'BESSARABIAN' (URKRAINE), EARLY 19TH CENTURY

 Like the term 'Ukrainian' for pile-knotted carpets, the name 'Bessarabian' has traditionally been used to identify all flat-woven carpets made in Russia, the Ukraine and Moldova. This label derives from Bessarabia, the historical name of Moldova and portions of eastern Romania. Tapestry weave carpets were produced under circumstances similar to East European pile knotted carpets, namely in the Imperial Tapestry Factory, the estate workshops of the aristocracy, as well as the commercial workshops established in the early 19th century; while the more naïve, folksy, pieces on the home looms of the peasantry. Interestingly, most flat-woven pieces tend not to directly share a design repertoire with the related knotted-pile carpets, particularly amongst the pieces we believe to be of 18th century or early 19th century date. Although good examples are rare, 'Bessarabian' carpets appear to have been made in greater quantities than the knotted-pile carpets of the region as more pieces survive today, probably due to the fact that the flat-weave technique was a less expensive mode of weaving than knotted-pile. Even though we are faced with the same dearth of historical information regarding the production of 'Bessarabian' carpets that we are with 'Ukrainian' carpets, we can confidentially date the present example to the early years of the 19th century based on its design. The basic conception of layout seen in this carpet is congruent with the neoclassical movement popular throughout both Western and Eastern Europe during the late 18th and early 19th centuries. Within Russia, neoclassicism was particularly revered by the court of Catherine the Great and several 'Bessarabian' carpets attributed to the Imperial Tapestry Factory during her reign display the Classical ideal in its most developed form. Here, however, we are presented with a much less dogmatic interpretation of the neoclassical style more in keeping with a provincial estate workshop that was aware of current fashion but not slavishly dedicated to it. The manner of drawing of the design in this carpet further suggests that it was made outside of an urban setting. Here, all of the design elements have a stepped, graphic line that is often the result of weaving curvilinear forms in the tapestry weave technique. This abstracted way of drawing is most pronounced in the small floral stems of the field, which have become stylized almost beyond recognition. Interestingly, the fine weave of the piece could easily accommodate a more realistic depiction of motifs, raising the question if this stylization is not intentional—perhaps imposed by the artisans to reflect the folkloric traditions of peasant weaving? While this may be farfetched and projecting modern day attributes of abstraction where it is unlikely to be found naturally, the technical finesse of the carpet and its superlative sense of color indicate makers quite skilled and comfortable with their craft. Regardless of the original intent, this combination of naivete and virtuosity has created a carpet of superb spirit and beauty. This refreshing informality of design presented within a classic structure allows the carpet to transcend the strict boundaries of its period and become an object of timeless merit and appeal.