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Issue 229 · Autumn 2026
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Features · Issue 229

Unpicking the attribution of a Bird Asmalyk

Is this bird asmalyk really Tekke? Rachel Meek examines the surprising attribution it receives in The Textile Museum’s Textile Treasures.

R

Rachel Meek

Assistant editor

4 min read29 Oct 2026

Yomut or Tekke asmalyk, Turkmenistan, 19th century. Wool, knotted pile, asymmetrical knot, 1.29 x 0.85 m (4' 3" 2' 10") The Textile Museum Collection, 1980.13.2, Gift of Arthur D. Jenkins

Catalogued as Yomut in the book Textile Treasures, this remarkable asmalyk features a bird design commonly attributed to the Tekke. Both groups of people inhabited the same Akhal region until a complete Tekke takeover in the late 18th century.

Traditionally among these Turkmen cultures, a pair of asmalyk trappings would have been tied to the sides of a camel participating in the wedding procession. They demonstrated the bride's weaving ability-a crucial asset in marriage negotiations-and symbolised her transition into married life.

Twenty bird asmalyks are known to exist. On nine, the birds face right; on seven, left; and on four, their direction alternates.

It could be that the asymmetric, open-left knots resulted in this beautifully executed weaving's Yomut label; the bedrock of Tekke weavings is an asymmetric knot, open right. But as so many are Tekke, more structural evidence must have to be included to put this piece firmly in the Yomut 'Eagle group.

A similar example to this with a hooked motif at the top (but with one more bird and some green leaves) sold at Christic's, London, October 2025, for £44,450 ($58,650) against an estimate of £25,000-35,000.

From HALI, issue 229

This high-impact, whiteground, curled-leaf border appears regularly on bird asmalyk designs. But this smooth corner resolution where a tendril joins the leaves is uncommon

Individual birds-each nestled in a compartment of its own-lend this unusual asmalyk its name. Sumru Belger Krody writes, The bird pattern may hint at an older derivation of these designs, closer to the original meaning of visual symbols among the Turkmen. It is believed that the Turkmen used these symbols in their weaving, especially in the ones that would be draped over their pack animals during migration to identify their group identity.'

The overall pattern repeat across the field can be read either as a lattice or as a series of tesselating octagons. This ambiguity has led to plentiful scholarly discussion relating to the origins and development of woven Turkmen patterns. The alternating black and white serrated leaves introduce another rhythmic device to great effect

The apex of this asmalyk contains a satisfying symmetrical flourish in the form of a ram'shorn or elibelinde motif-used widely in Turkmen and Anatolian rug design. Its clarity and precise execution represent an unusually accomplished design solution for this position on an asmalyk, in comparison to other examples

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About the author

Rachel Meek

Assistant editor

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