On October 19, 2024, the Folk Arts HUB Foundation, in collaboration with "Ayrogi" Shadow Theater, hosted the Fourth National Shadow Theater Festival. This annual event celebrates one of Armenia’s ancient art forms—shadow theater—bringing together creative groups and communities from across the country to showcase both traditional and innovative performances.

This year, 8 groups participated in the festival, representing various regions and communities of Armenia. Each group brought unique perspectives to the stage, sharing traditional stories alongside original, animated interpretations. With eight new performances introduced to the audience, several were premiered for the first time, allowing spectators to witness the growth and adaptation of shadow theater in Armenia.

This art form, deeply rooted in Armenian culture, is experiencing a renaissance, finding a new home in schools, children's groups, and adult ensembles alike. By supporting and revitalizing shadow theater, the festival highlights the dedication and artistry of each group, creating a space for both young and experienced puppeteers to bring timeless stories to life.

In recognition of their achievements, five groups received awards for their exceptional work in specific categories:

• Best Painting and Musical Design: "Mrjuniks," Mkhitar Sebastatsi Educational Complex, Yerevan
• Best Script: "Noyemberyan Shadow Theater," Tavush Marz
• Best Performance: "Smile," Children's and Youth Creative Center No. 3, Yerevan
• Best Puppeteer: Gegham Gulikyan, Yerevan
• Best Direction: "Kenats Korov," Haghartsin, Tavush Marz
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The Folk Arts HUB Foundation is proud to see this art form flourish in Armenia, and we look forward to the continued growth of shadow theater.

For more photos, please visit our Facebook page through the link: Shadow Theater 4th Festival.

Garabed Apelian was a master weaver (ustad) originally from the city of KAYSERI in Central Anatolia (Turkey). He moved to IstanbuL during the early twentieth century and opened his workshop in Kadik Pasha, a suburb of the city. He was known for his perfection in rug design, coloration, and execution.

Designs featuring animals and birds with * Shah Abbas palmette, leaf, and vine motifs among all over and Mihrab (prayer arch) styles are characteristics of Apelian's artwork. His rugs are very finely made with a silk foundation and a silk pile. His weavings include gold and silver metallic threads (brocade) for the wefts.

Apelian separated himself from other HEREKE and KUM KAPI master weavers who mainly chose reds or ivory for the background during this period (you can read more about masters of Hereke here). His rugs characteristically have a variety of background colorations, such as cinnamon, silver, gold, and reddish brown.

Garabed Apelian rugs are rare in the antique market. Collectors and consumers are willing to pay high prices for his woven artworks, which are considered to be an investment by connoisseurs.

Source: The Encyclopedia of Antique Carpets: Twenty-Five Centuries of Weaving

Abraham Levi Moheban

At the "Folk Arts HUB" Foundation, we are dedicated to preserving and celebrating Armenia's rich heritage of traditional arts and crafts. Our flagship initiative, the "Adopt A Loom" project, plays a pivotal role in this mission by imparting the timeless skills of rug and kilim weaving to new generations. We are thrilled to share that 2024 has brought new opportunities for cultural enrichment with the addition of four more vibrant communities to our program.

Tegh and Verishen: Weaving Dreams in Syunik

We kicked off the year with enthusiasm as we expanded our "Adopt A Loom" project to Tegh and Verishen in the Syunik region. These picturesque communities are now home to free kilim weaving courses, which are being offered to 10 to 15 participants in each location. Under the guidance of Hasmik Baghdasaryan, a dedicated team was already working at the local cultural center of Tegh to ignite a passion for Armenian traditional crafts among both children and adults. This initiative aims to ensure that the art of kilim weaving remains a vibrant part of these communities' cultural fabric.

Baghramyan: A New Hub for Kilim Weaving

Our journey continued with an exciting collaboration with the L. Galchian Art Center in Baghramyan, located in the Armavir region. This year, we are proud to extend our reach to 12 children from Baghramyan and neighboring communities, who will now have the opportunity to learn the art of kilim weaving. The L. Galchian Art Center serves as a nurturing environment where these young learners can explore their creativity and gain invaluable skills in traditional weaving.

Gavar: Weaving Knowledge into the Future

In 2024, the "Adopt A Loom" program also ventured into Gavar, a city renowned for its commitment to the arts. At the local art school, we are offering rug weaving courses to a group of 16 participants, including teachers of technology and applied art. This initiative aims to equip educators from Gavar and surrounding areas with the expertise needed to teach and perpetuate the art of rug weaving. By empowering these teachers, we are ensuring that the skills and techniques of this ancient craft will be passed down through generations.

Our Commitment to Cultural Preservation

Each of these new community additions reflects our ongoing dedication to fostering a deep appreciation for Armenia’s traditional crafts. Through the "Adopt A Loom" project, we are not only teaching valuable skills but also helping to sustain the cultural heritage that defines our identity. By engaging with local cultural centers and art schools, we are building a network of knowledge and passion that will keep these crafts alive and thriving.

We are immensely grateful to all the communities, cultural centers, and art schools that have embraced this project with open arms. Your support and enthusiasm are vital to the success of our mission.

As we look forward to the future, we remain committed to expanding our reach and continuing to inspire new generations to engage with Armenia’s rich artistic traditions. Thank you for being part of this journey and for helping us make a lasting impact on the preservation of our cultural heritage.

Stay tuned for more updates and stories from our ongoing projects and join us in the support of our communities by buying the handwoven textiles made by them and for them. 

On May 10, the vibrant canvas of Armenian culture appeared in the annual exhibition of the "Adopt a Loom" program, a leading program of the reputable “Folk Arts HUB” Foundation. This highly anticipated event, held with pride and passion, served as a testament to the dedication of communities across Armenia to the preservation, promotion, and sustainable development of Armenian folk cultural values.

The exhibition hall was filled with the fruits of the labors of more than 10 communities, each piece a labor of love representing the rich tapestry of Armenian heritage. From intricate rug weavings to delicate embroidery, the craftsmanship on display was nothing short of breathtaking.

A distinguished panel of judges – ethnographer Karine Bazeyan, film director Garegin Zakoyan, ethnographer Levon Abrahamyan, and museum expert Lusine Toroyan several selected items were awarded honorable titles. These awards not only celebrated individual talent but also highlighted the collective effort of communities united in their commitment to their cultural legacy.

Among the standout winners were:

🧶 "Best Design" – Berd’s House of Culture,

🧶 "Unique Creation" – Byureghavan’s Sports and Cultural Center,

🧶 "Best Work" – Meghradzor’s Sports and Cultural Center after Samvel Muradyan,

🧶 "Special Prize" – Artik’s Art School,

🧶 "The Best Community" – Aragats’ Art School named after Gusan Ashkhiy.

Yet, beyond the accolades and applause lies a deeper significance. The "Adopt a Loom" program has become a beacon of hope, reaching over 270 students across 7 regions of Armenia, instilling in them not just the skills of traditional Armenian weaving but also a profound connection to their cultural heritage.

As we reflect on the successes of the past year, we look forward with optimism and determination. The journey of the "Adopt a Loom" program continues, weaving threads of tradition and innovation, enriching communities, and expanding its reach to embrace new regions and communities, ensuring that the vibrant tapestry of Armenian folk culture continues to thrive for generations to come.

For photos, you can visit the link: Facebook/foundation

In furthering the collaboration between the "Folk Arts Hub" Foundation and the "Ayrogi" Shadow Theater, the "Third National Shadow Play" festival took place on November 18 of this year.

Participation in the festival extended to 12 shadow play groups, hailing from diverse regions and communities across Armenia. These groups showcased a spectrum of performances, encompassing both traditional and innovative animated shadow plays.

The inclusion of participants spanning various age groups and the emergence of new groups within the past year are indicative of a promising trajectory for the preservation of this facet of Armenian culture. Undoubtedly, one of the oldest forms of theater is undergoing a perennial resurgence, permeating schools and captivating audiences from children to adults.

Each participating group received accolades in distinct categories, exemplified as follows:

• Best Shadow Performance: "Shadow People," Ayb School
• Best Children's Play: "Ants," Mkhitar Sebastsi Educational Complex
• Best Presentation of Traditional Craft: "Lamp," Hovhannes Sharambeyan Folk Art Museum
• Best Overall Performance: "Fairy Tale House," Pambak Village of Lorva Region
• Best Music Composition: "Avetis," Tsaghkadzor Community, Meghradzor Sports and Culture Center named after Samvel Muradyan
• Best Adherence to the Author's Vision: "Bebuk"
• Best Scenario: "Enki," Hovhannes Sharambeyan Museum of Folk Arts
• Pinnacle Contribution to Continuing the Traditional Shadow Play: Noyemberyan Shadow Play Theater of Tavush Region
• Best Cast: "Smile," No. 3 Children's and Youth Creative Center
• Most Innovative Idea: Gegham Gulikyan
• Best Graphic Work: "Kenats Korov," Haghartsin Village, Tavush Marz
• Best Director: "Tatiks," Hovhannes Sharambeyan Museum of Folk Arts
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These distinctions collectively underscore the richness and diversity showcased at the festival, with each award serving as a testament to the outstanding contributions of the respective participants and groups.

For photos, you can visit the link: Facebook/foundation

Kumkapus were the successors of the Herekes. At the beginning of the twentieth century when production at Hereke ceased, Armenian weavers under the master weaver Zare-Aga of Istambul began to create silk rugs with gold and silver threads. These were embossed, but this time did not have pile of different heights. Here the rugs were made partly of pile,  which stood out in strong relief against a background of gold or silver warps and wefts without pile. The designs used were those of the great period of Persia; also there were intricate prayer rugs woven with verses from the Koran in the borders, carried out in intaglio with gold or silver warp threads which gave a subdued refulgence to the sacred words. These pieces were some of the finest ever woven and today command high prices in world markets.

So far, only Persia and Turkey have been discussed. The other weaving areas, apart from the Caucasus, contribute little to the overall historical picture, although individual items are, of course, preserved in museums and collections from all the known areas. The Caucasus, however, must rank in importance with Turkey, for it is possible that Turkey might not have reached the artistic heights which she did without Armenian influence.

Some of the early pieces now attributed to Turkey most probably came either from the Caucasus or from Armenian looms in Turkey, as it was only when Europeans and Americans took an interest in techniques and history of Oriental rugs that geographical divisions were made. These have been handicapped over the centuries by the numerous political changes in the countries of the Middles East. It is significant that some of the rugs depicted in early European paintings were undoubtedly Caucasian in design and were not Turkish at all, although all Oriental carpets, at least in England in the sixteenth and seventeenth centuries, were described as “Turkish” and even pieces made in England at that time were known as “Turkish carpets of English making”.

Stanley Reed “Oriental rugs and carpets” 1967

Dyeing was one of the most important crafts in Medieval Armenia. The 13^th century historian Kirakos Gandzaketsi mentions about the dyeing artists in his works. When telling about the collection of taxes during the rule of the Mongols, he mentions “Shaparas” (շապարար in Armenian meaning dyer) artisans too among the people who were giving taxes. This testimony of Gandzaketsi confirms the fact that the number of the dyeing artists was large both, in the villages and in the cities and they were forced to pay taxes along with the other craftsmen.

There is also another testimony about this in one of the inscriptions in Ani, which talks about the abolition of taxes in Ani, including the dyers’ taxes.  

The earliest, classical examples of classical dragon carpets that have survived to our time date back to the 16th-18th centuries and are characterized by the presence of stylized images of a mythical dragon in the decorative system, rather large sizes and extraordinary richness of the decorative system.

Dragon carpets are considered the oldest group of not only Armenian, but also worldwide carpet weaving culture. A number of scholars, including F. Martin, F. Sarren, F. Gantzhorn, L.E. Murray, L. Der Manuelian, G.H. Ellis, consider dragon carpets to be of Armenian origin, based on their similarities with other branches of Armenian art. F. Martin mentions Van and Sebastia as the place of origin, Gantzhorn considers Vaspurakan and Lesser Armenia as the place of origin, and G.H. Ellis considers that the center of production was Artsakh, near Shushi. According to Vahram Tatikyan, classic dragon rugs are descended from ancient Artsakh tribal rugs.

In the composition of dragon rugs, the abstract, stylized image of the dragon is emphasized through various combinations of floral and animal motifs, which is where the name of the rug comes from. On the base of the dragon carpet, magnificent rosettes with various compositions are arranged along the longitudinal central axis. The dragons are placed in 2 rows parallel to that axis, 2-4 in each, with trees of life depicted near them. Classical dragon carpets are also characterized by large sizes (about 3x7 m), a single decorative band, and four dominant colors: red, blue, brown, and ivory. The main color is predominantly bright red, obtained from vordan karmir (Armenian cochineal).

In almost all European, Eastern, and even late Armenian traditions the dragon appears as some evil entity of darkness and water, which can only be defeated with the help of God, while in Armenia there is a second, older dragon with exactly the opposite properties: as the guardian of water, it symbolizes goodness and wisdom, embodies power, and protects against injustice and evil. The idea of ​​the dragon as a transformation (incarnation) of the Divine originates from ancient beliefs of totemic times. One of the best examples of such an idea of ​​the dragon is the dragon stones, which were placed near the sources of natural and artificial reservoirs and springs and symbolized the unbridled power of the elements, the awakening of nature, fertility, and abundance. Based on the above, it can be assumed that the dragon rugs had a protective significance. Moreover, in addition to their central position on the carpet, dragons were also used as guardians and patrons in the decoration of the borders. The border itself, whose decorative details are mainly serrated, zigzag or spiral color stripes with an ominous meaning, daghdghan-type (talisman) and "snake-like" stylizations, etc., acted as a factor that protected the sacred and immaculate area of ​​the carpet from evil forces.

A. Poghosyan, On the Basic Issues of the Genealogy and Typology of Classical Dragon Rugs.
F. Gantzhorn, The Christian-Oriental Rug
Ch.G. Ellis, Early Caucasian Rugs
V. Tatikyan, Artsakhian Tribal Rugs

The earliest example of the “Crown Star” rug can be found in the Virgin and Child painting created by Jan Van Eyck in 1436. Here the Dutch painter presented the rug under the feet of the Blessed Virgin.

Doris Eder attributes such carpets, and those related in design, to the Lezghians, that is why  The rug is known in professional circles as “Lezgi Star”. We can also find it with the name “Shining Star”. According to Volkmar Gantzhorn’s own investigations, which coincide with those carried out by Wahram Tatikian and Mania Ghazarian, such carpets belong to the Artsagh-Group and were produced by Armenian families, one of which was still

living Kirovabad in 1991. .

An example of this group, dated 1815 and bearing Armenian writing, is also located in the Folk Arts Museum in Yerevan. In this piece, the Christian character of the rug is almost more obvious because brightly outlined orthodox crosses were incorporated into the negative areas between the large Cross-stars.

Crown-Star rugs are geometric in design and mostly have one or multiple medallions in the field. 

The main motif of the rug is a large eight-point star, which sometimes appears directly on the field or enclosed in a box and repeats itself in the field. The star medallions have an alternating color pattern. The main and minor borders have designs with a tulip and leaf, flower head, flower with leaf and vine, star, double E, double S, and other motifs.

Crown-Star rugs generally have blue, red, gold, or ivory backgrounds. These colors are used interchangeably with the main border. Additionally, shades of yellow, light blue, cinnamon, green, brown, and black are woven for the minor borders, design elements, and outlines. Occasionally, these secondary hues are applied in the field and borders.

This type of rug was popular in Gardman, Tavush and Lori regions

Source: 

Volkmar Gantzhorn, The Christian Oriental Carpet

Abraham Levi Moheban;The Encyclopedia of Antique Carpets, Twenty Five Centuries of Weaving.

Floral - This type of rug is distinguished by a decorative motif reminiscent of a grape leaf.

The color blue was most often used in the field of these types of rugs. The plant motifs are found in the classic dragon design rugs, which is why it is assumed that these types of floral carpets were inspired from them.

The Floral rugs are common in rug-weaving centers of Artsakh (especially Shushi), Syunik, and Shirvan.

In September of 1915, the U.S. Ambassador to Ottoman Turkey, Henry orgenthau, suggested the creation of an American charity foundation to help the Armenians suffering during the Armenian Genocide, particularly orphans. President Woodrow Wilson supported the idea and the American Committee for Armenian and Syrian Relief (ACASR) was quickly established. A CASE, now known as the Near East Foundation  (NEF), saved the lives of over one hundred thirty two thousand Armenians. Many of them were sheltered in orphanages near Beirut.

In the early 1920s, Swiss missioner Jakob Künzler supported the establishment of an Armenian rug-making factory in the town of Ghazir, forty miles north of Beirut. The main purpose of the creation of this factory was to teach rug-making skills to Armenian children who survived the genocide, particularly girls, so they would be able to earn money and support themselves.

Ghazi's rugs quickly became very popular. Between 1923 and 1930, this mill produced 3,254 rugs. In fact, Ghazi's most recognized rug, known as the Armenian Orphan Rug, was gifted to the White House in December 1925, as a sign of gratitude for the support that the U.S. rendered to Armenians during World War I. The rug measures eleven feet, seven inches by eighteen feet, five inches (3.53 meters by 5.61 meters), and contains 4 million 404 thousand 206 hand-woven knots. It includes lions, unicorns, eagles, and birds as part of its intricate composition. The middle of the carpet features a magnificent medallion-shaped design. It took over 18 months for the rug to be meticulously woven by four hundred Armenian children.

 In November of 2014, after initial rejection and almost a year of debates, the White House allowed to display the Armenian Orphan Drug at the White House visitor's center for several days. The Armenian orphans created also the prominent "Marash art-crafts": wonderful handmade laces.

Source: Harold Bedoukian; Rugs, Woven by Orphans and Rugs with Armenian-Lettered Inscriptions in Private Collections; Armenian Knot: Traditions of Carpet Weaving Art, Collection of internation conference's articles, Yerevan 2013. 

This famous rug, familiarly called the "Guhar carpet" after the name of the weaver, is an extremely important historical document with a colorful history. Guhar (Gohar) is an Armenian female name, meaning gem or jewel. The rug was noticed first when it appeared in 1899 in London where it was photographed at the Victoria and Albert Museum, and it was subsequently published by F.R. Martin in 1908. Afterwards, however, it dropped from sight and did not resurface until 1977, when it was sold at auction in London by LeFevre and Partners. The Kohar rug is not in the British Museum, as stated by some rug authorities.

The rug is in the Karabagh style and related to the dragon rug designs of Kuba. The inscription at the top of the rug is an earnest request and expresses the religious personality of its weaver: "I, Gohar, full of sin and weak of soul, with my newly learned hands wove this rug. Whoever reads this, may say a word of mercy to God for me, dating 1149"

During the time when the carpet's whereabouts were unknown, it continued to elicit comment from historians of the art, particularly since the inscription seemed to provide an early date. The date is not so straightforward as one would hope, however, as it comes in the form of a chronogram, in which four letters-representing successively millennium, century, decade, and year-are separated by dots. The translation suggested a date of 1129 according to the Armenian calendar which began in 551; this is 1679-80 A.D. by the modern Christian calendar. The date has also been read as 1149, or 1699-1700 A.D., while others have suggested that the date refers to the Islamic calendar, which began in 621 A.D. and thus should be 1732. Although there have been suggestions that the date was altered, the rug shows no evidence of tampering. Others have suggested that the inscription was copied from an earlier rug. As with many carpets of disputed date, one must look to the carpet itself for clues.

The design of the Gohar Carpet with large elaborate palmettes and medallions relates it to the Kasim Ushag tradition, which, in turn, places it in the context of an extensive series of Caucasian rugs with similar designs that probably began to be made in the seventeenth century and extended into the early nineteenth century. The large palmette designs at each end of the vertical axis are characteristic of these rugs, as are the yellow-field bands at their sides. The central medallion, the four smaller palmettes in the field at the sides, and the border on the Gohar are all consistent with design elements found in rugs of the seventeenth or eighteenth century. The same border appears on a Dragon rug in the collection of the Fine Arts Museums of San Francisco. The colors, however, are not typical of the earlier rugs. There is here a surprisingly small amount of strong dark blue and an unexpectedly heavy use of green and yellow. The colors, moreover, do not resemble the palette of the nineteenth-century descendants of the earlier rugs.

Thus, although the rug does not seem to be a mainstream type, there is no convincing evidence that it is not as old as the date suggests. Certainly there is no question of its success as a work of art. In balance of design, color, texture and composition, the Gohar must be ranked as an extremely successful and appealing carpet. The Armenian provenance-which can hardly be questioned given the inscription -would seem to help relate a much larger group of rugs to the Armenian weaving tradition.

Source:

Lucy Der Maneulyan, Murray L.Eiland, Weavers, Merchants and Kings, The Inscribed Armenian Rugs, Kimbell Art Museum. 

H.M.Raphaelian, Rugs of Armenia, Their History and Art

F.R. Martin. HistoryofOriental Carpets before 1800. Vienna, 1908.