Three possible reasons for the design are suggested by Friedrich spuhler. One they denoted the positioning of a nobleman’s throne. Another the carpet would be centred beneath the dome of a mosque so that the light would fall onto the medallion. The third that the 'lotus' medallion is a metaphor for Buddha and enlightenment. For further information on the group see Sphuler. F., The Thyssen-Bornemisza Collection of Carpets and Textiles, London, 1998, pp. 44 – 51. This carpet fragment, which lacks the border and part of the field, is indicative of an earlier example of the group; in keeping with Spuhler’s theory 'the medallion is always a slightly ogival form: the earlier the design, the more precisely it depicts a circle' Sphuler. F., op cit, p. 46. Also in the use of colouring 'The best quality medallion Oushak carpets … are the ones with yellow floral designs on a dark blue ground and with rich red and blue medallions. The ones with a red background always have dark blue medallions and are of higher quality. … Deep red, dark blue and yellow are the predominant colours; green and blue appear as secondary colours and black is used on the contours.' Oktay. A., One Thousand Years of Turkish Carpets, Istanbul, 1998, p.107.
Two medallion carpets which share such a colour scheme; the first is in the MAK collection, Vienna, Völker. A., Die orientalischen Knüpfteppiche im MAK, Vienna, 2001, pp 78 – 81, cat no. 14 and the other is in the Victoria and Albert Museum collection, museum number T.71-1914. The MAK example has a further similarity in the yellow tracery of the central quatrefoil blossom and the detailing within the two pendants. The Victoria and Albert shares highly similar colour combination within the medallion.
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