Weavers and War

×

Expand

“Herat Citadel Rug,” circa 2000

Afghanistan, wool (gift of Robert Fyke, collection of Nickle Galleries, University of Calgary)

The carpet-making tradition in Afghanistan dates back centuries, originating with nomadic groups on the plains of Central Asia. But starting in the late 1970s, around the time of the Soviet invasion, something unusual began to appear amidst the weavers’ time-honoured geometric motifs – representational imagery of guns, tanks and later, even drones. The reasons for this shift are still a matter for debate, says Michele Hardy, the curator of a fascinating exhibition, Tensile Strength: Weavers and War, on view until Feb. 27, 2022 at the Founders’ Gallery in Calgary.

At first glance, these so-called war rugs look traditional enough ­­– they have similar dimensions to prayer rugs, with space for a person to kneel or sit, and they use conventional colours, such as maroon and green. But a closer look at the exhibition’s rugs, made between the late 1970s and 2005, reveals that some geometric motifs are actually bullets. And it’s hard to overlook the large trucks and tanks woven into others.

×

Expand

“Amanullah Khan with Trucks and Tanks,” circa 2000

Afghanistan, wool (gift of Max Allen, collection of Nickle Galleries, University of Calgary)

Kalashnikovs and bullets flank one thick red rug from 1979, made as millions of Afghans began fleeing the Soviet occupation, mainly to Iran and Pakistan. Tanks sit at the centre and lone poppies are sprinkled evenly across. The rug’s border features a vibrant column of bullets. Turned inward – towards the rug itself – they imply the destruction of homeland, since the rug’s large interior field traditionally symbolizes land. 

×

Expand

“Little War Rug,” circa 2000

Afghanistan, wool (gift of Robert Fyke, collection of Nickle Galleries, University of Calgary)

Hardy says it’s not known what prompted weavers to experiment this way. Possible reasons could be emotional catharsis, or more practical motivations, like appealing to export and souvenir markets. Despite mobilizing imagery against oppression, these revolutionary rugs are popular with military personnel, as well as journalists. 

In a recent article for The Conversation, Jamal J. Elias, a professor at the University of Pennsylvania, argues the carpets are produced for the market, with most profits going to middle-men and dealers. He notes the rugs appear on eBay and were “until recently – sold by souvenir sellers in Kabul and Mazar-i-Sharif, Afghanistan’s cities with the largest number of foreign workers and tourists.” 

×

Expand

“Amanullah Khan Rug,” circa 2000

Afghanistan, wool (gift of Robert Fyke, collection of Nickle Galleries, University of Calgary)

A thin beige rug from a refugee camp in Pakistan features a truck popular with the Taliban. The rug’s texture resembles a gunny sack, the kind used for food supplied by international aid agencies. A clear “420” is woven into the truck’s outward-facing flank. As a Canadian who enjoys cannabis, particularly a strain named Afghan Kush, I interpreted the number as an ironic expression that critiques the sourcing of marijuana and its ties to terrorism. Former Afghan journalist Kawa Aahangar, added his insight during a talk at the gallery, saying “420 is a very famous number in Afghanistan” because it refers to thieves. He suggests the weaver, likely a woman, since women are often the weavers, “tried to tell us that the Taliban are thieves.” 

Tensile Strength: Weavers and War is fascinating, not only for its contexts, anonymous women weavers and military imagery, but also for the resonances of “loot” and stolen land, especially here in a country yet to come to terms with its own colonial injustices, whether historical or contemporary. ■  

Tensile Strength: Weavers and War at the Founders’ Gallery in Calgary from Aug. 1, 2021 to Feb. 27, 2022.

PS: Worried you missed something? See previous Galleries West stories here or sign up for our free biweekly newsletter.