Nothing Comes from Nothing
RK has been researching the development and proliferation of design iconography in Near Eastern weavings for more than fifty years and at this point we are now able to determine what was before only unknown mystery.
Recently, while pursuing another line of inquiry, we came across the explanation for the source of a rather common kelim design.
Detail of a so-called Kuba or racing car design kelim; mid-later 19th century, seen offered for sale on the internet
We have always wondered where it originated, as it obviously is not one that has a stand alone design history. But as the title of this paper states Nothing Comes from Nothing and it definitely had a much earlier source and origin.
The comparison below beyond a shadow of doubt proves it has removed from an exceptionally early and beautiful type of large carpet belonging to a group known as Blossom Carpets.
Blossom Carpet; cover of Serare Yetkins Early Caucasian Carpets in Turkey publication 1978; plate 37 INV. no. 881 (1-3), 1.95m x 3.95m
Arguably this is one of the most important and beautiful large Caucasian-type carpets found in the mosques of Anatolia. It is also one of the oldest, and we take exception to the late 18th century it has been given in this publication. BTW Its not the only too conservatively dated weaving in the book.
RK would date it two hundred years earlier based on its proportions, scale and amazing depiction of the familiar iconography seen on many later examples.
Look carefully and you will see the racing car detail embedded in the large medallion framed by four giant leaves, two above and two below it.
Left: Kuba kelim detail; Right: "Blossom carpet" detail with archetype "racing car" design
This carpet is full of other very early Caucasian carpet icons, like Kasim Ushag, palmette, and vaious details seen in most Dragon rugs.
We could write much about them and this carpets place in the design history of Caucasian weaving. However, this is not in our interests presently. Our only reason for illustrating it being the source of the racing car design.
Discovering design origins like this help to explain, and we believe prove, our archetype icon theory and their preservation in a historic weaving culture that existed for many centuries. One that remained viable and alive in the minds of weavers who both inherited it from their ancestors and passed it down to their descendants.
Make no mistake these archetypes, like this one, and the historic weaving culture are the cause and effect to explain how the archeetypal version of a design, like the racing car secreted in the TIEM carpet, could then reappear in countless numbers of existant later 19th and 20th century kelims.