ln the 17th century Lisbon, laying and setting rug in S. Roque was a task for the slaves that the men of the Discoveries forced to disembark in the Capital of the Empire. It was also a privilege enjoyed by the wealthy men that gathered around the Temple of the Company of Jesus to listen to the sermons of Father António Vieira.
The rug, as an elaborate cultural expression, a reflex of power and abundance becomes, in the different cultures that it represents, an important element of the social, political and religious life.
There is a vast number of documents (texts and paintings) that refer to the function and the role played by the rug, at different social and economical contexts, throughout the ages.
One can find early references to the Arraiolos Rug - embroidered with wool (oblique or Slavonic interwoven cross-stitch) worked on canvas [linen, oakum, jute or hemp) in counted threads - in the end of the 16 century, which testify its making in this village of Alentejo.
In 1598, in the inventory of the personal assets, ordered by the Judge of the Orphans on the death of the respective proprietors, the first reference is made to o rug made in this village:
"hum tapete da teRa novo avaliado em dous mill Reis"
("a new canvas rug from village appraised at two thousand Reis")
Several documents in the same inventory, between 1598 and 1700, mention the existence of embroiders, the making of the rug, as well as the presence of craftsmen – carders, fullers, dyers and weavers - that dedicated themselves to the treating of the wool and the making of the canvas.
The Arraiolos Rug had in its initial stage - last decade of the 16th century / first decade of the 17th century - a Moorish origin. It contains a pre-decorative setting – border, field and center (whenever it has the central ornament) divided in four parts (quarters) - dominated by the some rules principles that define the Persian rug.
With the expelling of Jews and Moors from Spain by the Catholic kings and the beginning of the exodus, along with the temporary settlement of these peoples in Portugal, until 1511 - when King Manuel I forced them to resume their journey to the North of Africa - various were those who decided to settle down in Arraiolos, due to the warm welcome, the abundance of herds of excellent wool and the diversity of plants, indispensable to the dying and making of canvas, together with the sensitivity and work capacity of the villagers.
With the presence of Jews and Moors, already New Christians, the Arraiolos Rug gains a new expression, a greater vitality.
The examples executed in this period, during most of the 17th century, reveal a strong Oriental influence - with a profusion of motifs from Persia, Iraq and India, associated to a rich chromatics and geometric drawings, delicately elaborated. In some of these examples, the major part of the motifs was delineated in "pé-de-flor" stitch. In others, one can find the influence of the motifs taken from the Spanish rugs from Alcaraz and Cuenca.
Little by little, the presence of Oriental motifs diminishes and they start to be replaced by anthropomorphic motifs (end of the 17th century / beginning of the 18th century). The colors become less rich and the decorative elements are more scattered.
Without the presence of the oriental motif, the examples of the end of the 18th century / beginning of the 19th century reveal a strong presence of vegetal elements with poor colors.
On the one hand, there are many families in the village that, throughout three centuries, have found in the making of Arraiolos Rugs a new way of expression, a source of work and a means of earning money. On the other hand, in the convents around Alentejo, nuns in the reclusion of their cloisters, have found ways of expressing their inner faith, creating some of the best examples.
In the end of the 19th century, the making of Arraiolos Rugs did not practically exist, being reduced to the presence of embroiders that executed rugs by order, as well as those that were ma de by the women of the village for their own households, during the long winter nights.
During this period, the shortage of means resulted in the making of rugs in natural colors such as whites, browns and coarse woolen cloths.
With the beginning of the 20th century, the "rebirth" of the Arraiolos Rugs occurs - a group of women from village recreated models, based on those, which, in different eras and times, have been unsurpassed references of the Arraiolos Rugs, giving way to a new era.
(in Município de Arraiolos)
