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
•  

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.  

Classic Dragon Rug – These rugs have preserved the ornaments and symbols, as well as the tribal beliefs of pre-Christian era.

Classical Dragon Rugs were woven from the 15th to the beginning of the 17th centuries and were continued to be woven and were preserved until the 17^th century in different regions of Armenia.

However, Artsakh and Syunik are considered to be the centers of creation of these Classical Dragon Rugs.

Crown Star or Shining Star - The rug is known in professional circles as Lezgi Star.

The main ornament of the rug is the star shape design, which repeats itself in the field.

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.

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

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.

After the 1915 genocide, with the support of US President Woodrow Wilson, the “Middle East Relief Fund” was created, which saved more than 132 thousand Armenian children. Not long after, a rug-weaving center was established for the orphans in the small town of Ghazir in Lebanon under the leadership of Swiss missionary Jacob Kunzler.

The most famous example of the Orphan Rug was woven by the children of the orphanage in 1925 and donated to the President residing in the White house as gratitude. The size of the rug is 5.61 by 3.53 meters and it was woven by 400 Armenian orphans in 18 months. The carpet depicts the biblical Garden of Eden with various animals, ornaments and designs.

The rug got its name by the weaver of the oldest preserved sample with an Armenian inscription woven in 1680.

The inscription reads, “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”.

In the 19th century, the rug was stolen from the Armenian church and sold to an Englishman. Until 1899, it was in the Victoria and Albert Museum in London. In 1977, the rug appeared in South Africa and then in the USA. Presently the rug is in a private collection in Israel.

These types of rugs are typical of Artsakh, Syunik, Utik, as well as the rug-weaving centers of Vaspurakan.

The rug got its name from the village of the same name in Artsakh.

Rugs with such designs have been called eagle kazak by rug experts. The earliest examples of the carpet date back to the 17th and 18th centuries. Jraberd type rugs were widely pervasive in the carpet industry of Artsakh and Syunik.

The photo depicts Herikverdi Harutyunyan with the rug woven by her in 1912 in Ptretsik (Badara) village of Khachen province. Here she is 104 years old.