Pirot kilim
The Pirot Kilim ( Bulgarian пиротски килим, Serbian Пиротски Ћилим Pirotski ćilim ) is a traditionally handcrafted kilim from Pirot in the Serbian - Bulgarian border mountains of the Stara Planina (Balkan Mountains). A stylistically distinct development from Persian and Anatolian kilims can only be seen in the regional merger of weaving mills in neighboring Tschiprowzi , Samokow and other places in what is now western Bulgaria, as these formed a geographical unit at the time of the Ottoman Empire and the kilims of corresponding weaving mills as Pirot kilime were marketed. The homonymy to today's Turkish place Şarköy is based on a still falsely assumed origin of the provenance name, since the formerly identical Turkish name Pirots - "Şarköy" - has now been forgotten.
As a flat weave , the Pirot Kilim is made from very fine sheep wool from local breeds. Manufactured in different versions and sizes, it serves as a wall hanging, carpet or furniture throw with the same appearance on both sides. The basic color is a strong red as well as black, white, green and, more rarely, blue.
A real Pirot kilim has unmistakable, characteristic patterns and ornamentation for its type . 122 ornaments and 96 types and names have been developed in the standard, for which a protected designation of origin has been in effect since 2002 . The geometric, more or less large-format ornaments, even if they represent figurative motifs, are executed in angular patterns for technical reasons. However, older Pirot kilimes have smaller and more numerous ornaments than the newer ones.
General information on the Pirot kilim
Etymology for the name Şarköy kilim
From the old Turkish place name Pirots - Şarköy (actually Şeherköy from Persian شهر (šahr), Turkish şehir for town and Köy for village, to - town village - derived), the traditional designation of provenance and the current trade name for the entire group in the Balkans, like a comparable kilime in Anatolia. This can also be inferred understandably from the fact that Pirot, as the eminent center of kilim weaving, generally exerted an influence on production in Serbia, Bosnia and parts of Albania. In addition, these types of kilim are also more rarely called Western Bulgarian or Thracian kilim. The term Şarköy Kelim appeared at the end of the 18th century. Mentioned as furnishings of rich Ottoman houses, the oldest still preserved Pirot kilims can be found from this very time. So in the Rila monastery, as well as in the Osman Paswantoglu mosque in Vidin , where a Tschiprowzier and two Pirot kilims from the 18th century exist. The assignment of the former is doubtful.
Differentiation of Balkan kilim origins
The Balkan Kilimes are grouped into two general groups or provenances, Şarköy and Manastir Kilimes . For the former, urban weaving manufacturers in the vicinity of the Stara Planina mountains in western Bulgaria, eastern Serbia and Thrace formed the starting point for their widespread distribution across the Balkans and beyond, for the latter rural areas in today's Macedonia around the former Manastir (today Bitola ).
After the Balkan Wars , the Şarköys and Manastir weaving types were also spread in Anatolia through the remigration of the expelled Balkan Turks. The style of the Şarköy kelime, however, had already spread widely in the Ottoman period from its centers around Pirot in Wallachia , to Macedonia , Bosnia , parts of Albania and the Banat . In the carpet trade, the Pirot kilims on offer are still mostly marketed under the provenance of the traditional Ottoman term as Şarköy. Sometimes only “Balkans” is given.
In contrast to the Manastir kilimes, which were created in a rural environment and as a prayer rug, which can be traced back to nomadic roots of the Anatolian Turkmens and Yörük , Pirot and generally West Bulgarian kilimes were produced exclusively in an urban environment and for various purposes in Ottoman households such as religious needs. The original artistic impulse for the initiation of the production of such high-quality knitted fabrics in a remote mountain region is still in the dark. This riddle led to diverse archaeologically and historically unprovable theories; However, impulses through Persian or Caucasian mediation are often mentioned. What is certain is that a flourishing of the Pirot kilim knitting is connected with the Turks and their diverse needs in the Ottoman culture and form of life.
At the same time as the decline of Ottoman authority between 1850 and 1877, the kilim weaving mill in Pirot and the Stara Planina experienced its artistic zenith. Mostly only practiced by Christian families, this was a phase of individual inspiration in which traditional patterns and ornaments were further varied and given new symbols. It was characteristic that individual kilims were signed or can be assigned to a weaver through certain individual ornaments. This means that even individual names of women weavers are historically transmitted.
Until the third quarter of the 19th century, traditionally predominantly Ottoman customers remained the main buyers of Pirot kilims, but soon after independence the Serbian ruling dynasties took over their patronage in Serbia. At the same time, the urban bourgeoisie found a taste for national folklore and craftsmanship, which made pirot kilimes a popular national product, especially in the modernized capitals of Serbia and Bulgaria. A status that they still enjoy in both countries.
history
Middle Ages and Ottoman times
Kilimes were already being woven on the Balkan Peninsula in pre-Ottoman times. In the records of an anonymous participant in the Third Crusade in the army of Frederick I Barbarossa , these are in the conquest of the Bulgarian cities of Plovdiv and Petritsch among other things as ..Praemultitudine spoliorum operosa tapetia. mentioned. It is believed that these tapetia were made using the slit kilim technique. However, the craft only blossomed with the arrival of the Ottomans and the artistic influences of the weaving centers of Anatolia, Syria and Persia. In particular, the models from workshops in Malatya , Kayseri and Aleppo , whose numerous motifs were characteristic of the Şarköy group, were adapted. But Persian, Caucasian and Central Asian motifs are also represented in large numbers in the kilims in the Balkans.
From the Thracian and western Bulgarian centers, this spread through the direct mediation of the Pirot weaving group, particularly in Bosnia and the Raška , where the models were completely adopted. The best-known workshops were therefore later found in addition to Pirot and Tschiprowzi in the highlands with important sheep breeding around Sarajevo, Stolac, Gacko, Foča, Livno and Višegrad in Bosnia and Pljevlja, Sjenica, Novi Pazar in the Novi Pazarer Sandschak. In particular, Dubrovnik merchants were involved in the kilim trade . Most, however, were sold to the Orient during the major trade fairs at Ottoman trading centers.
The heyday of the Ottoman Empire
Pirot owed its immediate rise as the center of kilim production as a result of the uprising of 1688 from the relocation of the weaving mills in the neighboring Bulgarian town of Tschiprovzi , the then largest Christian settlement of Stara Planina. With the boom in weaving at an important trading center in the Ottoman Empire , Pirot, the most important communication route - the military route between Belgrade and Istanbul - established high quality standards that reached the best Persian kilims for knot density and wool quality, as well as artistic innovations in the form of their own autochthonous stylistic features, basis of the great demand for Pirot kilims. Pirot thus rose to become the handicraft and artistic center of Ottoman kilim weaving.
But early reports from European travelers about the Pirot weaving mills are missing. The first report is the message from Ami Boués , who stayed there between 1836 and 1838. According to Boué, the city was shaped by weaving and the exclusive place of manufacture. Another distribution mentioned in 1844 by Cyprian Robert, who, in addition to Pirot, mentions Berkowiza . Robert also speaks of the fact that the entire population is employed in carpet production. Pirot kilims were so well known at that time that they were even ordered for high-ranking officials of the Ottoman administration in Constantinople:
" The foot, seat and prayer carpets from the Balkans are usually yellow, blue, brown and black, those from Pirot are white, yellow, blue, green, light red patterned, the latter are also made of finer wool, more densely woven, larger, more expensive, make the Asian manufacturer considerable competition. Any fine specimens of a certain size are ordered and paid for in advance. At Frau Jelenska Rabadzi, one of the city's most famous masters [Pirot], I saw an important format for the salon of a Constantinople Pasha decorated in light colors, which cost the extremely high price of 650 piasters (130 marks) according to Bulgarian terms . "
After the first Serbian uprising , Pirot carpet weavers also settled in Knjaževac in the newly established Serbian principality. The influx of Pirot repatriates increased there again after the second Serbian uprising and the Pirot uprising of 1836.
In the 18th and 19th centuries, up to 250 looms were in use in Pirot. Around 1870 production in the sizes of the Sečadi (2.5 × 1.5 Aršin , corresponds to 150 × 100 cm) was 10,000 for Pirot and around 8,000 in Berkowiza. Even between the world wars, half of the female population there was employed in weaving.
The time of the technical and artistic zenith of Pirot's kilim weaving in the 19th century correlated with the greatest commercial demand for fabrics in the Ottoman Empire. He was no longer sought here for practical reasons, but as an object of artistic expression. In the variation of the ornamentation, the colors and motifs, the Pirot kilime developed its own distinctive expression, which ushered in the climax of this traditional and cultivated folk art. At the same time, it became a widespread utensil in Muslim and Christian homes. The diplomat and first teacher of the eminent ethnographer Jovan Cvijić , Vladislav Karić noted this popular spread:
" In the chambers of the Turkish sultans, the Pirot kilimes compete with those of Persia, ... in the rooms of the Bosnian Begs, the Wallachian and Moldavian boyars and the princes of Serbia, the kilime is their most beautiful ornament ."
Around 1830, for example, the interior of the Konaks of the princes of the Obrenović dynasty was decorated with pirot kilims. In Belgrade these were the Konak of Princess Ljubica and the Milošev Konak of Prince Miloš Obrenović in Topčider. Kilims have also been used as decorative elements in churches since the 18th century. The Rila monastery was also an important place of pilgrimage for the Pirot weavers, to which numerous kilims were brought as gifts.
In the Pirot Kelimen trade, the large Pirot trading houses sold to Belgrade, Istanbul, Edirne, Thessaloniki, Sofia, Sarajevo, Bitola and Skopje. The main customer, however, remained the Ottoman Empire.
Development in the nation states
The gradual decline of the Pirot kilim weaving began as a result of the Russo-Turkish War , the border adjustments as a result of the Berlin Congress and the Ottoman loss of Pirots to the Serbian principality, as well as the expulsion of many Muslim families. Until then, the Pirot Fair was a supraregional market with an annual three-week bazaar (Pirot Panayir from August 18th). With the connection of Pirots to the railway system of Serbia and Bulgaria in 1887, many Pirot craftsmen emigrated and the shepherds also left the backward mountain regions to move to the economically flourishing cities.
Despite the great importance of the performance of the weavers and the dominance of kilim production in the craft of Pirots, the women were not in an Ottoman guild until the end of the existence of the Ottoman Empire compared to their male colleagues in the leather, metal, wood and textile processing trades ( Esnaf ) organized. This is interpreted through the traditionally subordinate role of women in Ottoman-Muslim society. After a noticeable drop in quality as a result of the political upheaval, the first kilim society (Ćilimarska zadruga) was established in Pirot in 1886. This only short-lived society existed until 1893, in 1899 the union of the Pirot Kilim Weavers (Zadruga pirotskih ćilimarka), which was renamed the Pirotska ćilimarska zadruga in 1902.
A kilim school (Ćilimarska škola) was opened in 1907 as the first modern educational facility in the Pirot kilim handicraft aimed at training the next generation. Up until the First World War , 14–20 students were in training in their four classes. Reopened in 1922/23, in 1934 the general Pirot women's craft school (Pirotska ženska zanatska škola) also offered its own training in kilim craft.
With the definition of the state border between Serbia and Bulgaria, independent workshops developed in the new nation states. The Bulgarian authorities initiated their own kilim production facilities in neighboring Caribrod to compete with the Pirot weaving mills and at the same time levied high tariffs on goods imported from Serbia. Many Pirot weavers left Pirot and set up their looms in Caribrod (today Dimitrovgrad). The most talented weaver was Mara Koleva, (born in Pirot in 1860, died in Sofia in 1916), who moved from Caribrod to Sofia in 1906 and where, on her advice, the Institute for Handicrafts was founded. In Caribrod, the kilim handicraft died out between the world wars, but this tradition was only survived in Pirot and Knjaževac on the Serbian western side of the Stara Planina and Tschiprowzi, Samokow, Berkowiza and Lom on the Bulgarian eastern side.
At the end of the 19th century, the Pirot kilim was a status symbol for the wealthy city population and was used in particular to decorate the monarchical residences of the Obrenović and Karađorđević dynasties. The fashion of prominently staging national folklore and folk art with pirot kilim and folk kilim ornamentation can be seen in the interior decoration of the former house and current museum of the eminent naturalist Jovan Cvijić from 1908, in which Balkan-oriental textile decoration is juxtaposed with modern Art Nouveau elements . The Western European market for Pirot Kilim was gradually opened up and exports to Vienna and Budapest as well as Paris were recorded.
The Pirot kilim gained a symbolic significance under King Aleksandar Obrenović , who initiated a kilim society in 1902, and Queen Draga Mašin , who strongly advocated popular tradition and Vladislav Titelbah had a catalog of Pirot Kilim made. At the same time, this was introduced to decorate the residences. With the return of Peter I from his exile in the hall of Belgrade's main train station , which was solemnly decorated with pirot kilims , the formal, representative function, comparable to French tapestries, became clear at state ceremonies. The speeches from the throne of the Serbian and later Yugoslav king Alexander I took place in the house of the National Assembly in a plenary hall festively decorated with pirot kilims. During the inauguration of the bronze sculpture Thanks to France on November 11, 1930, to commemorate the Armistice of Compiègne , Pirot kilims were displayed on the houses of Belgrade, such as the royal box solemnly decorated with Pirot kilims and the podium of Meštrović, which was girded by kilims - Memorial assigned a role comparable to a state insignia.
For this purpose, besides traditionally patterned kilims, those with symbols of monarchical tradition and heraldic ornaments such as the Serbian coat of arms , the double-headed eagle or the Serbian cross were made. A kilim type with medallions is therefore still called Prestolnaslednik (Serbian heir to the throne) today .
This state symbolism was abandoned after the Second World War, and the pirot kilim has only recently been used again for representational purposes at state celebrations. Since 2011 he has been an integral part of the state ceremonies of the Serbian President. It is also given to foreign delegations as a traditional gift.
Today's situation in Serbia
Traditional production has been greatly changed since the end of the 19th century by the use of chemical dyes, the modernization of economic cycles, commercialization by companies and general technical changes, particularly in the means of production. The displacement of handicraft production by new forms of production also led to a decrease in quality, in which parts of the individual repertoire were lost. Although the chemical colors led to a larger color palette, the wool quality suffers with their use. If the wool dyed with vegetable and natural colors remained supple and soft, the wool treated with aniline became coarse and firm. In the political upheavals resulting from the introduction of socialist state systems in Yugoslavia and Bulgaria, the artisanal kilim production was also classified as a secondary craft. With the desired industrialization and technological and economic modernization, weaving also disappeared from the image of the traditional textile centers. With the emergence of modern professional fields, there was no young skilled craftsman, which further contributed to marginalization.
Since 1995, a separate department has been set up in the technical secondary schools in Pirots for training as a kilim weaver. In addition, the weavers are organized in the kilim craft guild (Serbian Zanatska zadruga - Damsko srce ). Production facilities are a state collective (Piroteks) and a private company (Limaplast). The permanent economic crisis of the state associated with the dissolution of Yugoslavia also triggered the most lasting, negative change in kilim production. The Pirots weavers organized in Ćilimarska-Zadruga fell from 500–700 before 1991 to around 50 today.
Pirot kilimes are now marketed internationally as one of the most typical and high quality regional handicraft products in Serbia. Pirot kilims were regularly present at tourism and handicraft fairs, domestic and most recently also at international exhibitions in Athens and Beijing. At the Expo 2010 the Pirot kilim was not only part of the exhibits in the Serbian pavilion, it also dominated the pavilion itself in terms of color and ornamentation. In recognition of the quality of the craftsmanship, a kilim of the Gugutče na direci type was presented at the Yugra 2012 craft festival in Russian Khanty-Mansiysk honored as fair winner.
With the support of USAID , a program for the rehabilitation and maintenance of the kilim production in Pirot has now been initiated.
The Pirot kilim was placed on the national UNESCO list of the intangible cultural heritage of Serbia on June 18, 2012 .
Materials and manufacture
Wool
The pirot kilim is made using the tapestry technique from locally spun sheep's wool. The wool used autochthonous Zackel sheep types of Stara Planina, in particular the white Pirot - ( Pirotska Pramenka ) and dark Karakatschaner sheep ( Karakatschanska ovca ) is coarse, with long, elastic fibers of 30 to 40 microns in diameter. However, in 2009 there were only about 500–1000 copies of pirot - like 100 Karakachan sheep . The preservation of traditional autochthonous sheep breeding is also a priority, as it is the basis of the Stara Planina kilim production. After the First World War, industrial development of carpet production was attempted with the introduction of merino sheep .
The sheep breeding of the Stara Planina originally goes back to the needs of cheese production, from which the cheese produced there as Kaschkawal (Kačkavlj) was introduced by nomadic Karakachans in the Stara Planina at the beginning of the 19th century . In addition to the wool for the kilim weaving mills, the hard cheese was the most important commodity in Pirot's economic relations in the Ottoman Empire .
Colorants
In the past only natural dyes were used to dye wool. Since the means for dyeing wool had to be of high quality and authenticity, the dyeing trade developed parallel to the Pirots carpet weaving mill. As bojađiluk referred to Pirot wool dyer because of the specific requirements for powerful and strikingly bright colors of Kelime also had a special reputation. The dye prescriptions were therefore often only known as company secrets within the workshops. After the liberation of Pirot in 1877, there were still 22 wool dyeing factories with 20 to 25 master dyers. A guild of the so-called bojađije with 20 members, which was united in an Esnaf, had existed in Pirot since 1883. In 1890 there were still 20 and in 1900 19 master dyers.
In a dyer's workshop there were various wooden barrels and copper kettles of different colors for dyeing wool. The basic substance was a reddish liquid called maja . This remained in the copper kettles even after the coloring. The red color and yellow color called aleva were mixed in copper kettles, the other colors in wooden barrels.
The Pirot high school director Mita Živković listed the following basic colors: aleva (vermilion), modru (indigo), otvoreno- and zatvoreno plavo (sky blue and ultramarine), plavozelenu (blue-green), crnozelenu (black-green), djuvez (bordeaux), kaveredniju ( Coffee brown), zuu (yellow), visnjerendiju (sienna or cherry color) and crnu (black).
Among the multitude of dye plants and color substances, besides the madder - Rubia tinctoria - to obtain red shades, the dyer's croton - Chozophora tinctoria - to obtain the blue-violet dye tournesol , which was stabilized with potash , carbonates or urine, among other walnut shells , onion shells , and linden leaves , as well as an insect color obtained from the cochineal scale insect, the red carmine of which was still predominant in dyeing in the 19th century. Indigo was also introduced later .
Today the red basic color of modern pirot kilime is based on aniline color .
Fabric structure
The fineness of a Pirot kilim is determined by the thickness of the warp threads and the density of their sequence and at the same time by the fineness of the wefts and the density of the cast. The Senneh kilims from northwest Persia , which are among the finest that can ever be made, have up to 110 warp threads on 10 cm (up to 11 warp threads on 1 cm). The Pirot kilime reach between 70 and 90 warp threads on 10 cm (= 7–9 warp threads on 1 cm). This means that they are significantly finer than many Anatolian kilims, some of which have only 30 warp threads on 10 cm (3 warp threads on 1 cm).
Weaving technology
The kilims of the 16th century, which were initially simply handcrafted and woven for domestic use, were considerably improved in quality in the 17th and 18th centuries with the introduction of so-called pirot looms .
This simple device consists of a vertical loom that is gently tilted against a wall. Two vertical timbers ( called soje ) and two horizontal timbers ( krosna ) formed the basic structure. An integral part of the loom is a wooden stick ( obnitelnik ) at chest level of the weaver. The loom also consists of two wooden parts the length of soy , a return called povratilo and a barrier, zaponka , a separation of the woolen threads called zav and some wooden parts to wedge the warps. Other parts of the kilim manufacture are push parts , tupica , for tissue compression, as well as a basket with coils and a seat cushion.
After a kilim has been woven to the end, it is placed on the floor and treated with a small damp brush.
Since every kilim is identical on the front and back, the weavers give the ironic statement that each side can be used for 100 years for the durability of a kilim.
composition
Up until the beginning of the 20th century, the kilime pirot was measured exclusively to the Aršin (0.68 m). Today both aršin and the meter rule are used. The largest kilims are the so-called Batal measuring 4 × 3.5 m or 6 × 5 Aršin, which are used as carpets in houses, mosques or churches. The Sečade was used as a prayer rug measuring 1.5 × 1 m. This was then also used by Christians as a seat in the field or as a travel blanket. It was also popular as a wall decoration or background for pictures. The Šestak 200 × 140 cm or 3 × 2 Aršin was used as a furniture cover, especially for the bed, or for wall decoration. The Smetenik 2.7 × 2 m is a carpet for smaller rooms. The Čaršav has a square dimension with 2 × 2 aršin which is used as a tablecloth.
The composition of ornamentation distributed over the entire field was characteristic of the oldest phase of the Pirot kilime. In the 18th century, the second group of Pirot kilims was formed, in which the outer secondary border (spoljašni ćenar) bordered the upper narrow-side border and long-side border as well as a central field from the outside in, thus dividing the composition into individual field groups. More complex Pirot Kilimes also have up to three inner ćenare. These inner secondary borders are often much wider and conspicuously ornamented. The more numerous the inner ćenare, the more beautiful and eye-catching the entire kilim looks. In the field, the central and largest area of the kilim is characterized by the main ornaments and numerous smaller patterns, mostly in the type of roses, tree of life, and other motifs. The wealth of patterns in the ornament of the tree of life under the kilims is unique.
a secondary braid
two secondary braids
Motif
Prestolnaslednik
Motif
Kuveri
Motif
tree of life
Motif
Venci
design
Pirot kilims are symmetrical in appearance, soft and very tightly woven. The wool used is very fine. It is bordered by an outer edge, 3–5 cm wide. Straight on the outside and serrated on the inside; always monochrome and without pattern; inside there is a field 10–60 cm wide, usually white or yellowish in color, which frames the field; the central inner field (at the same time the largest area in the kilim) is usually its most conspicuous, most beautiful area. The kilim type is named after the name of the pattern in the field; a border (called inner ćenar ) frames the field and is framed by serrated ornaments or hooks. Larger kilims even have up to three inner edges.
colour
The basic color of the Pirot kilims is usually a strong red, but white and, more rarely, green also occur. The ornaments are usually made in black or strong, strong red and blue, often alternating brown and green tones are used.
Motifs
Certain, repeating motifs, patterns and ornaments are a main feature of every Pirot kilim. In addition to vegetative and animal motifs, there are also stylized or abstract ornaments that are often reminiscent of early raster computer graphics. The vegetative and animal motifs include lovebirds, turtles, roses, tulips, birds. Various kilims are also made with a more individual choice of motifs with large-format realistic scenes. This includes large-format floral ornaments that can take up the entire field or even human representations.
Field motifs
Pirot kilimes are classified according to the motifs in the field. Which includes:
- Bomb - bombs (red basic color, symmetrical, but alternating, circular ornaments arranged in rows)
- Bosanska šara - Bosnian pattern (green basic color, geometrical and symmetrical ornaments of the same color arranged in rows)
- Damsko srce - Woman's Heart (Dominant central floral element with stylized cross)
- Đulovi - roses
- Gugutke na direci - lovebirds on a post
- Prestolnaslednik - heir to the throne (two different colored heraldic cross symbols in a medallion)
- Rasbacani đulovi - Scattered Bouquets (Blooming Roses and Scattered Branches)
- Srpska kruna - Serbian crown (middle field with heraldic crown symbol and white double-headed eagle)
- Venci - wreaths (form derived from the tree of life with red base color)
- Venci sa vraškim kolenima - wreaths with the devil's knees
- Zoričeva šara - Zorić's pattern (central table with hooks)
Ornaments and border motifs
The ornaments of the borders or ćenare of a Pirot kilim are always geometrical and executed in different colors and sizes. Pirot and Tschiprowzier kilimes share the same types of ornament. Characteristic are:
- soveljka -
- vraško koleno - the devil's knee
- sofra
- tiče - little bird
- stolica - chair
- plamenovi - tongues of fire
- octapod - octopod
- gugutke - lovebirds
- kuke - check mark
- litije (ripide) - the procession
- bibice
- amajdike - amulets
- anadolska ploča - the great Anatolian border
- ogledalo - the mirror
- Rašićeva ploča - Rašić's border
- kornjača - turtle
- kaca - barrel
- čendjeli - chains
- nizamčići - the little soldiers
- devet kubeta - the nine domes
- lale - tulips
- nemačke kutije - German boxes
- čuriljnak (varjača) - mixing spoon
- bedemčići - almonds
Next to it: Pirotschanke ( Piročanka ), Serbian hook, Makaze u. a.
symbolism
Although the ornaments of the Pirot kilime are often centuries old, there is no consensus which are autochthonous and which have been adopted. For many, their origin is simply derived from the origin of the name, for others, however, this can no longer be clearly clarified through a change in the name and its meaning. The ornaments with numerous symbolic imagery include: ogledalo (mirror), gugutke (lovebirds), đulovi (rose blossoms), diplome, kornjače (turtles), čenđeli, mirab (mihrab), persijska kruna (Persian crown), bardak, sofra, nemačka kutija (German box), ruski spomenik (Russian monument), francuske bombone (French sweets), oktopod, kandilo (candlestick), tiče, plamenovi (tongues of fire) and others.
Each ornament in the pattern of a pirot kilim bears a traditional symbolism that has changed over time among the Balkan Slavs. The ornament "đulovi" is derived from the old poetic expression for roses - "đul" - which metaphorically stands for the beauty of a woman. Antipodal to the đulovi type are the ornaments with the designation "bomb". Their naming convention was established after the Liberation and Balkan Wars. The connotation here emphasizes strength and power. The ornament "vraška kolena" (Eng. The devil's knee) is supposed to protect the owner from the devil, who breaks his knees before he enters the house. The "Venci" type depicts wedding wreaths with flowers, which symbolically initiate and accompany a marriage.
variants
A close stylistic relationship is unspoken for the narrower group of Pirot kilims from the weaving centers of Stara Planina. From the regional connection, the kilime by Pirot, Tschiprowzi and Samokow therefore also form a historical unit, which reached its artistic climax with the greatest inventive and individual expressions as a real art form in the 19th century, but before 1877. After that, their artistic expression stagnated, which was primarily due to the shifting of borders.
In the nuances of ornamentation and coloring, the Pirot kilims produced in the respective kilim weaving mills of Stara Planina differ in part. In the Kelim from Tschiprowzi there are stylistic features that are not observed in Pirot and Samokow. These are certain ornaments that refer to the concentric toothed rhombuses and triangles, as well as the coloring, which is only pronounced in Tschiprowzi in pastel-like brown-blue color combinations. For the kilime in Samokow and Pirot, on the other hand, strong and dark colors are mandatory.
The Pirot kilims have directly and strongly influenced the work of the other kilim weaving centers in Bosnia, Serbia, the Sanjak and parts of Albania and often served as their direct template. They are therefore more copies of the Kelim Inventions of the Stara Planina than their own provenances. Nevertheless, the kilim that are made on the territory of Bosnia are mostly called Bosanski ćilim today, even if the repertoire in the style of the colors and shapes directly indicates the origin in the Serbian-Bulgarian border area.
Collections
As art-historical elements of folk culture and art, kilimes are items in the collection of larger museums. Historical Pirot kilims, the oldest of which date back to the end of the 18th century, are on display in the Museum of Ethnography and Applied Art in Belgrade, as well as in the Museum Ponišavlja in Pirot. Various Pirot kilims, specially made to order from important monasteries, can be found in the Rila and Hilandar monasteries . The 200 Pirot kilims that were burned during a major fire in the Athos monastery in Hilandar have now been replaced.
In 2010, the Belgrade Museum of Applied Arts organized a highly acclaimed exhibition of historical kilimes under the title Art in Life - Serbian Rugs in 19th-20th Centuries in Beijing.
literature
- Peter Bausback: Kilim. antique oriental flat weave . Klinkhardt & Biermann, Munich 1983, ISBN 3-7814-0206-1 .
- Marina Cvetković: Игра шарених нити: колекција пиротских h̄илима Етнографског музеја у Београду (The Play of Varicolored filaments in the Belgrade Kilims - collection of the Ethnographic Museum in Belgrade . Ethnografski muzej u Beogradu, Belgrade 2008, ISBN 978-86-7891-039-5 .
- Alastair Hull, José Luczyc-Wyhowska: Kilim - the complete guide: History, pattern, technique, identification . Thames and Hundson, London 1993, ISBN 0-8118-0359-7 .
- Milica Petković, Radmila Vlatković: Пиротси ћилим (Pirotski ćilim) . Srpska akademija nauka i umetnosti, Narodna biblioteka Srbije, Belgrade 1996.
- Yanni Petsopulos: The Kilim . Prestel Verlag, Munich 1980, ISBN 3-7913-0474-7 .
- ć: Пиротси ћилими (Pirotski ćilimi) . Muzejske zbirke VIII, Museum of Applied Arts (Muzej primenjene umetnosti), Belgrade 1987.
- ć: Les Kilims de Pirot . Musée des Arts Décoratifs, Narodna biblioteka Srbije, Belgrade 2001, ISBN 86-7415-068-3 .
Web links
- Belgrade Ethnographic Museum, History of the Handicraft of Kilim Weaving in Serbia
- Museum of Applied Arts Belgrade, Pirot Kilims Collection
- The British Museum with an article from The Times on the Pirot Kilim in the Paris World's Fair in 1889
- Gallery of historical Pirot kilims in the Ponišavlja Museum in Pirot
- History and tradition of the Pirot kilim weaving
- Craft guild of the kilim weavers "Damsko srce" in Pirot
- Radmila Vlatković, curator at the Museum Ponišljava about the Pirot kilim
- Vesna Knežević Baletić on the history of Pirot kilims
- Sergej Ivanov - Importance of Zackel sheep breed in development of Pirot and Chiprovtsi kilim brand in the stara planina region (PDF; 2.4 MB)
Individual evidence
- ↑ ibid. Dobrila Sojanović, p. 5.
- ↑ The Ponišavlja Museum in Pirot has all the patterns and ornaments in the elaborate of the protected designation of origin
- ↑ Vecernje novosti, August 6, 2003 [Sto šara jedna - Pirotska]
- ↑ Felix Kanitz: Journey in southern Serbia and northern Bulgaria. 1864.
- ^ Dobrila Stojanovic, 1987: Pirotski Ćilimi . Muzej Primenjene Umetnosti, Muzejske zbirke VIII, Belgrade, p. 9.
- ↑ Dobrila Sojanović, 1987: Pirotski ćilimi . Muzej primenjene umetnosti, Belgrade, p. 5.
- ↑ Davut Mizrahi Manastir kilims - in search of a trail ( Memento of the original from November 14, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ ibid. Dobrila Stojanovic, p. 8.
- ↑ D. Stankov, 1960: Чипровски килими . Sofia
- ↑ D. Velev, 1960: Български килими до краја на XIX б . Sofia.
- ↑ ibid. Dobrila Stojanovic, p. 8.
- ^ NIN, No. 2748, August 28, 2003 Jin i jang na Balkanu
- ↑ ibid. Dobrila Sojanovic, p. 8.
- ↑ ibid. Davut Mizrahi
- ^ P. Matković, 1878: Putovanja po Balkanskom poluotoku za srednjega vieka . Rad JAZU, XLII, Zagreb, p. 133.
- ↑ ibid. NIN
- ↑ Muzej Ras - Raška Museum, Novi Pazar - Ethnographic Department ( Memento of the original from January 22, 2011 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Amir Pašić: Arhitektura Bosne i Hercegovine Osmanski period (1463–1878) -Stanovanje ( Memento of the original dated November 2, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF; 1.7 MB)
- ↑ Slobodan Aleksić, RTS-online, October 4, 2008 Ćilim utkan u istoriju
- ^ Cyprian Robert, 1844: Les Slaves de Turqu . Paris, Vol. I pp. 34-35
- ↑ https://books.google.bg/books?id=ddENAQAAMAAJ&pg=PA366&dq=kanitz+piroter&hl=bg&sa=X&ved=0ahUKEwj8uOjR3YPhAhVOAWMBHSKkDwQQ6AEIKDAA#v=onepage&q&f=false page 367
- ↑ Milica Petković, Radmila Vlatković, p. 21.
- ↑ Milica Petković, Radmila Vlatković, 1996: Pirotski Ćilim . Galerija Srpske Akademije i Umetnosti. Belgrade, p. 16.
- ↑ Milica Petković, Radmila Vlatković, p. 23.
- ↑ Milena Vitković-Žikić, p. 50.
- ^ Felix Kanitz, 1914: The Serbs and the Serbenvolk . Volume 3, State and Society, p. 516, Leipzig
- ↑ Milica Petiković, p. 46.
- ↑ Milica Petković, p. 51.
- ↑ ibid. F. Kanitz, p. 516.
- ↑ Milica Petković, Radmila Vlatković, p. 21.
- ↑ ibid. Slobodan Aleksic
- ↑ Bratislav Pantelić, 2007: Designing Identities Reshaping the Balkans in the First Two Centuries: The Case of Serbia. In: Journal of Design History Vol. 20 No. 2, p. 5 ( PDF )
- ↑ ibid. Felix Kanitz, p. 516.
- ↑ Ana Stolić, NIN, No. 2735, May 29, 2003 Između lićnog kulta i negativnog mita
- ↑ Simone Čupić Srpsko slikarstvo ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ Official web presentation of the Serbian royal family Povratak posle 45 godina ( memento of the original from October 10, 2006 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Belgrade City Museum Throne speech of King Alexander Karađorđević, January 18, 1932
- ^ Zorica Janković, Vreme A la France! - 80 godina spomenika zahvalnosti francuskoj
- ↑ Pirotski ćilim kao crveni TEPIH
- ^ RTS, Feb. 13, 2011 Vojna vežba na Ušću
- ↑ Ćilim za uspeh i svekrvinu milost
- ↑ Večernje novosti, April 22, 2012 Spijunka: Djelic poklanja pirotske cilime
- ↑ Milica Petiković, p. 56.
- ↑ side of the state collective Piroteks
- ↑ Page of the private collective Limaplast ( Memento of the original from November 3, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Vecernje novosti, 13 August, 2007 Brend na tankoj pređi
- ↑ Craft guild of the Pirot kilim weavers Damsko srce [1]
- ^ RTS, July 25, 2011 Piroćani čuvaju šaru od zaborava
- ↑ Contribution of the Chinese state television to the exhibition Piroter Kilime in Beijing
- ↑ Večernje novosti, April 28, 2010 Srpski "ćilim" stigao u Šangaj
- ^ Politika, June 26th, 2012 Ruse oduševio pirotski ćilim
- ↑ RTS, June 25, 2012 Pobednički cilim doleteo iz sibira
- ↑ USAID: Magic rugs from Pirot to fly around the world ( Memento of the original from December 14, 2012 in the web archive archive.today ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Slavica Ćurić, head of the Pirot Kilim Association Damsko srce on the official Facebook page of Damsko Srce [2]
- ↑ Vecernje Novosti, December 18, 2012 Kolo, frule i ćilimi u registru nematerijalnog nasleđa
- ↑ Blic, June 11, 2012 Pirotski ćilim i kačkavalj na listi kulturnog nasleđa
- ↑ Centar za očuvanje autohotnih rasa Rase ovaca i koza
- ↑ Sergej Ivanov - Importance of Zackel sheep breed in development of Pirot and Chiprovtsi kilim brand in the stara planina region ( Memento of the original from June 9, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF; 2.4 MB)
- ↑ M. Ostojić, V. Lazarević, R. Relić: Autohotni pirotski kačkavalj .- In: Radovi sa XXV savetovanja agronoma, veterinara i tehnologa Vol. 17. br. 3–4, pp. 79–84 ( PDF )
- ↑ Erhard Stoebe and Davut Mizrahi on Manastir Kilims
- ↑ The Pirot Kilim ( Memento of the original from June 22, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ The British museum
- ↑ Pirot kilims ( Memento of the original from June 22, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Catalog of the Lady's Heart craft guild
- ↑ Reference of the private company Limaplast: The Pirot kilim ( Memento of the original from November 3, 2012 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Chiprovtsi carpets-motifs and designs ( Memento of the original from May 7, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Jin i Jang na Balkanu
- ↑ ibid. Dobrila Sojanovic
- ↑ ibid. Dobrila Stojanovic, p. 5.
- ↑ Ćilims in the Ponišavlja Museum
- ↑ Ćilims in the Ethnographic Museum.
- ↑ Kilims in the Museum of Applied Art ( Memento of the original from April 20, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Ćilimi za Hilandar
- ^ Ministry of Culture in Serbia for the kilim exhibition in China
- ↑ Museum of Applied Art for the exhibition of Pirot Kilims in China ( Memento of the original from November 28, 2015 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
