Plate 28; Anatolian Kilims; Fine Art Museums of San Francisco; 1990
Collection Vakiflar Museum
Plate 58; Anatolian Kilims; Fine Art Museums of San Francisco; 1990
Each of these three archetype kelim is unique, there are no closely related analogous later copies. Not one. (ed. There is one published version of the third kelim above, Plate 58, Anatolian Kilims Fine Art Museums of San Francisco, in the Vok Collection that we erroneously did not mention).
There are not even ones that are similar, or any that can be considered as of the type.
So providing any continuum for them is impossible and speaking about their influence is, likewise, a fairly moot endeavor.
The last one, the vulture kelim, unlike the others, is an iconic paradigm; the icon, as we have demonstrated, is part of the set several other Archaic period weavings, like the birth-symbol, Plate 5, and Plate 4, both from the Image Idol Symbol publication.
The analogy drawn between the vulture and several wall-painting from Catal Huyuk is a very valid one.
Wall-painting; Catal Huyuk; shrine VII.8; copyright Arlette Mellaart
But the extension of this icon to Antaolian kelim is at best tenuous.
RK well realizes this but in light of any evidence to the contrary we are content with drawing the analogy.
Catal Huyuk is located in central Anatolia in what one might call kelim country, and the practice of excarnation, allowing bird and animal of prey to strip the flesh from the bodies of the dead, has been, since the neolitic period, a well-known tradition in these parts.
photo showing three excarnated human body from Catal Huyuk burials circa 6,500BC
RK’s idea, supported by some tantalizing fieldwork done by Belkis Balpinar, certain kelim were part of funeral ceremonies, plus the role the vulture played in excarnation, provides some documentation for supposing the last kelim above has three vultures as its iconography.
We are, however, far more secure in believing the indented-shape prehistoric goddess effigy figurines have provided the source for the icon found on Plate 1 Image Idol Symbol: Ancient Anatolian Kelim.
There is a living tradition for this icon demonstrating its longevity, whereas the vulture icon does not have a this documentary history.
One pertinent question is why there are no copies of any of these three kelim, and only several some of the other archetype, like Plates 1,2 and 3 Image Idol Symbol?
Perhaps, as we suggested earlier, these icon were so important to the kelim weaving groups they dared not reproduce them, except under certain special circumstance.
This idea, the prohibition for wanton reproduction of certain archetype kelim icon, is supported by the presence, on the first kelim we illustrate above, of two panel with vulture icon.
detail showing panel of vulture; Plate 28 deYoung Museum Collection
Plate 3 Image Idol Symbol has what is also probably the vulture icon and this same rational, concerning the extremely limited number of later copies, seems to apply to it as well.
Plate 3; Image Idol Symbol:Ancient Anatolian Kelim; vol.2, 1989
The middle kelim illustrated above, the one RK calls the compass, has no vulture or any other icon seen on any other archetype kelim.
In fact, the three quadri-directional medallions have no known analog in any Anatolian kelim of any period.
Why then was this one not copied?
We cannot answer that, nor can we even speculate other than surmising it was made be a weaving group that was incredibly insular and disappeared from Anatolia at a very early time preventing this icon’s dissemination and later reproduction.
The rhomb kelim, with the two vulture panel, does have one interesting and later distant cousin.
Classic period; 100 Kilims; Plate 42
We believe viewers see the similarity as well as the later vulture emblem neatly placed above and below the 7 step-peaked niche.
This is but one other proof of prescription and the potent living Anatolian kelim weaving tradition.
It is no coincidence, chance or accident the weaver placed the vulture icon on this kelim.
End Part XVII