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Soumak

Soumak is a traditional flat-weaving technique that employs weft-wrapping to create sturdy, textured, and decorative textiles, primarily used for rugs, carpets, saddlebags, and bedding.^[1] In this method, supplementary weft threads—often in contrasting colors—are wrapped around pairs of warp threads and looped back under one, producing slanted or herringbone patterns with a raised, embroidery-like surface that enhances durability and visual appeal.^[1] The technique yields reversible fabrics with a smooth face and a more irregular reverse, distinguishing it from slit-tapestry weaves like kilims and from pile-knotted rugs.^[1] The origins of soumak trace back to prehistoric times, with the earliest evidence of weft-wrapping (a precursor to soumak) appearing in basketry and matting from the southern Levant around 10,500 years ago, as seen in artifacts from sites like Wadi Murrabba’at in Israel.^[2] By the 9th–7th centuries BCE, soumak had evolved into a sophisticated textile method in Anatolia, where carbonized fragments from the Phrygian city of Gordion (near modern Ankara, Turkey) reveal its use in creating zigzag and wavy-line patterns for decorative hangings and garments, influencing contemporary ceramic designs.^[3] Although the name "soumak" derives from Shemakha (Shemakha), a town in the Shirvan region of the Caucasus (present-day Azerbaijan), where it gained prominence in rug production during the 17th century, the technique itself predates this association and spread across the Near East and Central Asia.^[1] In its classic form, soumak features discontinuous brocading or complementary weft structures, allowing weavers to introduce complex motifs such as geometric shapes, florals, and tribal symbols without slits in the fabric.^[1] Predominantly woolen, these textiles were crafted by nomadic and tribal groups, including the Shahsevan in northwestern Iran and Azerbaijan, for practical items like khorjins (double saddlebags) and tent dividers, as exemplified by early 20th-century pieces measuring up to 52 by 20 inches.^[1] The method's strength made it ideal for heavy-use items, and its textural variety—ranging from horizontal to diagonal wrapping—contributed to vibrant, durable artworks that bridged utility and artistry.^[1] Historically, soumak flourished in the Caucasus, Anatolia, and Persia, with production centers in regions like Karabakh and Kuba, where it incorporated bold colors and abstract designs reflective of local cultures.^[1] Archaeological finds confirm its continuity from ancient Near Eastern traditions into medieval Islamic textiles, such as 8th-century silk bands from Europe possibly influenced by eastern techniques.^[4] As of the 2020s, soumak remains a living craft in Turkey, Iran, and Azerbaijan, valued in contemporary design for its handwoven qualities and revival in modern interiors.^[5]

Overview

Definition

Soumak is a supplementary weft weaving technique characterized by wrapping colored weft threads around two or more warp threads before returning under one or more warps, creating raised, herringbone-like patterns on the surface of flat-woven textiles without forming a pile.^[6]^[1] This method uses continuous extra-weft threads that interlock with the ground weave, producing a sturdy fabric with distinct designs on the front and a textured reverse.^[7]^[8] Unlike kilims, which employ a slit-tapestry technique where adjacent weft colors do not interlock and may create openings along color boundaries, soumak avoids such slits through its wrapping approach, resulting in greater durability.^[9] In distinction from pile carpets, which achieve texture by knotting yarn tufts around warps to form a raised surface, soumak maintains a flat profile while allowing for intricate, non-interlocking patterns.^[10] Typical products include flat rugs, saddlebags for nomadic use, and wall hangings valued for their decorative appeal.^[11]^[12] Soumak occupies a position in weaving traditions as a technique that enhances plain weave with supplementary patterning, offering complexity short of the labor-intensive knotting required for pile construction.^[13]

Key Characteristics

Soumak weaves exhibit a reversible nature, with decorative patterns visible on both sides of the textile, although the reverse side displays a slightly altered appearance due to the directional wrapping of the weft threads. This dual-sided visibility arises from the supplementary weft technique, where the pattern threads are wrapped around the warp, creating a textured front while allowing the underlying structure to show through on the back.^[14] The defining structural feature of soumak is its smooth, tapestry-like surface, achieved through continuous weft wrapping that interlocks colors without forming slits, unlike in slit-tapestry techniques such as kilims. This method employs a ground weft for stability alongside the decorative extra-weft, resulting in a flat, sturdy fabric free of pile and with a subtle raised texture from the wrapping. The absence of slits ensures seamless color transitions, contributing to the overall aesthetic cohesion.^[15]^[1] Materials commonly used in soumak include wool for the warp and primary weft threads, providing warmth and resilience, while cotton may serve as the ground weft for added firmness in certain constructions. Finer pieces occasionally incorporate silk wefts to enhance sheen and delicacy. Natural dyes, derived from plants, insects, and minerals, yield vibrant, long-lasting hues that resist fading over time.^[1]^[16] Compared to knotted pile rugs, soumak offers superior flexibility and lighter weight while maintaining exceptional durability, as the multiple layers of weft protect the warp threads from wear. This combination makes soumak particularly suitable for portable items like saddlebags, where ease of transport and resistance to abrasion are essential. The typical color palette emphasizes bold reds and blues, frequently arranged in geometric motifs that highlight the weave's structural clarity.^[17]^[18]^[19]

History

Ancient Origins

The earliest evidence of weft-wrapping techniques, a precursor to soumak, dates back to prehistoric times in the southern Levant around 10,500 years ago. Artifacts from sites like Wadi Murrabba’at in Israel include basketry and matting that demonstrate wrapping with one active strand around passive elements, foundational to later textile methods.^[2] Archaeological evidence from Anatolian sites attests to the early adoption of soumak-like techniques. At Gordion in central Anatolia, charred textile fragments from a fire-destroyed structure in Megaron 3, dated to ca. 800 BCE, reveal a sophisticated combination of slit-tapestry and soumak wrapping in woolen fabrics featuring geometric motifs. These Early Phrygian textiles, folded for storage, were likely used as coverings or bags, underscoring soumak's role in creating robust, decorative flatweaves suitable for transport and daily life among mobile communities.^[20] In ancient textual traditions, descriptions of weaving in the Homeric epics suggest familiarity with supplementary weft techniques similar to soumak, particularly in the context of decorative textile production. The Odyssey and Iliad depict women employing shuttles to create intricate fabrics, such as Penelope's shroud or Helen's embroidered robes, where weft threads are manipulated to form patterns without slits, implying wrapping methods for added strength and ornamentation. These literary references, composed around the 8th century BCE but drawing on older oral traditions, highlight weaving as a skilled craft in Greek society, potentially reflecting broader Near Eastern influences on supplementary weft practices.^[8] Bronze Age burial contexts in the North Caucasus, dating to the fourth millennium BCE, have yielded textile fragments from sites such as Novosvobodnaya and Klady kurgans. These include garments, burial cloths, and bandages made from wool, flax, and plant fibers, demonstrating early use of tablet or disc twisting for warp manipulation and simple frame looms for plain weave structures. Such finds indicate that weaving was integral to both nomadic and settled communities in the region, providing durable fabrics for practical and ritual purposes.^[21]

Later Developments

Although the technique predates this period, soumak gained prominence in the Shirvan region of the Caucasus during the 17th century, where it was used in rug production. The name "soumak" derives from Shemakha, a town in this region (present-day Azerbaijan).^[1] By the 18th and 19th centuries, Caucasian soumak textiles contributed to broader trade across the Near East and beyond. During the 19th century, soumak rugs from Azerbaijan played a prominent role in international export markets, with significant quantities shipped to Russia and Europe following the Russian Empire's kustar initiatives around 1885, which promoted rural crafts for global trade.^[22] European collectors, including those at exhibitions like the 1873 Vienna World's Fair, documented and acquired these pieces, praising their bold colors and symbolic motifs, which helped elevate Caucasian soumaks to status symbols in Western interiors.^[22] Traditional soumak production declined in the early 20th century due to industrialization and Soviet collectivization policies, which prioritized mechanized output and synthetic materials over artisanal methods, leading to a loss of regional variations by the 1920s.^[22] However, revival efforts began post-World War II through state-sponsored cultural programs, including the establishment of the Azerbaijan Carpet and Folk Applied Arts Museum in 1967, which preserved techniques and trained weavers to maintain historical designs amid modernization.^[22]

Terminology

Etymology

The term "soumak" derives from Shemakha (also known as Shemakja or Shamakhi), an ancient town in Azerbaijan that was a prominent center for weaving and trade in the Eastern Caucasus region.^[1] This association reflects the technique's historical prominence in Caucasian textile production, where the town facilitated the export of such woven goods.^[1] The term entered English usage in textile literature around the early 20th century, with the earliest evidence appearing in 1904.^[23] It derives from the place name Shemakha, though other theories propose an etymology from the Turkish verb 'sekmek' (to skip up and down), referring to the weaving process. It likely adapted from Persian or Turkish descriptors for wrapped or supplementary weft weaves, with the name evolving through trade routes connecting the Caucasus to broader markets. Alternative spellings such as soumakh, sumak, sumac, and soumac stem from variations in transliterating the word from Persian and Turkish, which traditionally employed Arabic script.^[24] Importantly, the textile-specific "soumak" is unrelated to "sumac," the common name for plants in the Rhus genus used in tanning and as a spice.^[24]

Variations in Naming

The term "soumak" exhibits significant variations in spelling and nomenclature across linguistic and regional boundaries, reflecting its historical dissemination through trade and cultural exchange. In Turkish, it is commonly rendered as "sumak," emphasizing the technique's prevalence in Anatolian weaving traditions.^[25] In Persian contexts, the name remains "soumak" or a close transliteration, often applied to rugs from regions like Shirvan, where the style gained prominence. These regional adaptations highlight the name's geographic origins.^[11] Subtype distinctions further diversify the terminology, particularly for ancient or specialized forms. "Proto-soumak" refers to hybrid ancient variants that combine traditional wrapping with intermittent ground wefts, typically after 2 to 8 rows, seen in early Transcaucasian examples possibly influenced by Kurdish practices.^[26] In contrast, "weftless soumak" denotes a Kurdish variant from eastern Anatolia and northwest Persia, characterized by continuous wrapping without any intervening ground wefts, a technique preserved in utilitarian bags and flatweaves.^[26] These terms distinguish evolutionary stages and regional innovations, with "proto-soumak" evoking prehistoric simplicity and "weftless soumak" highlighting nomadic adaptations.^[27] In modern English usage within textile arts, "soumak" has standardized as the preferred spelling for educational and artisanal contexts, promoting clarity in workshops and museums. However, antique trade nomenclature often employs variant spellings like "sumak," "soumac," or "sumac," which can obscure provenance in auctions.^[11] This divergence arises from 19th-century European imports, where phonetic adaptations proliferated. Additionally, confusion persists with similar techniques like brocade in Western contexts, where both involve supplementary wefts for decoration; soumak is differentiated by its wrapped, non-floating yarns that create a textured, reversible surface, unlike brocade's supplemental floats over a ground weave.^[28]

Weaving Technique

Basic Process

Soumak weaving begins with the setup of a vertical loom, where warp threads are stretched taut between two beams to provide a stable foundation for the textile. A ground weft, typically a plain weave thread, is first interlaced over and under the warp threads to create a basic structural base that remains hidden beneath the decorative surface.^[1] The core technique involves wrapping an extra-weft thread, often in contrasting colors, around groups of warp threads to form the characteristic pattern. In the standard 2/1 soumak, the weaver loops the extra-weft over two adjacent warp threads from the front and then back under the second warp thread, creating a slanted or chevron effect as the wraps interlock. This wrapping is discontinuous, allowing the weaver to work specific sections independently without slits forming in the fabric, as the ground weft connects the areas.^[1]^[29] Patterns emerge by alternating the direction of the wraps—such as left-to-right or right-to-left—and switching colors at designated points to build motifs like diagonals or herringbone textures directly into the weave. The process continues row by row, with the extra-weft passing behind the warp for the return journey to maintain tension and alignment. Simple tools, including a shuttle for passing the weft or direct hand manipulation, suffice without requiring complex frames, making the technique accessible for handheld or frame looms.^[30]^[31] To complete each row, the weaver beats down the wraps using a comb or fork, compacting them tightly against the previous rows to produce a flat, dense textile with a smooth, embroidered-like front and a ragged reverse showing loose weft ends. This compaction ensures durability and the reversible, sturdy quality typical of soumak fabrics.^[29]

Technique Variations

Single soumak, also known as simple or 2/1 soumak, involves wrapping the weft thread over two adjacent warp threads and back under the second warp thread, creating an asymmetrical pattern with a slanted, raised texture on the surface.^[1] This basic variation produces a lightweight, textured effect suitable for adding dimension without excessive density, though it offers less structural reinforcement compared to more complex forms.^[32] Double soumak, or 4/2 soumak, extends the wrapping to encircle four warps before passing under two, resulting in bolder, more symmetrical designs with enhanced durability and a pronounced braided appearance.^[1] Commonly employed in finer rugs for its ability to create intricate, stable patterns, this subtype provides greater resistance to wear due to the increased weft coverage and interlocking of threads.^[32] However, it requires more time and yarn, making it less efficient for large-scale weaving.^[13] Weftless soumak eliminates the ground weft entirely, relying solely on wrapping threads around the warps to form a supple, open structure that is lightweight and highly portable.^[26] Prevalent in Kurdish traditions for items like storage bags (mafrash) and saddle covers (khorjin), this variation yields a compacted yet flexible fabric with banded designs for added stability, though it may lack the firmness of weft-supported weaves.^[26] Interlocking variations integrate soumak wrapping with slit-weave elements, where adjacent color wefts interlock around shared warps to prevent gaps, producing hybrid kilim-soumak pieces with seamless, durable transitions between motifs.^[13] This combination, often seen in flat-woven textiles, balances the textural relief of soumak with the geometric precision of kilim techniques, enhancing overall structural integrity while allowing for complex, gap-free patterns.^[1]

Regional Traditions

Caucasus Region

Soumak weaving in the Caucasus has been prominently centered in the Shirvan and Shemakha regions of Azerbaijan since at least the 17th century, where skilled artisans produced durable flatweaves for both local use and export markets.^[33] During the 18th and 19th centuries, workshops proliferated under influences from Persian, Turkish, and Chinese designs, with the Russian Empire's kustar movement in the late 19th century formalizing production through initiatives like the Caucasian Kustar Committee established in 1899, which facilitated significant exports—such as 600 tons of carpets from Baku in 1913 alone.^[33] These areas served as primary hubs due to their access to wool resources and established weaving communities, emphasizing soumak's tapestry-like technique for creating sturdy textiles.^[34] In the Karabakh region, soumak production incorporated bold colors and abstract designs reflective of local cultures, with archaeological continuity from ancient traditions into 19th-century pieces featuring geometric and floral motifs.^[1] Characteristic of Caucasian soumak from these regions are bold geometric patterns, often featuring motifs like kubpa or stylized palmettes, rendered in vivid hues from natural wool dyes such as madder for reds and indigo for blues, though synthetic dyes began dominating by the 1920s.^[33] Common items included prayer rugs with mihrabi arches and horse covers known as khorjin, which showcased the technique's strength for practical applications in daily and ceremonial life.^[33] These pieces were typically woven on wool warps and wefts, producing thick, reversible fabrics prized for their durability and decorative appeal.^[35] Soumak production in the Caucasus was undertaken by both settled Azerbaijani communities and nomadic groups, including Dagestanis, who integrated the craft into cultural practices such as dowry preparations and expressions of ethnic identity, often passed down through family traditions.^[33] In the 20th century, Soviet-era cooperatives and state-run factories revived and industrialized the tradition, establishing weaving schools and the Azerbaijan Carpet and Folk Applied Arts Museum in 1967 to standardize designs and promote folk art, though this shifted focus from religious motifs to secular ones.^[33] Post-independence in 1991, artisan programs aimed to preserve techniques amid economic challenges, fostering a return to traditional methods despite a decline in handmade production.^[33] Notable examples include Karagashli soumaks from the Kuba area near Shirvan, dating to the 19th century, which feature intricate dragon motifs—stylized curving forms intertwined with palmettes and anthropomorphic figures—reflecting ancient Asian influences adapted into local geometric styles for export-oriented pieces.^[35]

Persia and Anatolia

In the southern and western regions of Persia, particularly Luristan, nomadic Luri tribes produced soumak textiles during the 18th and 19th centuries, often employing brocaded soumak for durable, portable items like bags and coverings suited to their pastoral lifestyle.^[36] These weavings, crafted primarily by women using wool from local herds, emphasized practicality while incorporating intricate patterns that reflected the tribe's mobility and cultural isolation.^[37] In Anatolian Turkey, soumak weaving was practiced by Kurdish and Turkmen tribes, who utilized weftless soumak and slit tapestry techniques to create robust saddlebags (known as heybe or khorjin) for transporting goods on horseback during migrations.^[38] These items, prevalent among eastern Anatolian Kurds, featured paired warps and supplemental wefts for added strength, distinguishing them from simpler flatweaves and enabling their use in rugged terrains.^[39] Turkmen groups, including Yörük nomads, contributed similar tribal productions, adapting soumak for storage and saddle fittings in their semi-nomadic communities. Persian soumak pieces from Luri regions often showcased more floral and curvilinear designs, drawing on broader Iranian aesthetic traditions with motifs of stylized blooms and vines for a fluid, organic appearance.^[10] In contrast, Anatolian examples typically employed bold stripes and geometric banding, providing visual impact and structural simplicity suited to tribal utility. Finer Anatolian and Persian soumak works occasionally incorporated silk accents for sheen and durability in high-status items.^[40] During the Safavid era (1501–1736), Persian textiles influenced Ottoman markets through extensive trade routes, with exports of woven goods contributing to cultural exchange between the empires.^[41] These interactions spread techniques and designs westward, enriching Anatolian weaving traditions amid broader commerce in woolens and fabrics.^[42] Today, traditional soumak production in both regions is limited, with most surviving practices geared toward tourist markets, producing simplified versions of historical designs for decorative purposes rather than daily use.^[37]

Cultural and Artistic Significance

Motifs and Designs

Soumak textiles are renowned for their intricate motifs that blend geometric precision with symbolic depth, particularly in Caucasian traditions where diamonds, stars, and lattices dominate. These geometric forms often appear as central medallions or repeating borders, embodying protective and fertility themes rooted in ancient tribal beliefs. For instance, diamond motifs, frequently filled with smaller geometric elements, symbolize safeguarding against evil forces and the earth's generative power, while star shapes evoke celestial guidance and prosperity. Lattices, resembling interconnected grids, are common motifs, seen in 19th-century Caucasian soumaks from regions like Shirvan.^[43]^[44] In Persian soumak weaving, floral and animal designs introduce a more organic aesthetic, drawing from mythological and natural inspirations to depict idealized realms. Floral patterns, such as stylized lotuses or garden vignettes, symbolize paradise gardens, evoking eternal beauty and spiritual renewal in Islamic cosmology. These motifs, often integrated into central fields or borders, highlight the weaver's narrative intent, transforming the textile into a cultural talisman.^[45] Color palettes in soumak further amplify symbolic meanings, with regional variations reflecting local environments and philosophies. Red, derived from madder roots, universally signifies life force, vitality, and courage, infusing Caucasian pieces with warmth and warding energy. Blue, sourced from indigo, evokes the sky and flowing waters, symbolizing tranquility, immortality, and divine protection—prevalent in Persian designs to balance the intensity of red. These hues, combined with accents like saffron yellow for abundance or green for renewal, create harmonious compositions that vary by locale, such as bolder reds in Anatolian soumaks versus cooler blues in Caucasian ones.^[46]^[47] The evolution of soumak motifs traces from ancient protective amulets—evidenced in 7th-century BCE fragments with simple geometric wards—to more elaborate designs incorporating complex geometric and floral elements. Early designs focused on talismanic simplicity for everyday use, such as saddlebags, while later pieces preserved cultural lore amid modernization. This progression underscores soumak's adaptability, maintaining symbolic potency across eras.^[43] Soumak's flat-woven structure enhances its artistic value by providing unparalleled clarity for fine details, surpassing the subtle blurring of pile in knotted rugs. The wrapped weft technique allows sharp delineation of motifs, enabling intricate patterns like diamond intersections to emerge vividly without textural interference, making soumak ideal for symbolic expression and aesthetic appreciation.^[43]

Modern Applications

In the late 20th century, soumak weaving experienced a revival in the Caucasus region, particularly in Azerbaijan, where artisan workshops emerged post-1990s to preserve the technique amid economic challenges following the Soviet Union's collapse.^[48] These efforts focused on cultural heritage, training local weavers to produce traditional soumak rugs using historical motifs. Similarly, in Turkey, artisan initiatives in Anatolia have promoted soumak, integrating it into contemporary craft workshops to maintain the flat-weave method's durability and aesthetic appeal.^[29] Contemporary applications of soumak extend beyond traditional rugs into fashion and interior design. In fashion, soumak techniques are adapted for items like scarves and bags, where the wrapped weft creates textured, reversible patterns suitable for everyday accessories; for instance, handwoven soumak scarves using wool or cotton blends offer a nod to ancient Anatolian origins while fitting modern wardrobes.^[49]^[29] In interior design, soumak pieces serve as wall art or upholstery accents, valued for their bold, sculptural surfaces that add dimension to spaces without the bulk of pile rugs. Machine-loom adaptations have also emerged, allowing limited production of soumak-inspired fabrics for broader commercial use, though these often simplify the hand-wrapping process to suit industrial efficiency.^[31] The global spread of soumak has been facilitated by its inclusion in Western textile education, where it is taught in schools and studios as a versatile tapestry method for adding texture and pattern. This influence appears in modern artists' works, including those drawing from Scandinavian weaving traditions that incorporate soumak-like wrapping for contemporary wall hangings and installations. As of 2025, soumak continues to gain popularity in DIY weaving tutorials and art projects worldwide.^[49] Despite these advancements, modern soumak production faces challenges, including the shift toward synthetic materials over traditional wool, which compromises the technique's natural durability and colorfastness. Commercialization further impacts authenticity, as mass-produced imitations dilute the labor-intensive handcrafting central to soumak's identity.^[50] In the 21st century, eco-friendly soumak has gained traction in sustainable fashion, with examples like jute-based rugs employing natural dyes to minimize environmental impact while echoing the technique's historical strength. These initiatives prioritize organic fibers and low-water processes, positioning soumak as a viable option for ethical textile production.^[51]

References

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Investigation on Meaning of Dragon Motif Designed on Rugs in Aran ...
The dragon motif in rugs symbolizes cultural beliefs and ancient rituals in Aran and Armenia. This research aims to elucidate the significance of dragon motifs ...
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Caucasian rug Soumak: ancient art revived - L'Essenziale
Mar 6, 2013 · There were several archeological finds proving that carpet-weaving existed in Caucasus since the Bronze Age. ... The technique of making soumak ...<|control11|><|separator|>
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https://www.purlsoho.com/create/2018/10/06/soumak-weave-scarf/
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Knowledge Base - Oriental Rug Weavers
Since 1920, natural dyes have virtually disappeared from the making of Oriental rugs. The use of synthetic dyes remains controversial. Some say the aniline dyes ...<|control11|><|separator|>
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Armadillo applies soumak weaving techniques to jute for new rugs
Jul 20, 2022 · Jute is a sustainable material imbued with a sense of natural elegance and an endurance perfectly suited to everyday living. Over the years, ...