Cream Column Kazak
Cream Column Kazak
Cream Column Kazak
Cream Column Kazak
Cream Column Kazak
Cream Column Kazak
Cream Column Kazak
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Cream Column Kazak

In Stock
通常価格¥500,000
/
税込。 送料は会計時に計算されます。
Size
Color
Rug material

Only one available — one-of-a-kind.

A cream field centred on one long column medallion with a stepped, notched outline in green and red, edged with a row of small dotted beads. The column is built in sections: a gold octagon at the centre framed by a band of small rosettes, chevron panels in red, navy and ivory above and below it, and two navy octagons at the ends filled with hooked S-shaped devices. Small tribal motifs — crosses, rosettes, hooked figures and little squares — are scattered across the cream ground, with triangular spandrels in the corners. A wide red main border of geometric motifs runs between guard stripes of small red and blue rosettes, with a short fringe at both ends.

Hand-knotted in wool. The column is symmetrical end to end: the two navy octagons mirror each other, and a chevron panel sits on each side of the gold centre, so the medallion reads the same from either end of the rug. At 79×127cm this is an extra small rug — a doorway, bedside or small hallway piece.

  • Origin: Afghanistan
  • Type: Kazak, hand-knotted
  • Material: 100% wool
  • Design: Column medallion
  • Size: 79×127cm (2'7"×4'2") — Extra Small
  • Colour: Cream
  • SKU: NSRW 122284
  • One-of-a-kind: Yes

100% wool pile, hand-knotted in Afghanistan, with a short fringe at both ends. Wool is naturally resilient and hard-wearing, and the thick pile of a Kazak is made for everyday floor use.

The cream field is the lightest and largest area of the rug, so it will show marks and pile shading first. The wide red border and the saturated medallion are far more forgiving.

Kazak weavers in the Caucasus built their designs from a few large, bold shapes, and this rug keeps to that tradition: a single long medallion running almost the full length of the field, like a column or a standing shield. Look at how it is assembled. It is not one shape but a stack of sections — a navy octagon, a chevron panel, a gold octagon, another chevron panel, another navy octagon — each with its own ground colour, all held together by one continuous stepped outline in green and red. Then look at the cream ground around it. The small motifs scattered there — crosses, rosettes, hooked figures, tiny squares — are not placed on a grid; they are dropped into the spaces the weaver found, and no two are quite alike. That contrast between the strict, symmetrical column and the freely scattered field is at the heart of the Kazak style.

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