The kush design seems to have been a more or less realistic representation of a symbolized bird. Birds have important symbolic meanings linked to death and to the travel of the soul of the deceased persons. It is also a natural link between the earth and the sky, and is known to have great importance in shamanistic beliefs. For those reasons, there are many bird representations in rugs and weavings: Balouch, Persian (see Opie’s Tribal Rugs) and Turkmen (bird asmalyks, for example). The birds that are represented in those weavings are generally recognizable: poultry, hens and cocks in rural Persian weavings (to symbolize the desire of wealth), peacocks (three appendices on the head, great tail), eagles (heavy hooked beaks, claws). They can also be mythical animals like two headed eagles or phoenix.

For years my question was, is it possible to identify the species of bird that could have been the model for the kush? It should have a head crowned by a pen tuft, a long neck and a long beak, and would be native to central Asia. This latter condition eliminates the roadrunner (Geococcys californianus).


Cranes (Grus grus and Grus virgo) are among the central Asian birds that would make good candidates, for several reasons.










First, their natural geometry and “black pen design” make a good model for the kush (see upper pictures and drawings).


Second, their postures are very graphic and are often face to face during mating displays. Similar graphic compositions occur in kush motifs in ensis, including gathering in large groups.

Third, cranes are important in central Asia and in Asian mythology: they are remarkably big birds, they fly at incredible altitudes and distances, they are monogamous, with the same partner throughout life. All these reasons give cranes importance in beliefs and in shamanistic practices. Shamans were believed to transform themselves into cranes for their extracorporeal journeys.