Modern Design, Ancient Tradition
Modern Design, Ancient Tradition

Our customers love our Gabbehs and often comment on how modern arty their designs are. I smile and remember how as a little girl in my grandfather and father’s shop on Boylston Street in Boston, I would ask about the “funny wooly rugs” that didn’t look like any of the other traditional pieces in our store. Rather, they looked like shaggy natural sheepskins with long fibers and spare, tribal designs if they had any design at all. My grandfather explained that they were rugs made by nomadic people from Fars Province, the Qashqa’i, Bakhtiari and Lors tribes who lived in the Zagros Mountains in Iran, all known collectively as the Qashqa‘is. These rugs were functional objects much like the tribe’s decorative salt bags and saddlebags-all useful items that moved with the tribes as they followed the animal migrations. They were for the tribe’s use i.e. “for their feet only” meaning they generally were not sold to the West but used as sleeping mats, as wraps for their children on cold nights and to generally warm and cool the family tent.
The oldest mention of a Gabbeh in Iran dates back to sixteenth century AD in a decree from one of the Shahs who was hosting a reception for the then Mugal of India. He required “a silk tent to be set up for the kitchen near the royal pavilion and the private quarters, covering the ground with silken carpets from Korassan, with Gabbehs, with felts from Jam, and with suzanis.” This mention elevates the humble, functional Gabbeh to the level of the fine rugs and embroideries of the day. The word Gabbeh comes from the Persian for “unclipped” These rugs are characterized by their long pile and dense wool structure. The weavers are from the Turkish speaking Qashqa'i tribes who are among the most powerful tribes in Iran. Parviz Tanolvoli, a respected art historian with a particular interest in the Qashqa’i tribes writes about these strong women weavers:
'Besides weaving, they are responsible for most of their family’s affairs, including cooking, childcare, milking the herds and the production of dairy products. Weaving is the result of a number of activities for which they also have responsibility: spinning, gathering of dye materials, and the dyeing process itself.'
He adds:
'The endurance and bravery of these women is no less that that of their men. In horseback riding, shooting, mountain climbing and hiking they not only keep up with the men but sometimes surpass them. It is not uncommon for a traveler in the tribal areas of Iran to encounter a nomadic woman crossing the mountains and plains all alone, spinning thread as she goes.'
These nomadic tribes still follow their herds, taking them to the higher mountains in the summer where they do their weaving on ground looms, leaving the finished rugs to bask in the sun to mellow the colors. In the colder winter months, they move to lower pastures to spin, dye and weave, using the softest of the wool of the sheep’s underbelly to create the natural luster you see in these wonderful pieces.
And where do the designs originate from on these modern looking rugs? The earliest gabbehs with their spare designs harken back to prehistoric pictographs found all over the world. Stripe, checkerboard, animal, figural and plantlike motifs that you might see on a Gabbeh are seen in cave art, pottery and textiles from France to Australia and New Zealand to Ireland to our American Southwest and Africa and reflect I believe this commonality of symbols and consciousness that make us humans.
A noted rug scholar, G.D. Bornet in his “Geometric Archetypes in Carpets of the Nomads” speculates that Gabbeh design may go back much further:
‘The representative depictions of pre-historic and early historic times-naturalistic animal depictions, later stylized drawings of humans and animals-have frequently been the subject of scholarly interpretations, but there have been no studies on the origins and significance of many geometric patterns, although the two forms are often found together
In the same locations'
The modern Gabbeh often incorporates these ancient symbols but in a whole new way. Where the colors of the old Gabbehs may have been more somber and muted the new Gabbeh colors are spectacular and organic. The vegetable dyes are rich, strong, lustrous, like nothing else you have ever seen in a rug. I often find the customers smiling as they look at them. The designs are sometimes endearingly childlike or sometimes so sophisticated that your jaw drops at the sheer genius of the weaver’s art.
The new Gabbeh is a phenomena of the last decade of the twentieth century but given its strength as a functional and beautiful art form, I believe it will become one of the most treasured antique rugs of the future.
Clare Mahfouz-Moss
