Felting between East and West

Murray Lee Eiland III


Figures

Figure 1
Modern felt from Hungary, collection of the author.

Figure 2
Modern felt from Turkmenistan, collection of the author. In both the layout of the central design and the borders, this example is similar enough to the preceding to suggest that they were influenced by the same artistic ancestors.

Figure 3
Chi-chou vase, pale yellow painted decoration on a dark brown glaze (National Museum, Tokyo, adapted from Medley 1998: fig 120). Vessels of this type, dating to the thirteenth and fourteenth centuries, correspond with the rise of Mongol power in China, and clearly represent the same kind of motifs represented on felts. It is likely that the designs were inspired by actual felts.

Figure 4
Detail of painting from Çatal Hüyük (Shrine E VIII 14). The central medallions on this painting resemble designs commonly used for felts (adapted from Burkett 1977: pl XXb).

Figure 5
Design of felt from Pazyrk barrow 5. This design reflects a mature felting style, suggesting that this technique was far from infancy at the time (adapted from Rudenko 1970: fig 161).

Figure 6
Design of felt from Pazyrk. In style this example is very different from the previous felt. The design appears to adopt the ‘flaming pearl’ motif and has a very distinctive border. While there is no evidence to suggest it was imported, the designs may have been inspired by Chinese textiles (adapted from Rudenko 1970: fig 161).

Figure 7
Border of felt from barrow 2. In both technique and design this example is distinctive from Figs 4 and 5. There is a twisted yarn that separates these coloured designs from the background (adapted from Rudenko 1970: fig 148).

Figure 8
Detail of bronze coin struck by the Artuqids of Mardin, Nasir al-Din Arslan (A.D. 1201-1239). The figure wears traditional Turkish costume and is seated in a cross legged position. It is likely that the figure represents the ruler holding a philosophical orb (Spengler & Sayles 1992: 148-149). While the figure has traditionally been described as being seated on a platform, it is likely that - in keeping ancient Turkish practice - he is seated on a felt, which indicates his status.




Figure 9
Detail of bronze coin struck by the Zengid Atabegs of Al-Jazira, Mu’izz al-Din Sanjar Shah (A.D. 1180-1209). The tamga of this coin is clearly the central focus, and has a long lineage. It is well known from classical sources as a stylized thunderbolt, but it may have been an emblem of that ruler or house (Spengler & Sayles 1996: 118), in which case it may have “nomadic” origins. Whatever the origins of this device, it is clear that it is well suited for use as a tribal emblem, and is not out of place on felts.

Fig 10
Carding cotton with a bow and mallet. This scene may just a easily apply to wool, but from the context, it is clear cotton is depicted. Adapted from the Muft#SYMBOL \f "Symbol"95h al-Fuzala by Muhammad b. D#SYMBOL \f "Symbol"95’#SYMBOL \f "Symbol"95d b. Muhammad Sh#SYMBOL \f "Symbol"95diy#SYMBOL \f "Symbol"95b#SYMBOL \f "Symbol"95d#SYMBOL \f "Symbol"95 (depicted by Watson 1977: fig. 3).