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Probably another large spotted bird was place in the missing area
to the right of the tree-like design and its swirling branches. Also just the eye remains from what was most likely another large bird that can be seen at the extreme bottom left. But any other ideas
concerning the design of this highly enigmatic weaving must be left to our imaginations. However, it is likely that the presence of one remaining spiral in the top left-hand corner and the
aforementioned eye in the bottom left imply this tapestry’s field design originally contained other pairs of large spotted birds flanking similar trees arranged in staggered horizontal rows.
Once again here is a fragment depicting an animal form in conjunction with spirals. This often repeated picture conveys the regenerative power associated with this combination of motifs.
The spots on the animal’s body are also a continuance of a Palaeolithic design convention when the use of spots and dots appears to have been associated with birth and regeneration11.
Within the complex iconographies of all these Plate illustrations there is a consistent repetition of archaic designs and symbols. These instances and many others like them provide the basis for
an as yet undeciphered weaving language that has managed to remain viable over an extremely long period of time. Remnants of this can be detected in the traditional weaving cultures of many
Near Eastern, as well as other areas. Careful examination of the prototype examples from these weaving groups supplies ample evidence of this supposition. Even the later and degenerative
examples made well into the commercial periods can often be shown to have been derived from these conventions.
The ten fragments illustrated herein have opened up a new chapter
in this search and while the entirety of this weaving language cannot be fully understood, it can at least be recognized. Be assured similar examples with equally potent iconographies will be uncovered by further research.
Presently no definitive translations can be determined but the answer to the intriguing central question - Did any or all of these weaving come originally from death or burial tapestries? - does
seem within our grasp. According to the data presented here, this possibility seems more than likely.
11. see “chapter six, Image Idol Symbol:Ancient Anatolian Kelims”