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The very definition of a Heriz carpet is one bearing the "Classic" Medallion(099-121)an 8/16 pointed roundel derived from 16th century Safavid models,which may well have been developed during the Turkmen Regency in Azerbaijan.An innovation introduced by the Heriz District weavers is the creation of a second coloured field between ground and medallion,thus interrupting the flow of an otherwise standard Turkmen-style major and minor repeat design.

It is often difficult to tell whether we are viewing a single isolated Göl,or a flowing scheme,but usually the weavers have left us a clue by continuing the field colour around the top and bottom of the medallion.The apex points recall the cusps of a Small Pattern Holbein,and the center is often strongly delineated by a quatrefoil outlining.The four hunched shoulders are filled with oblique panels often containing degenerate Arabesque,and the medallion itself is crowned by a large and elaborate palmette pendant.No two carpets are ever alike,although serial production has been observed

There are clear connections to older Turkish rugs(as noted by Christine Klose),whether in the archaic- debased or manufacture style

Ankara

Bernheimer

The Turkish carpets themselves deriving from models drawn out at the Ak and Kara-Koyunlu Courts,already before the onset of the Kurdish-Turkmen Dynasty of the Safavids

Blumenthal Collection,MET

Tucher-Myers

Perhaps the Classic Medallion,with its mesh of Turkish and Iranian elements, is that which has been woven in East Azerbaijan for centuries(it is remarkably crystallised) and is in fact the Bakshayesh production praised by Mumford for its reputation in the whole of Iran.Or:it is purely the output of a 19th century Tabriz designer(albeit one of genius)?

As a variant the corner secondaries have sometimes been abandoned and their remains pasted onto the flanks of the medallions((064-072)leaving plenty of room for field and ground play.

There are basically two types of medallion in use(as there are two types of border)one is the aforementioned "Classic" design with all its variations;the other is an elongated oblong form often attributed to Bakshayesh(why not?) and thus ascribed here.The oblong shape is one of the most basic design units known to man,and was the subject of a brilliant essay by the 17th century polymath,Sir Thomas Brown,entitled aptly The Garden of Cyrus.It is a simple layout most adequate for grid designs,and which can be configured in the sand(074-090)

In contrast some truly opulent carpets issued forth,no doubt fom the Tabriz ateliers,including one distinct group with a large cross center(091,092)

Some 80 medallion carpets bear inscriptions,mostly derived from Hafiz and other poets. Many await translation(094-097)

Quite a large group with elongated medallions feature lateral indents of a type seen on some Transylvanian carpets(124-132)

A number of high-class carpets were obviously woven under the influence of Keshan,with large full-bodied medallions(133-135)

A further cluster combine thick heavy leafage both within and without the center roundel,and are characterised by the use of elegantly drawn,quite classical palmettes(136-138)

A large and immaculate group of elongated carpets feature a design based on the flayed skin concept of an animal hide stretched taut to dry.There are Anatolian forebears for this,with probable Sufi connections,and 19th century Iranian interpretations as well

The central design is often depicted on a white dotted ground(perhaps the leopard`s spots?)and the entire production is of a very high quality,often inscribed(141-152)

An especially beautiful group feature rotund medallions,a brash,archaic drawing,and extremely good dyework.Best described as "Serapi"(161)

Many carpets were also produced with a small central medallion from which issue all kinds of arabesque floral forms( 162-173)

A last distinct group copies the jagged-edge medallion used in Sultanabad carpets(184)

064 Medallion with Corner Palmettes

Christies 8 April 1989,Lot 216 "Serapi",estimate $25-35,000