|Name||Zabol Tree of Life|
|Size in feet ||9'10" x 8'1"|
|Size in meters||2.99 x 2.46|
|Pile (Fiber & Yarns Used)||100% Hand-spun Himalayan Wool|
All Natural Vegetable Dyes
|Type of fabrication||Hand-knotted with Persian knots (Senneh)|
|Country Made In||Afghanistan (South-Central Asia)|
|Condition||Excellent (Brand New)|
CUSTOM SIZES AVAILABLE BY SPECIAL ORDER
PLEASE CONTACT US FOR AVAILABILITY
Sizes Are Approximate. Photos Are Representative And Not Necessarily Exact For Color
New Rugs Are Of The Highest Quality In Its Category And Are Handpicked Overseas By The Bashir Family
A Brief History of Ziegler Designs
Ziegler (Zeigler) is a term used to describe carpets produced by the late 19th century Anglo-Swiss firm: Ziegler & Company or it is a term used when describing carpets that are made with similar designs and color combinations used by the late firm. Rugs containing this design are sometimes known as Chobi rugs (which translates to wood in Farsi, a reference to their natural colour created by the vegetable dye) or Peshawar rugs (Peshawar is a city in Pakistan known for mass producing this type of design). Most new Ziegler designs are crafted in Afghanistan or in Pakistan by Afghan refugees and contain bold floral patterns. They are made with vegetable dyes and their knot count generally varies from 80 to 120 KPSI (Knots Per Square Inch). The carpets wool is of high quality: either hand-spun Ghazni wool or Himalayan wool making its structure very durable. Much like sodas tasting like Coca-cola being called Coke regardless of their brand, Ziegler design carpets are known as Ziegler even though they are not made by Ziegler & Co. Depending on whom you ask, they can sometimes be regarded as Sultanabad carpets because Ziegler & Co had workshops spread throughout the Sultanabad district of Iran.A Brief History of Tree of Life Carpets
In 1870 the supply of old rugs in Iran had been depleted and exports to the West had dwindled. Merchants of Tabriz carpets decided to produce new carpets expressly for export to Europe & North America. By 1875, they had established offices in Sultanabad, a small town in North West Iran (now known as Arak) with a rug large weaving tradition. In 1883, an Anglo-Swiss firm: Ph. Ziegler & Company joined them in weaving rugs for export to London and New York. The company was based in Manchester, England and established a carpet manufactory in Iran with the objective of producing Sultanabad style hand-knotted carpets to appeal more to western tastes. Ziegler manufactured carpets in north western Iran from 1883 to 1930 and was present at the birth of the carpet industry in Iran. It was to become important in shaping how rugs would be produced and what rugs would be woven in Sultanabad for the next 47 years. At the turn of the 20th century, Ziegler & Co. had about 2500 looms in more than one hundred villages around Sultanabad. For almost half-a-century of production, the company wove and imported thousands of rugs to Europe and America.
Ziegler & Co. brought major changes to the more traditional Sultanabad carpets by modifying its design, color palette and sizes. The company employed western designers from major Western department stores such as B. Altman & Co. and Liberty of London to modify fanciful 16th and 17th century classical Persian designs for the more restrained western taste. This marked the first time westerners directly affected Persian designs beyond that of simple market demand. Ziegler workshops featured carpets with central medallions or all-over pattern repeats. The latter designs integrated the classic “Shah Abbas” and “Vase” decoration of larger-than-life stylized blossoms and palmettes, suggesting a fantastic garden. This design scheme varied from the traditional Persian court carpets, which incorporated a profusion of intricate and elaborate floral patterns. The airy visual effect of Ziegler carpets resulted from the design as well as from a weave that was much coarser than that of traditional carpets. The pile was also left higher so it would be soft to the touch, creating a feeling of both visual and physical warmth. In step with the beginning of the English Arts and Crafts Movement, the color palette changed to be much softer than those typically found in the Sultanabad carpets of Iran. Fewer color combinations were used, resulting in a simpler balance and harmony. The color green was liberally incorporated. According to some experts, this was done to echo the English fondness for the countryside. Larger sizes were also made available to suit western room sizes specifications. Influenced by the principles of Western architectural proportion and room settings, Ziegler were made to achieve a balance and symmetry in keeping with the scale of a room and its furnishings.
Today, Antique Ziegler’s are among the most sought-after antique carpets in today’s market. A Ziegler carpet circa 1910 measuring 14 feet by 10 feet more than doubled its original estimate and achieved $11,250 at a Decorative Arts sale at Sotheby’s in New York in January 2011. New Ziegler designed rugs are possibly the most popular and sought after handmade rugs in Canada & the U.S due to their gentle tones and softer patterns - there aren't many rooms that wouldn't be improved by a Ziegler design rug. Their gracious size, muted color combinations and simple, yet striking pattern fit well with modern neutral colour schemes and both contemporary or traditional décors.
The concept of a tree of life as a many-branched tree illustrating the idea that all life on earth is related has been used in science, religion, philosophy, mythology, and other fields including the art of carpet weaving for centuries. There has always been a great classical tradition of carpets depicting the Tree of Life. Since ancient times, this symbol in oriental carpets has represented the direct path from earth to heaven. It distinguishes itself from other carpet patterns in that it is based on one of the oldest and most universal of all religious and mythological symbols in human history. Reference to a “Tree of Life” as the connecting link between the human and heavenly worlds are found in ancient cultures spanning throughout Europe, Asia Minor and the Orient.
In fact, trees have always been important symbols in the religion of Jews, Christians, and Muslims. The Tree of Life is a mystical symbol used in the Kabbalah of esoteric Judaism to describe the path to God and the manner in which he created the world out of nothing. Kabbalists believe it to be a diagrammatic representation of the process by which the Universe came into being. It symbolises that point beyond which our comprehension of the origins of being cannot go. Kabbalists do not envision time and space as pre-existing, and place them at the next three stages on the Tree of Life. The Tree of Life in the Book of Genesis is a tree planted by God in midst of the Garden of Eden, whose fruit gives everlasting life, i.e. immortality. Together with the Tree of Life, God planted the tree of the knowledge of good and evil (Genesis 2:9). In Islam, the Tree of Life symbolizes the bridge between Paradise, the world of men and the world below. It is usually used in conjunction with a garden, vase or prayer rug design. In Baha'i Faith, it can refer to the Manifestation of God, a great teacher who appears to humanity from age to age. The concept can be broken down still further, with the Manifestation as the roots and trunk of the tree and his followers as the branches and leaves. The fruit produced by the tree nourishes an ever-advancing civilization. A distinction has been made between the Tree of Life and the Tree of Knowledge of Good and Evil. The latter represents the physical world with its opposites, such as good and evil and light and dark. In a different context from the one above, the Tree of Life represents the spiritual realm, where this duality does not exist. This symbol is also found in the Norse saga of the ash tree Yggdrasil, where the tree provides a magical spring water of knowledge. There is a similar mythology in China, where a carving of a Tree of Life depicts a bird and a dragon- in Chinese mythology, the dragon often represents immortality.
Several workshop groups in Persia, Anatolia, India and Pakistan produce extremely intricate and naturalistic interpretations of the Tree of Life scheme. More stylized and geometric versions are found on a number of village and nomadic rugs from Persia, Anatolia and Afghanistan. It is also a popular field decoration on Belouch prayer rugs. Today, the traditional Tree of Life design can be found blended with traditional Persian carpets such as Isfahans, Kirmans (Kermans), Qums, Semnans and Veramins.