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This fragment is part of the "CulturalxCollabs - Weaving the Future" carpet.
Through the fragment we trace the journey of the fragment owners and their collabs as they explore, experiment and creatively advance socially relevant themes. Here is the fragment as we are sending it on this three and a half-year journey.
Follow this story to observe the transformations the fragment undergoes over the course of these years...
The journey begins...
...with Sara Domingos
During World War II, a 17th-century Caucasian Dragon Carpet was nearly destroyed by an incendiary bomb that hit the Pergamon Museum Berlin. But instead of being cast aside, it was restored, preserved just as it was, and proudly displayed in the Museum for Islamic Art’s collection, ensuring its history wouldn’t be lost.
But the magic of this carpet doesn’t end there! What remained was replicated in Rajasthan by Rugstar and divided into 100 fragments, which now travel the world, inspiring stories and creating a unique cultural exchange that celebrates diversity and connects people through narratives that will fill the empty spaces of this ‘dragon.’ A true symbol of resistance and transformation, through the project CulturalxCollabs – Weaving the Future.
The last time I was in Berlin, I was eager to see the carpet collection from the Pergamon Museum while working on my project Bordar o Sereno - Embroidering the Evening Dew. I knew the Museum would be closed due to renovations.
I couldn’t get to see it…
And now, I have a fragment coming from this collection right here in my studio. Fragment #59 is in Lisbon, ready to share its story. Can’t tell you how happy I am! I’m sure it has so much to tell… Stay tuned!
In Lisbon, Dragon Carpet Fragment #59 meets a Dragon’s Blood Tree
They have spikes and are centuries-old, with one being 400 years old (the dragon carpet) and the other 300 years old (the dragon tree). They’ve witnessed things none of us ever will.
Both are known for their red essence, a color that defines them.
In the Caucasus, cochineal red from the Ararat plains of Armenia was a highly sought-after dye, prized for its intense shade, ranging from crimson to scarlet.
The pigment from the dragon tree resin, known as ‘dragon’s blood’, was extremely rare, with a deep red that shifted from dark to brighter, orange-toned hues.
Both dyes were valued for their intensity and durability, keeping their colors vibrant for centuries.
Did you know that the two extremes of Europe were once known as Iberia?
The western part, where Lisbon is located, and the eastern part, in present-day Georgia. Both regions share a common hero – Saint George, who fought the dragon.
In ancient tales, dragons dwell atop mountains, usually asleep, guarding ancient knowledge that can only be passed on to a brave soul. Only this hero, to whom the dragon grants its power, can defeat it.
In Lisbon, atop the highest hill, stands Saint George’s Castle, a symbol deeply tied to the city’s history and traditions. During one of the largest processions in Lisbon, this multicultural saint (known worldwide) rides down the hill on horseback to meet the Lady of Health in the Moorish quarter, one of the city’s most vibrant and diverse neighborhoods, embodying a protective energy over the city.
Saint George also lends his name to one of the most iconic cinemas in Lisbon. Nearby, at Cinemateca Portuguesa, a film connected to these cultural stories will be screened today: the Georgian film ‘The Fortress of Suram’, directed by Armenian filmmaker Sergei Parajanov. Based on a Caucasian tale, the film depicts the Georgian people’s struggle to build a fortress for protection. In one scene, they invoke Saint George, as the dragon (its colors resembling the sky and swirling smoke clouds) reveals that the true battle is against the forces of nature.
A true connection between cultures, legends, and ancestral protection.
In Portugal, these clouds are called ‘dragon scales’ and when you spot them in the sky, it signals that rain is likely to follow soon
Since receiving the Caucasian Dragon Carpet fragment, Lisbon has been swept by powerful forces of nature. From an earthquake (where I was underground in the metro with the fragment) to relentless windstorms and heavy rainfall—it’s been pouring for over a month.
In the Caucasus, Mount Ararat is believed to be the final resting place of Noah’s Ark after the great flood, a symbol of survival after forty days and nights of rain. In Armenian mythology, the dragon is seen as a powerful force tied to the elements, especially rain. Dragons are considered guardians of nature’s balance, bringing both storms and life-giving rain that nourishes the land. These creatures are revered as beings capable of controlling the skies, making rain a source of both renewal and strength.
In Portugal, after years of severe drought , dam levels are now nearly full, with some even having to release water. This reminds us of the need to protect, restore and manage nature better, which has been ravaged by intensive agricultural practices in this region.
The Caucasian carpet and the Arraiolos Portuguese carpet.
Check out this beautiful Arraiolos rug, handcrafted by my talented mother!
Arraiolos rugs are an important part of traditional Portuguese arts, with references dating back to the late 16th century. One theory suggests they were introduced to Arraiolos (a village in the Alentejo region) by Muslim carpet makers who fled Lisbon during the 15th-century expulsion of Jews and Muslims by the Catholic king. Evidence of 95 pits from the 12th century, similar to the dyeing complex in Fez, Morocco, points to a long history of textile dye production in this village.
These rugs are crafted on burlap, with pure sheep wool dyed and embroidered using cross-stitch. While Oriental influences are evident, over time, women added their own unique touches. This craft has been passed down through generations, from mother to daughter.
The oldest surviving rugs date back to the 17th century. By the late 19th century, production had nearly disappeared. When revival efforts began, the faded colors were misunderstood—originally vibrant, especially the reds, they had faded over time. The redwood pigment used, imported from Brazil, was rich in color but not very durable.
Interestingly, one hypothesis regarding the name Arraiolos is tied to the color red.
The Dragon Waves Its Tail
The chinese Baduanjin, as its name suggests, consists of eight pieces or exercises that intertwine in a fluid manner, forming a brocade. In this ancient practice of Qigong, the fifth exercise of this routine is known as ‘The Dragon Waves Its Tail’. This movement symbolizes the dragon swinging its tail to extinguish the fire within the heart, helping to restore balance and calm the inner energy.
Just like the dragon in Caucasian tales, which dwells atop mountains as an intermediary between the heavens and the earth, the practitioner of Baduanjin becomes an intermediary of both realms.
This shared imagery of the dragon in both traditions represents a force of nature and wisdom, guiding the practitioner toward harmony and transformation.
Two museums, two collectors, two Dragon Carpets... and their intertwined histories and timelines
In 1932, the Islamic art collection—featuring the Dragon Carpet at the heart of this collaborative project—was moved from the Bode Museum to the Pergamon Museum in Berlin. This group of carpets, assembled by the museum’s founder and art historian Wilhelm von Bode, formed the foundation of the Islamic collection. The 17th-century Caucasian Dragon Carpet had been acquired by the Kunstgewerbemuseum in Berlin in 1881 and was placed on permanent loan to the Museum für Islamische Kunst in 1922. Bode’s early fascination with these carpets shaped his pioneering research and left a lasting impact on how museums display and study Islamic art. His approach later came to be known among art historians as the Berlin School.
That same year, in June 1932, Calouste Gulbenkian—the renowned oil magnate and art collector—acquired a 17th-century Caucasian Dragon Carpet in London through the Armenian carpet dealer Vahan Isbirian. The carpet is documented as having come from Felix Haim, an importer from Pera (formerly Constantinople). Although little is known about Haim, his name reflects a fusion of traditions: Felix suggests Western or Latin roots, while Haim is of Jewish origin, traditionally used among Jews of various backgrounds.
Gulbenkian’s deep knowledge of and passion for Oriental carpets were likely shaped by his Armenian heritage. His interest began early, and in 1890, at just 21, he published La Transcaucasie et la Péninsule d’Apchéron. Souvenirs de Voyage, which featured a detailed chapter on Caucasian carpets. It was in this book that he first described himself as a collector.
Gulbenkian’s most significant carpet acquisitions coincided with the addition of Vorderasiatische Knüpfteppiche aus älterer Zeit, a key reference on Asian carpets by Wilhelm von Bode, to his library in 1922. One of the most important pieces in Gulbenkian’s collection—the Animal Fighting Carpet—came from Bode’s own collection and was purchased from the Kunstgewerbemuseum in Berlin in 1936.
Following the 1896 pogroms against the Armenian community in Galata, the Gulbenkian family left Istanbul, moving first to Alexandria (then under British control), and later to London. In 1942, amid the uncertainties of World War II, Gulbenkian made Lisbon his home, entrusting the city with his remarkable collection.
It was during this war that the Pergamon Museum’s Dragon Carpet was partially destroyed by an incendiary bomb that struck the building.
Now, the timelines of these two Dragon Carpets intertwine once again. During this year of 2025, they cannot be seen, as neither is currently on display due to ongoing renovations at both the Pergamon Museum and the Gulbenkian Museum.
A complex history of displacement, conflict, and cultural exchange.
Front and Back
About the Project
The Museum for Islamic Art's project, #CulturalxCollabs - Weaving the future, celebrates the transformative power of cultural exchange and the shared threads that unite us all. All the things we love, have loved and will ever love come from cultural exchange, migration and diversity, or as we like to call it #CulturalxCollabs.
100 carpet fragments, cut from a replica of the iconic dragon carpet, will travel the world (delivered by DHL). The fragments will ignite #CulturalxCollabs with co-creators, inspiring human ingenuity, fostering community and ultimately demonstrating how cultural exchange enriches all our lives.
Follow #CulturalxCollabs on Instagram as the project unfolds...
...or learn more here
Weaving the Future
Join us on a journey with 100 carpet fragments as they travel around the world for three and a half years, finding temporary homes while bridging cultural boundaries, fostering worldwide community united by the power of human stories.
Fragment Journeys
100 carpet fragments part of the "CulturalxCollabs - Weaving the Future" project. Follow their journeys through the ever changing owners' over three and a half years.
Where is the Dragon?
The star of the "CulturalxCollabs - Weaving the Future" project is a so-called Caucasian dragon carpet from the 17th century. A dragon carpet - all well and good - but: where is the dragon?
