Wilfried Menghin, Im Zeichen des goldenen Greifen: Königsgräber der Skythen, Prestel, 2007, p.126: "Er wurde mit symmetrischen Doppelknoten (sogenannten türkischen Knoten) geknüpft. [...] Der Teppich hat eine sehr dichte Textur und ist ein seltenes Exemplar der vorder- und mittelasiatischen Knüpfkunst jener Zeit."
D. T. Potts, A Companion to the Archaeology of the Ancient Near East, Vol. 1, John Wiley & Sons, 2012, p.439: "Further afield, we have also learned much from important find from Siberia, most notably the famous 4th century BC pile carpet from Pazyryk (Rudenko 1970). This carpet is made up of ghiördes (symmetrical, or Turkish) knots with a count of 3,600 per square decimeter or about 6 knots per linear centimeter (15 knots per linear inch)."
Peter Bausback, Antike Orientteppiche. 1978. p.429: "Die Muster des frühen Knüpfteppichs aus Pazyryk entsprechen in der Systematik den turkmenischen Erzeugnissen. Durch die Völkerverschiebungen in den verschiedenen Jahrhunderten waren die Turkmenensteppen die Durchgangsgebiete für die Wanderungen nach Westen. Hierdurch erklärt sich auch, daß frühe seldschukische Teppiche der Türkei mit dem Stil der Turkmenensteppe vieles gemeinsam haben."
Museum für Völkerkunde zu Leipzig, Jahrbuch, vol. 39, 1992, p.40-42: "Vergleicht man aber die Nomaden- und Bauernteppiche Vorder- und Mittelasiens untereinander und sucht nach Parallelen zum Pazyryk-Teppich, so ergibt sich, daß turkmenische Bodenteppiche dem von Pazyryk am nächsten stehen, und zwar durch Merkmale, die sie bezeichnenderweise von kaukasischen, persischen und türkischen unterscheiden. ... Sowohl auf dem Teppich von Pazyryk als auch bei turkmenischen Erzeugnissen dominiert die rote Farbe. Bei den Turkmenen wird der monochrome Eindruck noch dadurch verstärkt, dass das Rot nicht nur die Grundfarbe des Innenfeldes und meist auch der Bordüre, sondern auch die dominierende Farbe des Musters ist. ... Die Zahlenwerte des Pazyryk-Teppichs erscheinen aber erstaunlicherweise in der Oghuz-Legende wieder. Nach dem persischen Historiker Raschid ad-Din hatte der Stammvater der Oghuzen sechs Söhne, die ihrerseits wiederum je vier männliche Nachkommen hervorbrachten. Um Zwistigkeiten zu vermeiden, soll ein Ratgeber empfohlen haben, jedem der 24 Geschlechter ein eigenes Brandzeichen bzw. Siegel zu geben. Außerdem bekamen je vier gemeinsam einen Jagdvogel als „Totem". In ethnischer Hinsicht betrachtet Tolstow die Oghuzen als Hephtaliten, die sich mit türkischen Elementen, welche im 6.-8. Jh. aus dem Siebenstromland in das Gebiet östlich des Aral-Sees vorgedrungen waren, vermischt und neu formiert hatten. So versteht er die oghuzische Kultur des 10. Jh. „als gradlinige Weiterentwicklung der hephtalitischen des 5. und 6. Jh. Man kann davon ausgehen, daß auch die Oghuz-Legende auf einem älteren skythisch- massagetischen Motiv aufbaut, das bereits auf dem Pazyryk-Teppich seinen Niederschlag fand."
W. T. Ziemba, Abdulkadir Akatay, Sandra L. Schwartz, Turkish flat weaves: an introduction to the weaving and culture of Anatolia, Scorpion Publications, 1979, p.44: "The following article discusses various theories concerning the age and provenance of the Pazyryk carpet and provide insights into designs and weaving of Turkish carpets and kilims woven much later. See also Rudenko (1970)."
Virginia Dulany Hyman, William Chao-chung Hu, Carpets of China and its border regions, Ars Ceramica, 1982, p.10: "The Pazyryk carpet contains motifs which could be found in many variations throughout their historical development within Turkish and Hun art and they all bear a strong resemblance to their proto-types. Many of the elements found on the Pazyryk carpet can be traced through later Turkish rugs
"I'm in deep awe how stupid some turkish people are that think changing wikipedia will change the history , it's abviously a persian rug and every decent historian will approve it easily , oh c'mon :)" ."
M.C. Whiting, "A Report on the Dyes of the Pazyryk Carpet", in Oriental Carpet and Textile Studies, I, ed. R. Pinner and W. B. Denny (London: 1985), pp.18-22: "Thus this work does not support the possible identification of the dye pf the Pazyryk carpet (and of the fragments of Classical date examined by Pfister and ourselves) as Persian or Armenian cochineal or kirmiz." papers presented at the 4th International Conference on Oriental Carpets, London, June 1983, p.22
Pile Carpet - Hermitage Museum "The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original."
jstor.org
Harald Böhmer and Jon Thompson, "THE PAZYRYK CARPET: A TECHNICAL DISCUSSION", Notes in the History of Art, Vol. 10, No. 4, THE DATING OF PAZYRYK (Summer 1991), The University of Chicago Press on behalf of the Bard Graduate Center, pp. 30-36: "It is the most northerly species, Porphyrophora polonica, that appears to have been used to dye the felt. [...] The red pile of the carpet was found to contain the same insect dye components as the felts. The ratio of carminic to karmesic acid was 8:1. [...] However, the presence in the carpet of a red dye derived from an insect found in the steppe region, as opposed to one availabe on or near the Iranian plateau (Ararat Kermes) that has been known and used since antiquity, is strong evidence that the Pazyryk carpet did not come from the Iranian plateau, but farther to the north. This finding supports the view that the steppe-related elements in its essentially Achaemenid* design indicate a Central Asian provenance." (* as described at page 30, the "Achaemenid design" refers only to the most northerly Central Asian part of the Achaemenid territory)
Harald Böhmer and Jon Thompson, "THE PAZYRYK CARPET: A TECHNICAL DISCUSSION", Notes in the History of Art, Vol. 10, No. 4, THE DATING OF PAZYRYK (Summer 1991), The University of Chicago Press on behalf of the Bard Graduate Center, pp. 30-36: "It is the most northerly species, Porphyrophora polonica, that appears to have been used to dye the felt. [...] The red pile of the carpet was found to contain the same insect dye components as the felts. The ratio of carminic to karmesic acid was 8:1. [...] However, the presence in the carpet of a red dye derived from an insect found in the steppe region, as opposed to one availabe on or near the Iranian plateau (Ararat Kermes) that has been known and used since antiquity, is strong evidence that the Pazyryk carpet did not come from the Iranian plateau, but farther to the north. This finding supports the view that the steppe-related elements in its essentially Achaemenid* design indicate a Central Asian provenance." (* as described at page 30, the "Achaemenid design" refers only to the most northerly Central Asian part of the Achaemenid territory)
С.П. Толстов, Города гузов (историко-этнографические этюды). Советская этнография 3, 1947, 80. (PDF[permanent dead link])
wikipedia.org
en.wikipedia.org
USSR conference to exchange experiences leading restorers and researchers. The study, preservation and restoration of ethnographic objects. Theses of reports, Riga, 16–21 November 1987. pp. 17-18 (in Russian) Л.С. Гавриленко, Р.Б. Румянцева, Д.Н. Глебовская, Применение тонкослойной хромотографии и электронной спектроскопии для анализа красителей древних тканей. Исследование, консервация и реставрация этнографических предметов. Тезисы докладов, СССР, Рига, 1987, стр. 17-18: "В ковре нити темно-синего и голубого цвета окрашены индиго по карминоносным червецам, нити красного цвета - аналогичными червецами типа aраратской кошенили."
