Carpet and rug specialist Aaron Nejad has been visiting Ukraine for many years to research and study the long history and tradition of kilim weaving in the country. He is currently writing a book on the subject, and in this short article he gives us an enlightening introduction. On his stand at the Spring Fair will be two fine antique examples of Ukrainian kilim weaving.
Kilim weaving is considered an important part of the decorative arts in Ukraine with anecdotal and visual evidence pointing to a tradition stretching back centuries. The famous 10th century Arab traveller, Ahmed Ibn Faldan, described a weaver and her kilim in Ukrainian lands while further early evidence is provided by frescoes in St Cyril’s Monastery in Kyiv with images of kilims dating to the 12th century. Later, kilims appear in portrait paintings and are also mentioned in traditional Ukrainian folk songs.
Aaron Nejad
Poltava Kilim, Ukraine, Circa 1880, 2.60m x 1.84m (8’7″ x 6′)
As a domestic industry, kilim weaving in Ukraine evolved very differently to carpet weaving in the East, and was very much influenced by its feudal economy. On the one hand, kilims with simple geometric patterns were woven on basic horizontal looms in serfs’ homes. These domestic weavings were primarily used as furniture covers or wall decoration and less frequently as floor coverings. But by the 16th century, the estate inventories of feudal landlords document highly sophisticated weavings produced in their estate workshops and monasteries, with complex tapestry techniques and refined floral designs reflecting both the local folk-art tradition as well as the influence of European decorative styles. These prized items, which were comparable in prestige to imported items from Persia and Anatolia, were almost exclusively used on walls or furniture, which was the predominant decorative style across western Europe at the time.
Aaron Nejad
Ukrainian tapestry kilim, Poltava, Circa 1890, 2.16m x 1.65m
By the 17th century, kilim weaving was flourishing across Ukrainian lands with workshops, design schools and weavers’ guilds appearing. This artistic phase of kilim weaving reached its zenith in the 18th and 19th centuries. By the end of the 19th century the industry went into decline. Today tapestry weaving is experiencing a revival with an artistic community proud of its kilim weaving tradition.
Special exhibition of weaving at the Taras Shevchenko National Ukrainian museum, Kiev 1924
(courtesy of the National Ukrainian Decorative-Folk art Museum, Kiev)
From the foundation of the first state entity on Ukrainian lands in the 9th century, Kyvan Rus, Ukraine has experienced a complex and turbulent history. Its’ geographical location on the highway of the Eurasian steppes, the Black Sea to the south and Central Europe to the West inevitably led to many invasions, conquests and occupations. But at the same time this experience fostered extraordinary cultural diversity which is reflected in the distinctive techniques of its kilims and the rich array of designs and ornamentation.
Kyiv Interior, Circa 1920
Although stylistically quite different across the regions, most antique Ukrainian kilims share some common technical characteristics. Warps are usually made of hemp or linen, while the wefts, which define the designs, are always wool. A variety of dyes were derived from natural sources such as indigo, onion husks, blackthorn berries and alder bark. Regarding weaving structure nearly all regions used warp sharing techniques similar to tapestry weaving. However, there is more variation in the complexity of the wefts. In the western regions such as Podiliya and Volynia where geometric designs were more common, the wefts usually lie at right angles to the warps. But as one travels further east the use of ‘curved wefts’ appear, which enables the weaving of more complex floral or curvilinear designs. At it best, this technique can achieve remarkable results, similar to tapestry weaving in the Western Europe.
The best examples of this art form come the Poltava region in Eastern Ukraine. Many great pieces from the 18th and 19th century have survived in museums and private collections, but attractive Poltava kilims do also appear in the market from time to time. Poltava kilims are not only consistently the most technically accomplished of all Ukrainian kilims, but with an eclectic array of floral ornamentation and subtle colours have a decorative appeal which finds resonance among modern interior decorators and buyers.
I will be exhibiting two fine examples of 19th century Poltava kilims at the Decorative Fair, Battersea in May. Please do visit my Stand D1 to view these pieces in person.
