The Tribal Gol in Turkmen Carpets - 1980

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FOREWORD
by Tom Cole

I have discovered through working on re-creating this article and the reaction of the few who previewed it for typographical errors and aesthetics that many people with a real interest in Turkmen weavings have not thoroughly read Moshkova's text, myself included. Skimming the text and picking up on some of her theories is different from actually reading it, word for word. I realize now that the colour illustrations accompanying this reproduction assist the casual reader a great deal.

Studying this text of Moshkova's observations and studies is not without interest, even at this late date. Some of her conclusions are obviously wrong, while others are of lasting value. Her live gol/dead gol theory is somewhat interesting but probably flawed. Her detailed examination of the ertmen gol and its degeneration is probably correct, though demeaning its appearance on torbas and trappings is, again, probably incorrect. Identifying the patterns seen on smaller bags and weavings as a means of the weavers' personal expression outside the codified strictures of tribal design and gols is obvious and undoubtedly correct. Moshkova's assertion that the kepse gol is seen only on Yomud bags of recent origin is apparently incorrect as well. While old examples of chuvals or torbas with this ornament are rare, they are not unknown. For all the errors and dated material presented here, her contribution to Turkmen rug studies is still with value, and, thus, presented here as it has never been seen before, fully illustrated in colour

The translation of Moshkova's original text in Russian is somewhat clumsy, but, for the most part, I have left it as it was originally published, with only minor changes, ie. 'Turkmen' instead of 'Turkoman', and 'Ashgabat' instead of 'Ashkabad'. More familiar terminology has been added in parentheses, ie. ukudj (okbosh) and osmulduk (asmalyk).

I hope this presentation will help those who are just now discovering an interest in Turkmen ethnography, culture and weavings, making the Turkmen aesthetic that much more accessible.

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