas, including Balykisir, Akshekhir, Konyu, and Neioli, the main commercial textile centers in the Ottoman Turkey. After his death, the company was headed by Selil Edwards, who reorganized her into the company "Eastern Carpet Factory". The affairs in the company heavily dependent on the Armenian weavers were successful, until the policy of the Ottomanauthorities with regard to Christian nationalism.
Armenian carpet-making centers were also available in Iran, next to Turkey. They were mainly concentrated in the places of compact settlement of Armenians: the cities of Tehran, Isfahan, Tabriz, Urmia, Arak, Shakhinshahr, Ahvaz and Lilikhan, where there were quarters, the main population of which were Armenians. Famous Armenian carpet makers of Iran, whose workshops were well known at that time, were Edward Benlyan, S. Tayriakyan and K. Taushadjian. The last two masters became one of the founders of carpet weaving in the USA and the creators of a new variety of carpet called the American Saiuk. The big korotkatskaya factory of firm « A & M Karagheusian"Was founded in 1904 in New Jersey, USA, fled from Turkey in 1896, brothers Arshak and Miran Karagusyan, whose family was engaged in carpet weaving in Turkey, since 1818. The factory operated for 60 years and had up to 1,700 employees. The head office of the firm was located in Manhattan.
The first half of the 20 century was marked by the outbreak of the First World War and the Armenian Genocide, which thoroughly ruined the economy of Western Armenia. Escaping from the Turkish sword, hundreds of thousands of Armenian refugees found refuge in Russia, Syria, Lebanon, Egypt, Greece, France, Italy, Iran. In Western Armenia, Armenians were almost completely exterminated or expelled, and their property was plundered. With the extermination of the Christian population of Turkey, a great damage was inflicted to the traditional Armenian handicraft industries, which they almost completely ceased to exist in the territories subjected to ethnic cleansing. With the destruction of Armenian weavers among other Armenians, the figures of Turkish textile trade declined both in product quality and in production. At the same time, Armenian children wove carpets in orphanages that were created in various regions of Turkey, including Istanbul.
Due to the war and the huge number of refugees, and then the famine and poverty in Eastern Armenia, Armenian carpet weaving, as well as in Western Armenia, is declining, some way to get out of it only after Sovietization, when from the early 1920s carpet-making cooperatives began to be created.
In the 1920s, 150 Armenians who had escaped the genocide perpetrated by the Ottoman government in the suburb of the city of Bari, Italy, on the territory of 7 thousand m² under the leadership of Hrant Nazarian, founded the village of Nor-Arax. A small carpet factory was opened in the village, where the villagers worked. Armenian carpets made by villagers were very popular both in Italy and abroad, among those who purchased carpets were King Farouk, Pope Pius XI and Queen Elena. The Armenian carpets produced in the village were decorated with the floors and walls of the National Bank of Italy. Nor-Aras village exists today, continuing to produce unique Armenian carpets, moreover, afterWorld War II in the province of Calabria formed the second Armenian carpet-weaving village
Armenian carpets woven in the centers of the Armenian diaspora, despite the fact that they were woven in the distance from the historical homeland, carried in themselves the centuries-old traditions that developed for centuries on Armenian land. In addition, the imprint of contact with the new cultural environment is brought into the rugs of the diaspora, the national motives of the state-forming people, with whom the community exists alongside, are intertwined with Armenian folk motives, which in turn gives the carpet a certain beauty and uniqueness.
With the establishment of Soviet power in the region comes stability and prerequisites for the development of carpet weaving. However, in the spring of 1929, a policy of "active collectivization" aimed at increasing the number of collective farms began in rural areas. The measures taken have substantially increased the growth of collective farms. Artisans, including carpet makers, were united in artels. Machines and machines were introduced into production, which, in turn, contributed to the decline in the production of hand-made carpets and the loss of individuality in carpets that left the automatic line.
By 1958 carpet production was conducted in 22 districts of the Armenian SSR, the products of the carpet-making artels of that time were repeatedly exhibited at numerous international exhibitions and fairs, where they were awarded with high marks and awards. Thus, at the 1958 World Exhibition in Brussels, Armenian carpets were awarded the Great Gold Medal, and in June 1973 the first exhibition of samples of ancient Armenian carpets numbering four hundred carpets was opened in Yerevan. In 1984, as a result of almost half a century of activity of Armenian scientists in the Armenian SSR, a new breed of sheep was officially registered -The Armenian semi-coarse- wool sheep, whose exceptionally white and elastic hair was used to make carpets.
In 2009, within the framework of the manual carpet production support program, the government of the Republic of Armenia decided to exempt from income tax and VAT from the sale of hand-made carpets.
Armenian carpet in art
About how Armenian carpets from ancient times can be judged from their images, embodied in works of other types of fine art: on the bas-reliefs of the Cathedral of the Holy Cross on the island of Akhtamar, on medieval Armenian miniatures. Small fragments of carpets, as well as other textiles of this period were preserved due to the fact that they were used for binding medieval manuscripts. Until now, several thousand such fragments have survived.
In Armenian miniatures and frescoes, the Virgin, Christ, Evangelicals and saints standing in full growth or sitting on carpets, cushions and embroidered bedspreads are often depicted. Sacrificers, field savers, a complex ligature of khachkars, rosettes, available in medieval Armenian manuscripts, echo carpets and carpets. Images of Armenian carpets are also available on church portals of the 13th-14th centuries.
There are numerous references to pile carpets and carpets in Armenian oral folk art: in tales, legends, songs, ditties and the heroic epic " David of Sasun ". So, in the fairy tale "Anait" the heroine says that she will agree to marry the prince only if he learns some craft, and better learns to weave carpets. In this tale there are clearly traced details that testify to the deep roots of carpet weaving, dating back to the time of paganism.
Armenian artists often depict Armenian carpets on their canvases. A special atmosphere is created by the presence of a carpet on the canvas of SM Aghajanyan. Colorful still lifes with carpets LA Bazhbeuk-Melikyan.
The technique of the Armenian carpet
Originally a common kind of flooring in Armenia was matting and matting, which was woven from young reeds, flexible grasses. According to the technique of making, they did not differ from the palaces woven with woolen and linen threads. The transition from a single-colored linen weave to a striped palace, when the whole monochrome background was covered with stripes of a particular color alternating in a certain rhythm (where the paint is natural), was dictated by the desire to revive these rhythmic bands with the simplest patterns of geometric ornamentation, as was observed in other kinds of applied art.
Initially, a continuous canvas of natural color was periodically covered with vertical dashes, zigzag lines. It is the vertical line of the drawing that creates a new weaving technique, unknown until now in carpet weaving. So the foundations of the mating of the carpet were laid. The intersection of the interrupted horizontal thread of the warp and the denticule of the duck duck made it possible for the appearance on the smooth surface of various finished geometric figures: a triangle, a quadrilateral, a cross, a circle, a rhombus, star-shaped polygons.
With a wide use of yarns of different color shades appear inscribed in each other figures, "volumes", already known in applied art motifs patterns, but in a new interpretation or in a new reading. Thus, the carpet gradually becomes complicated by composition and execution by a work that is distinguished by a thematic variety, a certain system of ideas and patterns. The essential difference between palas, Jedjim and carpet is explained by the technique of their knitting. The horizontal line of the pattern rhythmically changes the direction up and down and introduces a vertical pattern into the mating. The threads of the weft are not interconnected, and therefore at the boundaries of the pattern are formed lumen-element, which when knitting the carpet is absent. The new texture depended on the knitting technique, the innovation of the masters, due to the need to diversify the production. Novelties were achieved both by changing color combinations, and by changing the technology of knitting.
The variety of Armenian carpets and their improvement over time allow us to see that transitional moment when a very significant change is made to the knitting technique of carpets carpet, which initiated the emergence of new machinery-carpet making. Although the carpeting is viscous and allows you to create a variety of complex patterns, compositions, but as a result, the entire surface is streaked with vertical short or long gaps. This greatly reduces the strength of knitting, the monolithic nature of the fabric, which distinguishes palaces and Djedges.
In addition, the technique of carpet mating does not allow the production of strips, circles, zigzag and vertical lines and strips. In an effort to avoid these characteristic flaws, carpet knitters, in one case, invented the technique of textile carpets, in another case, embroidery. They are based on the technique of linen weaving. When creating a carpet on a vertical frame thread, the pile knots of the yarn are fastened, where two ends are drawn to the front side, and embroidery on the canvas makes patterns. Thus, the essential difference between carpet, carpet, embroidery and carpet is that the patterns on the carpet are made exclusively with the help of knots. As a result, they were called nodular carpets or nodule carpets. embroidery and carpet is that the patterns on the carpet are made exclusively with the help of knots. As a result, they were called nodular carpets or nodule carpets. embroidery and carpet is that the patterns on the carpet are made exclusively with the help of knots. As a result, they were called nodular carpets or nodule carpets.
Carpet weaving in Armenia was mainly occupied by women, there was not a single village or city where dzhedjams, carpets, bedspreads, tablecloths, curtains, bags (kuli), horse hides (weaved until 1930-1940, in the rural areas, many of which are now kept in the State Historical Museum of Armenia), and, finally, carpets and carpets. This craft has firmly become part of the everyday life of the people, since it has become an urgent need of every family. Carpets and carpets were mandatory included in the dowry of Armenian girls: they started to weave carpets and carpets for their dowry from a young age.
For the manufacture of carpets used vertical and horizontal carpet machines of various sizes. The size of the finished carpet, which they intended to make, determined the value of the machine. Small portable machines were used to make small carpet products. And for the creation of large carpets, stationary machines of considerable size were used. For the manufacture of large carpets it was required to apply greater physical effort, especially when nailing a weft. Patterns were created from memory, guided by experience transmitted from mother to daughter during teamwork. A characteristic feature of the Armenian carpet is the use of a specific kind of knitting, special knots and pile height. Particular attention was paid to the evenness and strength of the side edges, the length of the carpet reached up to six meters.
The preparation of wool for carpet weaving was rather complicated. Wool was washed ten times in running water, itched on sanderki, spun on spindles or spinning wheels, rolled up, stained, fixed with alum, salt and lime, to give it shine, and soaked in milk whey. Painted wool with various colors of natural origin. The legendary place in the row of Armenian dyes is occupied by "vordan karmir" - red paint, obtained from the root worm - cochineal, common in the Ararat valley. It was exported to different countries of the world, until now it is known in the lexicon of artists as carmine. From the chrysocolla - A mineral, which is an aqueous copper silicate, produced a bluish or bluish mineral paint. Blue Armenian paint - armenite / Armenian stone (Arabic name "lajvard") or otherwise azurite (aqueous copper carbonate) is described by Pliny the Elder as "armenium". Herodotus mentions the maroon - the red "rubia". Vegetable paints were obtained from saffron, immortelle, ink nuts, green nutshells. When dyeing, they all gave an unlimited number of shades of all the primary colors and were extremely resistant.
Despite the fact that carpets are scrupulously studied by man, yet today the meaning of most patterns is not known. According to ethnographers, the whole process of weaving is a ritual that has its symbolic meaning.
American collector, researcher and expert on oriental carpets Jim Allen highly appreciated the importance of Armenian carpet making and noted the important role played by Armenians in the development of carpet culture, and, in particular, the making of carpets for centuries in the Caucasus.
In the compositions of some carpets, the eagle occupies an important place, as well as the cross, which is the most important element of the ornaments of the Armenian Middle Ages.
Today, the centers for the production of the Armenian carpet are Yerevan, Stepanavan, Ijevan, Sevan, Gyumri, Yeghegnadzor, Gavar, Goris, Martuni and also to the regions of Nagorno-Karabakh and Zangezur.
Armenian carpets in collections of museums and individuals
Armenian carpets are stored and exhibited both in famous museums and in private collections.
The Metropolitan Museum in New York acquired a carpet of the 16th century. Armenian carpets are also stored in the collections of the Budapest Museum of Applied Arts, the London Textile Museum. Among private collections: Bode and Williams collections, Classic samples of carpets are kept in the State Historical Museum of Armenia, in the ethnographic museum.
Until recently, it was widely believed that on all Armenian carpets there must necessarily be a textile inscription composed of the letters of the Armenian alphabet. In this regard, all carpets with textile inscriptions in Armenian were considered Armenian. However, as it was established in recent years, a significant group of carpets, which are Armenian, but have no inscriptions, have survived to this day.
Many ancient Armenian carpets are kept in museums in Berlin, London, Vienna, Budapest, Istanbul and Cairo, as well as in other famous museums. There are also magnificent copies of carpets stored in the History Museum and the Museum of Ethnography of Armenia in Yerevan.
Among the ancient Armenian carpets there is also a carpet called " Artsvapar ", as a tribute to the Armenian dance of the eagle. The very name of the dance is translated as "Eagle Dance" (c arm «արծվապար» -. «Eagle dance"). The name of the carpet "Artsvapar" is associated with eagle flight, and is an echo of ancient pagan rituals, one of the main elements of which was the image of an eagle (Armenian Արծիվ)
Society of connoisseurs of Armenian carpets
A carpet woven by orphaned girls from the American Missionary Shelter in Agin (Akn) in 1898.
The Armenian Rugs Society, which is a non-profit organization, was organized in Washington in 1980. The society unites collectors and other connoisseurs of Armenian carpets. The activities of the society are aimed at their identification and preservation, as well as the dissemination of knowledge about Armenian carpets. To fulfill these goals, the Society organizes exhibitions and workshops in various cities, including Washington DC (2001), New York, San Francisco, Philadelphia (1988), Richmond, Memphis (with the Memphis Brooks Museum of Art - 2000), Ft. Worth (with the Kimbell Art Museum of Ft. Worth, Dallas, Texas - 1984), Fresno, Boston, Worcester, St. Petersburg (1986), Montreal, London and Geneva (1988). The Company also created a database of hand-made, pile and lint-free carpets containing inscriptions made with the letters of the Armenian alphabet. The Society publishes Bulletins regularly, in which it tells about the activities carried out .
According to the approach of the Armenian Carpet Worshipers Society, Armenian carpets are all Armenian, which were woven by Armenians, and there are carnal inscriptions in Armenian, including names, letters and dates that are part of the carpet design, regardless of the regional origin of the ornament.
Source from Wikipedia
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