Armenian Rugs & Textiles

ARMENIAN RUGS & TEXTILES

EXHIBITION OF 22 ANTIQUE ARMENIAN RUGS AND TEXTILES FROM THE ACHDJIAN COLLECTION IN VIENNA

Monday 15 th – Sunday 21 th September 2014,
in conjunction with the ICOC / TKF Tour Preview Vienna – Budapest /
exhibition organized by the Ministry of Culture of Armenian, Armenian Rug Society, and Artur Telfeyan.

Four embroideries of the Achdjian Collection in Vienna 2014

Artemis Ohanian built up of the exhibition

At the occasion of the ICOC and Hali Tour Vienna (Wien)-Budapest 2014 and of the celebration of the anniversary of the independence day of the Armenian Republic, Artur Telfeyan in conjunction with

– The Armenian Ministry of Culture, The Folk Art Museum of Yerevan, Armenian Rug Society (San Francisco), The Austrian Society for Textile Art Research (TKF) organized the exhibition “Armenian Rugs and Textiles”.

The exhibition is the result of a partnership between the:

Ministry of Culture of the Republic of Armenia. Mrs. Hasmik Poghosyan (Boghossian) Minister of Culture of Republic of Armenia.
Armenian Rug Society (Joe Bezdjian, Levon Ter Bedrossian, Garbis and Sylva Baghdassarian, Lorraine Amirian, etc …)
Ministry of Culture from Artsakh. Melania Balayan is the director of Artsakh State Museum.
Mekhitarian Congregation of Vienna, father Vahan Hovagimian.
Folk Art Museum of Yerevan, Hovik Hoveyan
Achdjian gallery, Artemis Ohanian and Berdj Achdjian
George and Azniv Teppich in Vienna, Kevork (Georg) and Azniv Telfeyan and Artur Telfeyan
And few others persons, as Chandjian. Sorry, for those I did not quote.

The Master of the Ceremony of this exhibition was the very efficient and very sympathetic:

Arman Kirakossian, ambassador of Armenia in Vienna. (Wien). Without him, this event would not have been so succesful and prestigious.

Mr. Maxime Lefebvre, ambassador of France, permanent representative of France near OSCE, honoured this event of his venue. Maxime Lefevre gave an interesting attention to the antique Armenian textiles, and I want to thank him again for his positive comments.

The Ambassador of Armenia in Vienna, His Excellence Mr Kirakossian and Mr Vahram Balayan, Deputy from Atrsakh (Karabagh)

Arman Kirakossian (center)

I have to say that I appreciated particularly the representatives of Artsakh (Karabagh) Melania Balayan and her husband, Vahram Balayan. Melania Balayan is an historian. She is a doctor of historical sciences, and, she is director of Artsakh State Museum of History and Country Study. She has been the director of the museum since 1997.

There were exhibited:

Around ten rugs from late 19th century or early 20th century from today Armenia and Artsakh (Karabagh)
Around ten rugs or kilims of Armenian origin from outside of today Armenia (From Armenian Rug Society’s members as Levon Ter Bedrossian, Peter Gmur,)
Two important examples of late 18th and early 19th century Armenian rug from South of the Caucasus (Nakhitchevan) and from Shirwan (Achdjian Collection)
An early 19th century kilim from today Armenia (Achdjian Collection)
17 antique textiles from the Achdjian Collection, including the XVIIth century Armenian Miter of Jerusalem, the Armenian Upper Altar embroidery figuring the Baptism of the Christ. See images published by Jozan Magazine, the Armenian embroidered collar with Sun and Moon rays from Constantinopolis, etc …
An important frontal upper altar embroidery presented as a pluvial from the Mekhitarian Congregation and four Armenian embroideries from the same museum.

As far as I am not interested by late 19th century or even early XXth century rugs from The Caucasus which belong to a period of decadence of the art of knotted rugs. These rugs DO NOT WELL REPRESENT the genius of the Armenian atists and craft-smen and crafts-women, I shall not comment these pieces.

From the pieces which do not belong to my collection, the pieces which keep my attention were:

A knotted rug figuring horsemen which are smoking pipes on a red ground. This interesting piece has an inscription in Armenian “‘This work of art belongs to Ossana Hayrabedian, in the year of 1914, 9 April”. (Garbis and Sylva Baghdassarian Collection).
A knotted rug which is attributed to Sivas Zara and which is from my point of view from the Kars area or Erzurum area. This rug has an interesting design. This rug has a real ethnographic interest. It has been woven for a special occasion as a wedding. (Peter Gmurr Collection).
A knotted rug from Armenia, so called Kazak. The rug has good colours. Its design with 2 large medallions and 2 huge crosses is a late version of an early 19th century design or even earlier. (Artur Telfeyan collection).
An embroidery belonging to the Folk Art Museum of Yerevan. Ben Evans, editor in chief of Hali magazine went in Armenia in 2013 and he discovered it. He published it in the very last issue of Hali magazine. The today director of the Armenian Folk Art Museum is Hovik Hoveyan, former Minister of Culture of Armenia. Folk Art Museum and H. Sharambeyan Centre of People’s Art (Folk Art) is the same museum.
An important upper alter embroidered hanging from the Mekhitarian Congregation Museum from Vienna and described as a pluvial and which is not a pluvial. The Mekhitarian Congregation from Vienna (Wien), is directed by Father Vahan Hovagimian.

Let’s focus on the twentytwo antique pieces of the “Achdjian collection”

ACHDJIAN COLLECTION WIEN VIENNA 2014

First of all, we need to re-affirm some points: there is no “An” Armenian Rug or “an” Armenian textile, but there are several Armenian RugS and there are several Armenian TextileS.

This is an important statement and sometimes, a point of misunderstanding between some Armenian scholars from today Armenia and some historians and scholars from outside Armenia. (Dickran Kouymjian, Chair of armenology of California, + Lauren Arnold, + Jim Allen, Jim Burns + Murray Eiland, or Berdj Achdjian, ).

Armenians have been spread all over the world and the way they expressed their visual arts have been depending of their location, their period, their religion and others agents of influence (Armenian have not been always Christian). About the Pazyrik, this point is quite important. I shall not treat here this question, but the religion of Armenian around 6th century BC, of course, is not the Christianism, as some Azeris scholars think. As well, ethnically, today Azeri have very few relations with peoples from the East of Caucasus, three millenium ago.

How a rug or textile is Armenian? This question is not a right question and the way it is asked (which is the usual way) is too simple. During ages, the concept of being “Armenian” has evolved. I don’t want to make of this article a study on Armenian textiles and rugs. Still, to give a general introduction to them, I need to precise that by Armenian, I consider works of Art made by the Armenian ethnic group. A Kurdish weaver making a rug on the Armenian homeland or today Armenia, has realized a Kurdish weaving and then after on the Armenian ground. As well, Armenian textiles and rugs should be considered as being designed or woven by Armenians. Their Armenian origin depends of their localization, by the place where the piece has been made, by the religion of the weaver of the artist-designer. For example, Armenian Catholic textiles differ in some aspects than Armenian Apostolic ones, even, if the Catholicism and the Apostolicism, both, are two aspects of Christianity. Armenian who were obliged to convert to Islam as the great architect Sinan and who was Armenian origin, expressed his personality very differently than if he would have kept his religion. As well, the Armenians, in South India in the XVth century, did not expressed themselves in the same way, with the same motifs and same colors, than Armenians in today Armenia at the end of 19th century, or than Armenians in the XIVth century in Western Asia Minor and Byzantium.

As important:

When I was 27 years old, I was fortunate to meet Georges DUMEZIL. I went to his home several times and I could ask to him some questions. One day, I ask to him if it was clever for me to go in Armenia, Georgia and Azerbaidjan to study symbolism of Caucasian knotted rugs. He answered to me: stay here ! To go to these countries is useless. All these countries have museums, but all the curators are only agents of the KGB. They never studied rugs and textiles in the same way, you did it. Even forget information resulting from them.

In 1980, Ulrich Schurmann and I, we had a meeting and of course, we talk about Paris and its deserted market. He exhibited in the Paris Biennale without selling one rug to a French private customer. We talk about Lyatif Kerimov. I told him what Georges Dumezil told me about Kerimov. Lyatif Kerimov was an agent of the KGB. His classification is the one of a Folk Art Museum curator more agent of KGB than a scientific and knowlegeable Shurmann said to me: don’t repeat it. But more and more, I think, your friend Dumezil is right! Obviously Ulrich Schurmann did not knew who was Dumezil. Dumezil was already an old man, and I was just a young man. But, Ulrich Schurmann did not beleive anymore in his classification.

Therefore, the concepts of the Achdjian Collection, which constitute the Achdjian collection, were not and are not the same than the ones of the Folk Art Museum of Yerevan.

All rugs and weavings belonging to th Folk Art museum of Yerevan are / were from the end of 19th century or early 20th century and from today Armenia. Even, one rug which was reproduced on the front cover of the catalogue has its dated FALSIFIED. Its real date is 1915, and as the 9 has been transformed in an 8, the carpet is presented as 1815. What a joke ! Who can believe in this falsification of date ?

Regarding the selection of pieces from Achdjian Collection, concepts of selection are based on:

Diversity of places of production: they might India, North West of Persia, Nakhitchevan, Constantinople, Poland, Ukraine, Georgia, etc … and of course, today Armenia, too. Sometimes, the work of art, has only an Armenian touch. For example, some Polish silk belts from Muratowitz’ workshop have been woven in Poland, near Cracow. It is because Muratowitz (or Muratowicz) is an Armenian by his origin (Murat) and this is attested in several books on these textiles, that, we consider them as Armenian.
Diversity of the technique: this collection presents most of textile techniques. The knotted rugs and carpets are ONLY one segment of the textile arts. Several techniques of the art of embroideries, kilim, verneh and sumakh techniques, block printing on fabric, etc. figure in the Achdjian collection.
Diversity of the social levels of the Armenian society. Some works of art, as the Miter of Jerusalem have been made for the highest level of the Armenian society in its time. Some others, as the Marash antependium or lower frontal altar have been made by and for a villageous society.
Diversity of the iconographic repertories.
Diversity of period of production.

EXHIBITED TEXTILES FROM THE ACHDJIAN COLLECTION / PLATES AND TEXTS

The following text is dedicated to Andre Aboolian

01) “UNION OF SUN & MOON” – AN EMBROIDERED LITURGICAL COLLAR

An anonymous Armenian designer from Constantinople (Istanbul or Constantinopolis), Ottoman Empire
An Armenian professional embroiderer from Constantinople (Istanbul), Ottoman Empire Size: 053 cm x 034 cm Date: dated 1654
Materials: silk and metallic threads on a blue silk ground.
Exhibition: – “Voir Jerusalem” Mairie du V eme Arrondondissement de Paris, Centre Culturel du Marais, Paris, 1997. – “Armenian Rugs and Textiles”, Wien 2014. Palais Sans Soucis. Plate 28.
Literature: – Catalogue “Voir Jerusalem”, Centre Culturel du Marais, Paris, 1997. “Armenian Rugs and Textiles”, Wien 2014. Palais Sans Soucis. Plate 28.
Inscription: inscription in old Armenian. Several letters are mixed together in one letter; therefore, it might be given different interpretations of the same text. It might be read as: In memory of Nareg, this vestment (chabig for chasuble), has been offered to The Church of the Holy Cross (Hratch). In the year (i tvin) of 1654.
Armenian origin: It is attested by its religious function. The inscription is in Armenian, The very high level of technique has been reached mostly by Greeks, Jews and Armenians.
Provenance: Achdjian Collection, Paris.

embroidered collar dated 1654 Western Asia Minor Achdjian Collection

02) “EPITAPH ON A PONTIFICAL VESTMENT” – A FRAGMENT OF AN EMBROIDERED CHASUBLE

An anonymous Armenian designer or calligrapher from Nakhitchevan
An Armenian embroiderer from Nakhitchevan
Size: 036 cm x 031 cm
Date: dated 1739
Materials: silver metallic threads on a silk ground
Inscription: This vestment (chasuble) has been made in memory of Sarkis from Tseghna, son of Samuel, of his brother Hovhannes (Hovanes, different spellings), of his parents dead or alive, and of The Saint Mother of God Church, in 1188 (=1739).
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Armenian origin: The inscription and the religious function attest of the absolute Armenian origin of this textile.
Provenance: Achdjian Collection, Paris.

Epitaph (inscribed text) on a fragment of chasuble Achdjian collection

Epitaph in Armenian on a fragment of Chasuble Achdjian Collection

03) “THE BAPTISM OF THE CHRIST” – AN EMBROIDERED FIGURATIVE PANEL FOR THE UPPER ALTAR

An anonymous Armenian designer from Ottoman Empire
An Armenian professional embroiderer probably from Kayseri (Césarée) in Anatolia, Ottoman Empire
Size: 069 cm x 051 cm
Date: dated 1795
Materials: silk and silver threads on a silk ground
Inscription: This (embroidery) is dedicated to Saint Garabed (Monastery of Kayseri in Cappadoccia) from Parsegh (or Barsegh) hadji Sareoghlou (Sare means yellow).
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Literature: Catalogue of the Exhibition “Armenian Rugs and Textiles”, Wien 2014. Palais Sans Soucis. Plate 25.
Armenian origin: The Armenian origin is obvious in all aspects of this embroidered panel.
Provenance: Achdjian Collection, Paris.

The “Baptism of the Christ”, an armenian embroidery has been designed by a great anonymous Armenian designer from West of Anatolia. It is a masterpiece. Its realization is just amazing. It is an achievement of the art of embroidery. A masterpiece. For Hali Magazine, it was the piece to illustrate the exhibition. For a better study, please read “Tapis et Textiles Armeniens” by Haroutiuon Kevorkian and Berdj Achdjian. Marseille.(illustrations are the beggining of the chapter).Please, if you want to open a pic, click or double click on it

The Baptism of the Christ dated 1795 Ghessaria Kayseri for Sourp Garabed Church. Achdjian Collection.

The Baptism of the Christ dated 1795 Ghessaria Kayseri for Sourp Garabed Church (7)

The Baptism of the Christ dated 1795 Ghessaria Kayseri for Sourp Garabed Church Achdjian Collection

detail of The Baptem of Christ dated 1795 Ghessaria Kayseri for Sourp Garabed Church (4)

04) “JONAH AND THE WHALE” – AN EMBROIDERED CALICE COVER

An anonymous Armenian designer from Nor (New) Djulfa (Djugha or Djoulfa) Isfahan (Esfahan), Iran
An Armenian professional embroiderer from Nor (New) Djulfa (Djugha or Djoulfa) Isfahan, Iran
Size: 054 cm x 051 cm
Date: early 17th century
Materials: silk on a cotton ground
Condition: the piece is fragmented and some parts are not in their original place.
Inscription: no inscription.
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Literature: Catalogue of the Exhibition “Armenian Rugs and Textiles”, Wien 2014. Palais Sans Soucis. Plate 35.
Armenian origin: This embroidery is probably one of the most important embroideries of the Armenian Culture from Nor Julfa. The Armenian origin is attested by the presence of a major theme of Armenian Christian tradition: Jonah and the whale. This story depicts the fact that no one can escape from the Will of God. As in Safavid Persia or Iran, Among the Christians in Julfa, the Armenians were the ones who used this motif previously (see Aghtamar sculptures), so the attribution to the Armenian of Julfa is absolutely justified. This embroidery is important due to the fact that the Christian iconographic repertory is used in a Safavid style with pale colors and delicate work of embroidery. So, we can easily imagine what would have been them when Armenian one decade before were still in Nakhitchevan, with bright colors and probably a different stitch of embroidery.
Provenance: Achdjian Collection, Paris.

The embroidery “Jonah and the Whale” from the early 17th century and from Nor Julfa (Isfahan) is a major work of art. Taking its inspiration from the bas-relief or sculptures of Aghtamar (Akdamar, now in Turkey) which were inspired by the art of the armenian embroidery, its design figures Jonah and the Whale, a Christian thema. Obviously, this embroidery is Armenian from Persia (Iran) and it is probably the oldest Armenian embroidery of the establishment of Nor Julfa (Djoulfa) during the reign of Shah Abbas. The piece has been exhibited during the “Year of Armenia in France” in the Maison des Arts of Antony. (Mayor of Antony is Patrick Devedjian, former Minister of French Economic Redressement). This piece was choosen by Jozan Magazine to inform its readers about this exhibition.Please, if you want to open a pic, click or double click on it

Jonah and the Whale Nor Julfa Circa 1620 Achdjian Collection

jonah and the whale Nor Julfa Safavid Period circa 1620

05) “THE COMMERCIAL EMPIRE OF THE EAST INDIAN COMPANY” – AN EMBROIDERED CHALICE COVER

An anonymous Armenian designer from Ottoman Empire
An Armenian professional embroiderer probably from Western Anatolia, Ottoman Empire
Size: 055 cm x 050 cm
Date: Late 18th
Materials: silk and silver threads on a white cotton ground
Inscription: no inscription.
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Literature: Catalogue of the Exhibition “Armenian Rugs and Textiles”, Wien 2014. Palais Sans Soucis. Plate 33.
The Armenian origin is attested by the very similar technical features with the Armenian embroidery with the 2 initials R + S, by its similarity with others embroideries of this group and published as Armenian in Ernst publication, and by the presence of boats with cross and with others symbols of the East Indian Company (Armenian Merchants). These boats are emblems of the East Indian Company on Coromandel Coast, in India. The Armenian merchants were great sailors. They used to link by boat, harbors as Constantinopolis, or others from Western Asia Minor to Venice, Livorno, Genoa or Marseille. As well, in several places, the motifs of the Lamb of Christ are embroidered. This Lamb of Christ was reproduced on the flag of the Armenian Merchants of the East Indian Company. This embroidery figures the 4 continents (in that time, Oceania was not yet discovered) and the power on these four continents on the Armenian fleet.
Provenance: Achdjian Collection, Paris.

The embroidered Chalice Cover with the Four Continents and Four galleys; The first one with four galleys (boats) has been realized for either the East Indian Company (An Armenian company which used to be a leading company in 17th and 18th century for the textile commercial exchanges) or an another Company with Christian living in Western Anatolia and having commercial relationship with the four continents. From the first half of the 14th century the Venetian galere da mercato (“merchantman galleys”) were being built in the shipyards of the state-run Arsenal as “a combination of state enterprise and private association, the latter being a kind of consortium of export merchants”, as Fernand Braudel described them. The ships sailed in convoy, defended by archers and slingsmen (ballestieri) aboard, and later carrying cannons. In Genoa, one of the major maritime power of the time, galleys and ships in general were more produced by smaller private venture. In that time. the World has only four continents (Oceania was not yet discovered). Therefore in the four angles (four continents) are representation of them and four boats are displayed on a crossed structure (North South East West). During the Battle of Lepanto in 1571, naval engagement between allied Christian forceshristians and to the Armenians. The four boats with crosses symbolize very probably the net of those navigators’ all over the world. In the very center of this embroidery, eigth motifs of Lamb of God (symboles of the East Indian Company) or a very similar motif, are displayed around a central medallion, a cross in the Armenian manner with four fleurs de Lys which probably symbolize the Kingdom of France. So, the association of motifs showing that: a) the embroiderer was living in Western Asia Minor and very probably in or around the area of Constantinopolis / b) the design is showing relationship between France and Western Asia Minor / c) the design is showing relationship between France + Western Anatolia + India (see the boteh in the outer border) / d) the lamb of God or the Bird or the Paon with a cross, it is difficult to identify the represented animal, in any case , the motif seems to be the symbol, the logo, the motif of a company of an Armenia merchant (or businessman) who used to be in connection with the French East Indian Company. (a Commercial Company of Trade between India, Persia, Ottoman Empire, Italy, Aegean Islands and France). Therefore, this embroidery is Armenian. Armenians were or are Christian. There were / are Armenians in Western Anatolia or in Central Anatolia. The Armenians traders or merchants used to be good sailors and navigators. They are the only one from Western Anatolia to be used to deal with India, as well East Coast or West Coast.(boteh and logo of a company working in Middle East and India). If there were different minotities to deal between India and Venice, Armenians were the only one to deal with Kingdom of France since Cardinal de Richelieu and Colbert during the Reign of Louis XIV. This motif is a symbole of the union of the Armenian traders (merchants) and the French Kingdom of Louis XIV. An another argument is that in the Ernst Publications (Paris, circa 1925) several embroideries of that type are illustrated and defined as: Armenian. Please, if you want to open a pic, click or double click on it

The Armenian Chalice Cover for the Armenian French East Indian compagny Achdjian Collection

Western Asia Minor Armenian Embroidery the fleet of the Armenian Merchant for Kingdom of France

Western Asia Minor Armenian Embroidery the fleet of the Armenian Merchant for Kingdom of France Achdjian Collection

06) “CROSS SHAPED COMPOSITION WITH A CENTRAL MOTIVE” – AN EMBROIDERED CHALICE COVER

An anonymous Armenian designer from Ottoman Empire
An Armenian professional embroiderer probably from Western Anatolia, Ottoman Empire
Size: 055 cm x 054 cm
Date: Late 18th – early 19th century
Materials: silk and silver threads on a white cotton ground
Provenance: Berdj Achdjian Collection since 1975. Bought from Baravian family in South of France and they told me that one of their ancestor was a priest. Armenian priest might be married and have children.
Inscription: no inscription.
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Literature: Catalogue of the Exhibition “Armenian Rugs and Textiles”, Wien 2014. Palais Sans Soucis. Plate 32.
Armenian origin: It is attested by the very similar technical features with the Armenian embroidery with the 2 initials R + S, by its similarity with others embroideries of this group and published as Armenian in Ernst publication. It is attested, too, by several motifs with crosses. See the globe and the cross in the minor border. See the cross and the 2 facing snakes in the main field + see the presence of eagles.
Provenance: Achdjian Collection, Paris.

This Chalice Cover with four Kuffic seals, a cross-shaped composition and in border a motif with 4 snakes or Dioun around an eigth pointed star, eigth floral main motifs and a central square medallion. The S shape or Dioun or snake must be studied by Armenian scholars. In the 1950′ ies, since my childhood, my father, Albert Achdjian, used to tell me that this motif was a symbol of an Armenian rug or textile. Please, if you want to open a pic, click or double click on it

Armenian chalice cover with flowers and kuffic seals Achdjian Collection

07) “EIGHT POINTED STAR WITH EAGLES AND FLOWERS” – AN EMBROIDERED COVER FOR AN ALTAR CUSHION

An anonymous Armenian designer from Ottoman Empire
An Armenian professional embroiderer probably from Western Anatolia, Ottoman Empire
Size: 070 cm x 047 cm
Date: early 19th century
Materials: silk and silver threads on a white cotton ground
Provenance: Berdj Achdjian Collection since 1981.
Inscription: Two letters or initials R and S. This piece was in my grand -mother ownership and then my father’s ownership since decades.
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Armenian origin: It is attested by the two initials in Armenian which are very probably the initials of the woman who embroidered it.
Provenance: Achdjian Collection, Paris.

Armenian liturgical cushion cover with 2 Armenian letters Achdjian Collection

Armenian liturgical cushion cover Achdjian Collection

Armenian liturgical cushion cover with 2 Armenian letters Achdjian Collection

08) “THE CRUCIFIXION OF JESUS AND OTHERS SCENES OF HIS LIFE” – A CATHOLICOSSAL OR PONTIFICAL MITER AND ITS PARAMENTIC ACCESSORIES

An anonymous Armenian designer from Ottoman Empire
An Armenian professional embroiderer probably from South East of Anatolia, Ottoman Empire
Size: 037 cm x 050 cm for the miter + 013 x 054 cm for the collar
Date: end of 17th century or early 18th century
Materials: silk and gold threads on a silk ground
Inscription: Four Armenian letters for the Armenian translation of INRI.
Exhibition: – “Voir Jerusalem – Pélérins, Conquérants, Voyageurs”, Mayor House of Paris V, Paris, 1997. – Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Literature: Catalogue of the Exhibition “Armenian Rugs and Textiles”, Wien 2014. Palais Sans Soucis. Plate 34. – “Voir Jerusalem – Pélérins, Conquérants, Voyageurs”, Mayor House of Paris V, Paris, 1997. Centre Culturel du Panthéon.
Armenian origin: Four Armenian letters. The origin is obvious.
Provenance: Achdjian Collection, Paris

The Apostolic Armenian Catholicossal Miter of Jerusalem. A Tresure of Armenian Art of Embroidery. An historical work of Art. In the Achdjian Collection since 1950’ies. On the miter, the armenian letters for I.N.R.I. (in Armenian) are embroidered with golden threads. For a study of this piece, please report to “Tapis et Textiles Arméniens” by Haroutioun Kevorkian and Berdj Achdjian. Please, if you want to open a pic, click or double click on it.

THE CATHOLICOSSAL ARMENIAN MITER OF JERUSALEM Achdjian Collection

the Armenian Catholicossal Miter of Jerusalem detail

THE CATHOLICOSSAL ARMENIAN MITER OF JERUSALEM Achdjian Collection

09) “THE ASSOMPTION OR HAMPARTSOOM” – AN EMBROIDERED CHALICE COVER

An anonymous Armenian designer from Ottoman Empire
An Armenian professional embroiderer probably from Kutahya or Ushag, Ottoman Empire
Size: 091 cm x 091 cm
Date: dated 1795
Materials: silk and silver threads on a silk ground
Inscription: the two inscriptions are gone, but still, it can be read some Armenian characters.
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Armenian origin: It is obvious that this embroidery has been realized by Armenians from Western Anatolia. The subject is purely religious and Christian, and the letters which have been taken off leaved some traces of Armenian letters.
Provenance: Achdjian Collection, Paris.

The Hampartsoom or Zareh Achdjian Chalice Cover. This embroidered Chalice Cover has been identified by Zareh Achdjian, several years ago. This embroidery shares several technical and iconographic features with an another Chalice cover of the Achdjian Collection which was not exbibited in Vienna, but which is published in “Tapis et Textiles Arméniens” by Haroutioun Kevorkian and Berdj Achdjian. The embroidery has inscription in Armenian. This embroidery has inscription, too, but they have been removed years ago by one of its owner, probably a Catholic priest for its own use. Still, some traces of these letters can be seen, and without any doubt, some armenian letters can be read. The work is typical of Guessaria or Kayseri (Cesarée) and from the XVIII and XIX th centuries. Please, if you want to open a pic, click or double click on it.

the Armenian Chalice Cover from Zareh Achdjian Collection

the zareh achdjian chalice cover Kayseri

10) “CROSS + FLOWERS + SAINTS” – AN EMBROIDERED STOLE (ORARION)

An anonymous Armenian designer from Ottoman Empire
An anonymous Armenian embroiderer from Ottoman Empire
Size: 266 cm x 014 cm
Date: 1782
Materials: silk threads on a silk back-ground.
Inscription: This inscription is difficult to read: dated 1782, this (piece) has been given in memory of the son of Hovsep (hovsep’in vort’in)) from Vastagan (? difficult to read).
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Armenian origin: this embroidery is typical of work of the Armenians of the Ottoman Empire at the end of XVIIIth century. The inscription and the iconography.It is attested by the inscription in Armenian and by its religious function.
Provenance: Achdjian Collection, Paris.

Armenian Orarion Achdjian Collection

Armenian Orarion
Achdjian Collection

11) “GANANTCH-GARMIR / GREEN AND RED” – TWO EMBROIDERED GARMENTS FOR WEDDING

An anonymous Armenian designer from Nor (New) Djoulfa (Djougha, Julfa), Isfahan (Esfahan), Iran
An anonymous Armenian embroiderer from Nor (New) Djoulfa (Djougha, Julfa), Isfahan (Esfahan), Iran
Size: 056 cm x 010 cm
Date: second half of 19th century (dated 1885 and 1879)
Materials: metallic golden threads on silk ground
Provenance: Berdj Achdjian Collection since 1980.
Inscription: on the green one “An(n)a Khatoum” (typical Armenian name of the Armenian families who went from Isfahan (Nor Julfa) to Madras or India and used to come back to Nor Julfa from time to time. On the red one, two initials “M. Y”.
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Armenian origin: Only Armenian men used to wear them during the wedding ceremony. The inscription of Armenian initials comforts this thesis. Today, only ribbons, one green, one red are used.
Provenance: Achdjian Collection, Paris.
The piece is illustrated in the catalogue

12) “SAFAVID FLOWERS” – A LITURGICAL STOLE (EPITRACHIL OR EPITRACHELION)

An anonymous Armenian or Persian designer from
Nor Julfa (Ispahan), Persian Empire
An Armenian professional taylor from
Nor Julfa (Ispahanl), Persian Empire
Size: 138 cm x 030 cm
Date: early XVIIth century (Safavid period)
Materials: silk.
Exhibition: “Voir Jerusalem” Mairie du V eme Arrondondissement de Paris, Centre Culturel du Marais, Paris, 1997.
Inscription: no inscription.
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Armenian origin: It is attested by the traces of two crosses’ s former place that can be seen of the stole. Only Armenians were Christian during the early Safavid period in the Persian Empire, therefore, this piece is Armenian.
Provenance: Achdjian Collection, Paris.

Armenian stole nor djoulfa 17th c

13) “FOUR ANIMALS (BIRDS ?) AND THEIR SYMBOLIC MOTIFS” – AN EMBROIDERED ARMENIAN APRON

An anonymous Armenian designer from Eastern Anatolia or West of the Caucasus
An Armenian villageous embroiderer probably from Eastern Anatolia (Sasson) or West of the Caucasus
Size: 080 cm x 076 cm
Date: 19^th century or earlier
Materials: wool and silver threads and pearl on a woolen ground
Inscription: no inscription.
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis.
Armenian origin: Since decades these aprons have been founded only in villages which had been inhabited by Armenians, and since the end of 19^th century, they were kept in Tbilissi museums or Armenian collections, as Armenian. Several similar aprons like this one are kept in the History Museum of Armenia. See Hali Magazine, Issue 179, spring 2014, pages 100 and 101
Provenance: Achdjian Collection, Paris.

The Achdjian Armenian Apron from Vaspouragan. One of the rare Armenian aprons which has survived. Most of these known aprons are kept in the Historical Museum of Yerevan. Hali Magazine reported several of them in their issue of 2014 on the Armenian textiles in the Historical Museum of Yerevan. The historical Museum of Yerevan considers Sasoon as its geographic localization. We do beleive that this specific apron is from Lake of Van area, and therefore, we attribute to it the name of the region of “Vaspourakan” (The Land of the Princes or the Land of the Noblemen). Please, if you want to open a pic, click or double click on it.

Armenian apron from Sassoon area (1)

Armenian apron from Vaspouragan or Sasson villayet note the animal or a bird.

Armenian apron from Sassoon area (1)

14) “THE SYMBOL OF THE EAST INDIAN COMPANY AND TWO FORM OF THE BOTEH ” – A BLOCK PRINTED HAND MADE HANGING IN COTTON

An anonymous Armenian designer from Ottoman Empire
An Armenian workshop from the Ottoman Empire
Size: 071 cm x 119 cm
Date: 18^th century
Materials: cotton
Provenance: Achdjian Gallery Collection since 2001. GBA n° 1783.
Inscription: an Armenian inscription. The first sentence of the Prayer for God.
Exhibition: Armenian Rugs and Textiles, Wien 2014. Palais Sans Soucis
Armenian origin: It is attested by the Armenian inscription and by the Lam of God motif, a bit revisited and which became the symbol of the East Indian Company. This company of Armenian merchants used to control the market of Chintz, Palampore and others textiles from India all over the world, including the European markets. The design of the Boteh is quite interesting and can give better explanation about the origin of the Boteh.
Provenance: Achdjian Collection, Paris.

An Armenian block printed altar or frontal altar: this textile is part of a group of several block printed cotton textiles. Dickran Kouymjian is very probably the one who has studied them well. This textile has a companion piece. The companion piece is kept in the Levon Ter Bedrossian Collection. Please, if you want to open a pic, click or double click on it.