'Piri Reis' by Wool and Silk, 150 knot Nepali-Tibetan carpet, wool and silk carded blend on cotton, Nepal, 2015. | Image courtesy of Wool and Silk. | The Ruggist

Piri Reis | Wool and Silk

A delightful carpet inspired by a serendipitously discovered map almost lost to history.

Discovered in the Topkapi Palace in 1929, the Piri Reis Map as it is known, is the oldest known Turkish map showing the new world and one of the oldest maps of America still in existence anywhere (the oldest known map of America that is still in existence is the map drawn by Juan de la Cosa in 1500). The extant fragment of the map represents approximately one-third (1/3) of the original and was compiled by Piri from various sources as he himself had never sailed into the Atlantic. The map was signed by Piri in 1513 CE and later presented to the Ottoman Sultan Selim I in 1517 CE. It’s discovery was serendipitous as it existence was theretofore unknown when German theologian Gustav Adolf Deissmann – who had been commissioned to catalog the palaces non-Islamic items – located it in a search of the palace.  Feted at the time as it was then the only known copy of a map by Christopher Columbus, the Piri Reis map is an invaluable look into he technology and skill of the past, and is widely regarded. This is the carpet the map inspired.

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Natural Dying Art Day at Creative Matters with The Ruggist | Image by The Ruggist

Art Day at Creative Matters

A field visit with Creative Matters to participate in the firm's Art Day creative process.

To avoid atë the firm implemented what has grown to become an ‘integral influence on the constant flow of creative design that emerges from the studio’ to quote Creative Matters. ‘Art Days’ allow the entire staff as a team, not just the designers, to immerse themselves in a technique or a subject matter in order to garner fresh and, as I came to discover, unexpected insight. By exploring various artistic techniques of photography, glassblowing, collage, and the like without a predestined use nor aesthetic, the firm is able to create a body of original artwork ‘from somewhere else’ some of which may be suited to an individual collection, others archived for potential use in future projects. The exploration of techniques foreign to some, familiar to others, fosters camaraderie and team building, while simultaneously fuelling the creativity of the firm. This is a brief look behind the creative curtain.

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Pattern Tolerance | The Cycles of Design | The Ruggist

Pattern Tolerance | The Cycles of Design

In the quest for 'new' we simply revisit the past, again... .

When I took my first job in the rug and carpet world – as a porter no less – I  was still full of that invincible hubris and newly minted air of superiority that makes a more aged version of myself now cringe. Fresh from university and full of confidence, I was certain I was the first person ever to discover that design functions in rote, methodical cycles. I marvelled as the past returned to the present only to once again fade into oblivion. This was the thinking that compelled me to highlight ‘Circles’ in the Summer 2017 Issue of Rug Insider and it remains a strong influence in much of my critique. New and exciting is hardly new, nor is it exciting when it’s been done before.

Though I was prescient of the return of the past I knew from old design magazines and quaint television programs in syndication, at the age of twenty-two I had not yet fathomed there would be a point in my life when the return would be that of things I witnessed in my own lifetime.

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On Collecting Rugs | The Ruggist

On Collecting Rugs and Carpets

A look into the mindset of a fledgling collector and the importance of 'What is it?'

Just over a year ago in June of 2016 I was on holidays visiting with family in Ohio, taking in the magnificent Royal Persian Tent of Muhammad Shah, and visiting with friends in the uberchic Red Hook district of Brooklyn, New York. While in New York I called upon the Outlet Shop of Odegard Carpets. I found a lovely ‘Youngtse’ quality carpet – 100knot Tibetan weave (crossed), handspun Himalayan wool, et cetera, in a palette that all but said: The Ruggist. It now lives in my bedroom. A short time later – while making arrangements to ship the aforementioned carpet home, I decided to have a ‘final’ browse through the firm’s online inventory, just to ‘make sure it was the right decision’. It was as though I was in fact no different than the average decorative carpet consumer: unsure, in need of a bit of hand holding. But then, as if an apparition of rug purchases future materialized in my living room delivering a cautionary tale, I realized – as every casual rug consumer, aficionado, collector, or otherwise should – that I should just buy what I love. And I loved what I saw on the screen before me: ‘Gorden Tiger’. Rrrrrraaawwwwr!

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'Nine Million Stars' is a video project produced by Jan Kath and Label STEP that celebrates Nepali carpet weaving as a sustainable alternative to migrant labour. Staring famed Nepali actress Reecha Sharma and noted Nepali stage actor Tika Bhakta Jirel, directed by the award-winning Tsering Rhitar Sherpa. - The Ruggist | Image courtesy of Jan Kath.

Shine Brightly! | The Future of Weaving

A video by Jan Kath and Label STEP celebrates Nepali carpet weaving as a sustainable alternative to migrant labour.

There is a certain penchant on the part of carpet purveyors to romanticize the notion of carpet weaving as a storied, well respected, and almost nobel profession. Skills are extolled, the art and craft are professed as sublime, homage is paid to the hard work and talent of those who make carpets, and the resultant product is held as high example of handwork and human artistry. And why not? The ability to create woven cloth from fibre dates to time immemorial, with estimates dating this skill to some 27,000 years ago. And while pile carpet construction, as evidenced by the Pazyryk Carpet, dates to perhaps only the more recent but still sufficiently historic fifth century BCE, it is safe to state unequivocally that weaving has been important to the development of humandkind. But, for such a noble and profoundly important profession, ‘How many handweavers do you know here in the west?’ I ask rhetorically.

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