Vintage Shahsavan Sumak Bag-Face Panel |Hand-woven Caucasian Tribal Kilim, Nomadic Wool, Wall-Hanging / Table Runner

Hand-selected from a private collection, this compact tribal textile is a hand-woven Shahsavan sumak (weft-wrapped) bag-face panel from the Caucasus/NW Anatolia region, repurposed today as a vibrant accent rug, wall hanging, or table runner. Saturated madder reds, indigo blues, saffron, forest green and aubergine are organized in narrow vertical bands of hooked diamonds and reciprocal zigzags—a classic nomadic graphic that reads beautifully in modern interiors.


Weaving tradition & structure.
Close inspection of the surface and reverse shows continuous weft-wrapping (sumak) rather than pile knots: the yarns slant around each warp and float on the back, with raised cords and tiny outlining—clear indicators of the Shahsavan/Caucasian sumak technique. Selvages are corded and overcast; both ends finish in short kilim turns with a soft red binding.

Origin.
The palette (madder red, indigo, mustard yellow, bottle green), vertical stripe layout, and the hooked lozenge/reciprocal saw-tooth bands are hallmarks of Shahsavan tribal weaving from the Caucasus/Azeri cultural area. The narrow, elongated format (about 2:1) and construction suggest this was originally the face panel of a nomadic storage bag (mafrash/chanteh).

Age.
Dye mellowing, gentle abrash in the blues and reds, and the hand-spun wool handle point to mid-20th century (circa 1940–1965) village production.

Materials.

Wool wefts and warps (all wool foundation typical for portable nomadic textiles).

Dyes appear largely natural/early synthetic: the indigo and madder read natural; the small amounts of bright yellow likely early aniline over a natural base—consistent with the period.

Motifs & symbolism.

Hooked diamonds & zigzags: protection against the evil eye and celebration of movement/river currents.

Reciprocal “running dog”/saw-tooth bands: a guard motif symbolizing continuity and life’s path.

Dotted bead lines at the borders: protective amulets.

Design theory (naqsha).
A striped field built from repeating narrow pattern bands creates rhythm and balance while allowing a weaver to use small, portable looms. The minor borders echo the field’s saw-tooth geometry, framing the composition without breaking the vertical flow.

Features:

Type: Hand-woven flat-weave sumak (no pile) bag-face panel

Region: Caucasus / Shahsavan tribal tradition

Age: c. 1940–1965

Size: 94 cm x 49 cm (approx. 3’1” x 1’7”)

Foundation: Wool warps & wefts

Pile height: N/A (flat-weave); raised sumak cords give a light ribbed texture

Density / KPSI: Not applicable to sumak; wrapping is medium-fine with ~6–7 pattern wraps per cm visibly in the close-ups

Weaving time (est.): 1–2 weeks of part-time village work for a single artisan

Condition: Good vintage—even age toning, light abrash, small side nicks and scattered minor surface fuzz typical of age; edges show gentle fray in spots and one tiny old tidy mend in a stripe. Lies flat and sturdy for its age.

Authentic Shahsavan nomadic craftsmanship

Sumak texture adds tactile depth that plain kilims lack

Compact, versatile size for wall, console, dresser, piano, or layered floor styling

Rich natural palette that plays well with wood, stone, and contemporary neutrals

Sustainable vintage—ethically sourced, one-of-a-kind

Care Instructions (Flat-Weave Wool)

Use a rug pad if placed on the floor.

Vacuum lightly with suction only (no beater bar), or shake out.

Spot clean with cool water and a small amount of wool-safe soap; blot, do not rub.

Keep out of direct, harsh sun to prevent dye shift.

For a deep clean, use a specialist hand-wash service familiar with flat-weaves.

This is a genuine, handmade tribal textile—expect the soul, irregularities and subtle abrash that only hand-spun wool and a nomad’s loom can produce. If you’d like, I can add wall-hanging sleeves or a thin pad at cost.

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