'Jazz from Paradise'
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Lesson: Two Carpets Essential Questions
Lesson: Two Carpets Essential Questions: Why are carpets important in Islamic cultures? What are the basic characteristics of West Asian carpet design? What are the similarities and differences between the Ottoman Turkish and Iranian carpets discussed in this lesson? Learning experience: Students will become familiar with two roughly contemporaneous carpets, one from Ottoman Anatolia and one from Iran. They will analyze their design and learn about some of the aesthetic priorities of the people who created them. Anticipatory set: In your house, your apartment, or your room: what kind of objects do you surround yourself with? Which are useful? Which are decorative? Which are both? Context: Carpets have been made for thousands of years throughout Central and West Asia. Flat-woven textiles (kilims—carpets without pile) were made in Turkey at least as early as 7000 BCE. The oldest surviving woolen pile carpet dates from the fifth century BCE, found in a burial site in the Altai mountains of southern Siberia. For pastoral nomadic inhabitants of the Eurasian steppe, carpets served as “floor coverings, prayer mats, tent decorations, canopies, as symbols of power, privilege and riches” (Abas 2004: 11). In the sedentary world of cities, towns, and farming villages, carpets were also more than floor covering. They were "an integral part of one’s living arrangements, one which took the place of chairs, beds, and sometimes tables” (www: Erdmann). Carpets, in short were necessities, not merely decorations, and so were worth the great care that was lavished on them. Those belonging to the wealthy never remained in one place all the time. -
Persian Collections
Size: 1 (Ft) = 30cm • SELL • TRADE PERSIAN • WASH MASTER PIECE MASTER PIECE • RESTORE NEW AND ANTIQUE 489594-P CARPETS www.persiancollections.com Collections THE fine persian carpet gallery Open 7 Days A Week Desa Sri Hartamas 32-2 & 34-2, Jalan 25/70A 6. Super Fine Tabriz, signed by Master Weaver. 11. Showroom 12. Great Stock. BIGGEST CARPET Kurk wool & silk on silk base, 400 x 600 cm. Take 8 years to weave. MUST SEE!!! Desa Sri Hartamas 50480 Kuala Lumpur SALE ☎ 03-2300 6966 Bangsar Shopping Centre 50% - 75% F4A, 1st Floor (East Wing) Bangsar Shopping Centre off 59000 Kuala Lumpur ☎ 03-2094 6966 Holiday Villa - Jln Ampang BGM-12, Ground Floor Megan Embassy (Holiday Villa) Jln Ampang, K.L. ☎ 012-308 0068 5. Super Fine Qum Silk, signed by Master Weaver. 7. Large selection on extra large carpet. 6th June 20th July 2008 13. Great Turnover! New Stock Arrive Monthly. 14. See Our Extensive Stock Selection. SALE Silk on silk base, 250 x 350 cm. Take more than 8 years to weave. MUST SEE!!! BRINGING WONDERS OF PERSIA TO YOUR HOME MORE THAN 5,000 CHOICE OF PERSIAN CARPETS ON SALE MASTER PIECE COLLECTABLE ITEM 1. Tribal Kilim Stool. 2. Fine Persian Tabriz. Dining Room Size. 8. Super Fine Qum Silk, sign by Master Weaver. 15. Super Fine Nain. 16. Super Fine Tabriz. Silk on silk base, 350 x 500 cm. Take 10-12 years to weave. DO NOT MISS!!! Wool & silk on cotton base, 500 x 800 cm Wool & silk on cotton base, 300 x 400 cm BEST BUY RM ***** MASTER PIECE 3. -
Treasures from Near Eastern Looms
The Bowdoin College Library Treasures from Near Eastern Looms ERNEST H. ROBERTS BRUNSWICK, MAINE 1981 Bowdoin College Museum of Art Brunswick, Maine September 11, 1981 to November 22, 1981 The Textile Museum Washington, District of Columbia December 11, 1981 to February 6, 1982 Cover: Carpel Fnn>incni, Caucasian, Dagistan area, ca. 1850 Photographs by Robert H. Stillwell Design by Michael W. Mahan Printed byJ.S. McCarthy Co., Inc., Augusta, Maine Copyright © 1981 by Ernest H. Roberts Library of Congress Catalog Card Number: 81-68474 ISBN: 0-916606-02-3 Portions of this catalogue are reprinted in altered form from other publications. We are indebted to the following institutions for per- mission to use their material: to the Allen Memorial Art Museum, Oberlin, Ohio, for the chapter introductions and descriptions of plates 12, 19, 24, 28, 63, and 65, which appeared in "Catalogue of Islamic Carpets," Allen An Museum Bulletin 3 (1978-1979) by Ernest H. Roberts; to The Textile Museum, Washington, D.C., for glossary entries and drawings from "Definitions and Explana- tions," a section of Early Caucasian Ru^s by Charles Grant Ellis, published by that museum in 1975, and for the loan of the map which appears on page 61 of this book; to the Joslyn Art Museum, Omaha, Nebraska, for descriptions of plates 28, 35, 44, 57, and 67 from A Rich Inheritance: Oriental Ruj^s oj 19th and Early 20th Centuries, published by that museum in 1974; and to the Near Eastern Art Research Center, Inc., for the description of plate 68 from Islamic Carpets by Joseph V. -
July 2019 Auction - Full Auction Results
5th Avenue Auctioneers - July 2019 Auction - Full Auction Results PERSIAN AND ORIENTAL CARPETS AND RUGS Lot Hammer Description Number Price (ZAR) 1 A Persian Hand Knotted Mashad Carpet, 380 x 290 4,000 2 A Persian Hand Knotted Mahal Carpet, 300 x 208 4,200 3 A Persian Hand Knotted Tabriz Carpet, 345 x 250 7,400 4 A Persian Hand Knotted Lori Carpet, 340 x 140 3,000 6 A Persian Hand Knotted Zanjan Rug, 195 x 132 2,200 7 A Persian Hand Knotted Mashad Carpet, 285 x 195 5,400 8 A Persian Hand Knotted Heriz Carpet, 342 x 234 7,000 9 A Persian Hand Knotted Hamedan Carpet, 271 x 141 3,000 10 A Persian Hand Knotted Turkaman Carpet, 388 x 295 6,000 11 A Persian Hand Knotted Mashad Carpet, 312 x 190 3,800 12 A Persian Hand Knotted Shiraz Rug, 240 x 110 2,800 13 A Persian Hand Knotted Kashan Carpet, 405 x 285 7,200 14 A Persian Hand Knotted Chobi Carpet, 347 x 250 5,000 15 A Persian Hand Knotted Hamedan Rug, 193 x 73 1,800 16 A Persian Hand Knotted Kashan Carpet, 389 x 295 12,500 17 A Persian Hand Knotted Najafabad Carpet, 330 x 210 5,600 18 A Persian Hand Knotted Koliayi Carpet, 285 x 133 3,200 19 A Persian Hand Knotted Bakhtiari Carpet, 390 x 287 8,200 21 A Persian Hand Knotted Beluchi Rug, 200 x 115 1,600 22 A Hand Knotted Ghazni Carpet, 438 x 135 7,500 23 A Persian Hand Knotted Hamadan Runner, 283 x 90 2,600 24 A Persian Hand Knotted Nain Carpet, 348 x 240 14,500 25 A Persian Hand Knotted Tabriz Carpet, 302 x 210 3,800 26 A Hand Knotted Kazak Carpet, 405 x 319 8,600 27 A Persian Hand Knotted Hamadan Carpet, 290 x 152 3,400 28 A Persian Hand Knotted -
13 Days Persian Carpet Tour Overview
Tour Name: 13 Days Persian Carpet Tour Tour code: OT2313003 Tour Duration: 13 Days and 12 Nights Tour Category: In-depth Tour Difficulty: 2/5 Tour Tags: Tour Best Date: All Month Tour Services Type: Bronze (economy) Tour Destinations: Tehran/ Shiraz/ Yazd/ Naein/ Isfahan/ Kashan Related tours code: Max Group Size: 2-20 Overview: The oldest Iranian handmade carpet was discovered in 1949 in the second stage of the Russian archaeological excavation, Rudenko, in the Pazyryk region, called the Pazyryk carpet. During the period of Iranian carpet evolution, its raw material, wool, and silk have been tied up in Iranian noble roles. The natural progression of the skill and craft involved in the creation of these works of art has been passed down from generation to generation. Geographical dispersion and variation in design, texture, and dyeing of fibers indicate the influence of carpet on the Iranian lifestyle. In this 13-day trip, the “Persian Carpet” can only be part of the Persian carpet culture that belongs to the central Iranian regions. In fact, Persian carpets are not limited to these areas, and carpet from western parts of the country include Kurdistan and Lorestan, the eastern part of Sistan and Baluchistan, and the northern section, including Golestan and Mazandaran, are also very valuable Artistic and handicraft. This itinerary is very valuable in terms of artistic and educational aspects and includes a visit to the carpets of each region and its production workshops as well as workshops to Acquaintance them. If you are interested in familiarizing yourself with the ancient Persian carpet as a lifestyle and authentic art, join us on this journey. -
Approaches to Understanding Oriental Carpets Carol Bier, the Textile Museum
Graduate Theological Union From the SelectedWorks of Carol Bier February, 1996 Approaches to Understanding Oriental Carpets Carol Bier, The Textile Museum Available at: https://works.bepress.com/carol_bier/49/ 1 IU1 THE TEXTILE MUSEUM Approaches to Understanding Oriental Carpets CAROL BIER Curator, Eastern Hemisphere Collections The Textile Museum Studio photography by Franko Khoury MAJOR RUG-PRODUCING REGIONS OF THE WORLD Rugs from these regions share stylistic and technical features that enable us to identify major regional groupings as shown. Major Regional Groupings BSpanish (l5th century) ..Egypto-Syrian (l5th century) ItttmTurkish _Indian Persian Central Asian :mumm Chinese ~Caucasian 22 Major rug-producing regions of the world. Map drawn by Ed Zielinski ORIENTAL CARPETS reached a peak in production language, one simply weaves a carpet. in the late nineteenth century, when a boom in market Wool i.s the material of choice for carpets woven demand in Europe and America encouraged increased among pastoral peoples. Deriving from the fleece of a *24 production in Turkey, Iran and the Caucasus.* Areas sheep, it is a readily available and renewable resource. east of the Mediterranean Sea at that time were Besides fleece, sheep are raised and tended in order to referred to as. the Orient (in contrast to the Occident, produce dairy products, meat, lard and hide. The body which referred to Europe). To study the origins of these hair of the sheep yields the fleece. I t is clipped annually carpets and their ancestral heritage is to embark on a or semi-annually; the wool is prepared in several steps journey to Central Asia and the Middle East, to regions that include washing, grading, carding, spinning and of low rainfall and many sheep, to inhospitable lands dyeing. -
Workshop Plan: Weaving on a Cardboard Loom.Pdf
WORKSHOP PLAN: Weaving on a Cardboard Loom WORKSHOP PLAN: WEAVING ON A CARDBOARD LOOM Weaver Agnis Smallwood has designed this workshop plan to support a teacher to deliver a 50-minute workshop for Key Stage 3. By the end of the workshop your students will have learnt how to weave on cardboard loom. There’s also an accompanying film, which you can watch here, to support you. We’d love to see the results of your workshop! Share your images with @craftscounciluk on Twitter and @craftscouncil on Instagram using #MakeYourFuture MAKER NAME PROJECT TITLE MATERIALS NEEDED LEARNING OUTCOMES Agnis Smallwood Weaving on a Cardboard Cardboard looms for each All students will learn: Loom: a 50-minute student (A5 size) - How to weave using a workshop for KS3 Loom template cardboard loom, Scissors including warping up and Cardboard shuttle or a weaving over and under large plastic needle (plain weave) Ruler - Weaving vocabulary Pencil Yar n Some students will: Malleable materials - Explore a range of different materials including colour and texture - Explore a range of different of techniques - Learn how to cut off their work of their looms WORKSHOP PREPARATIONS: WEAVING ON A CARDBOARD LOOM PRE-LESSON ACTIVITY THINGS TO THINK PREPARATIONS SUMMARY HOW TO PREPARE THROUGH Looms Cutting out the You may wish to prepare all Top Tip: looms or making the looms ahead of the It’s important when cutting the templates lesson or if you have a large triangles to make sure that they are in class, create 5 - 6 templates line at the top and bottom of the loom, that students can then draw so that the warp threads run around and cut out the vertically down the loom and not at triangles themselves to save an angle. -
Oriental Rugs from Persia, Afghanistan, Turkey
Modified By The Rug Guru Oriental Rugs From Persia, Afghanistan, Turkey ... Turkmen Rugs Geography West Turkestan is an area of some 700,000 square kilometres with the Caspian Sea to the west, the Mangyshlak Peninsula to the northeast and the Kapet-Dagh Mountains and the outskirts of the Hindukush forming a semicircle to the south. West of what since 1924 has been the border of the Soviet Socialist Republic of Turkmenistan are Afghanistan and the Iranian province of Khorassan. At the eastern side is the huge Chinese province of Xinjiang (Sinkiang). Usually referred to in the context of weaving literature as East Turkestan. Thus viewed in simple geographic terms, it is easier to understand the nature of this Eurasian basin, part of the ancient world's dry belt. To the western side of the region is the Karakum desert and to the east, between the Amu- Darya and Syr-Darya rivers, is the Kyzylkum desert. To the south, that there was earlier the Soviet Socialist Republic of Uzbekistan, now this independent state, are the important trading centres of Bukhara and Samarkand. The latter having been a major post along the ancient Silk Road, which ran from China through East Turkestan and on westwards, via Tashkent in Uzbekistan, Mary (Merv) in Turkmenistan and Khorasan. Many different ethnic groups have occupied this region for millennia and among those associated with weaving, in addition to the Turkmen's themselves, are the Uzbeks, Karakalpaks and Kirgiz. Historical Research Serious research into the weaving culture of the Turkmen's must, of course, encompass more than aesthetic appreciation. -
Anatomy of Persian & Oriental
dÌ¿z»ZÀ¼ÁdÌ¿¹Â¸ »Öf{Ä],§d§Z]ÁxËZe0 ½ZÌ¿YËYįdY¾ËYº¸»|« |ÁĬÀ»¹Y|¯Y§d§Z]į «YÁ{ |¿YÃ{¯Á/Y§d§Z]į|Àf/ÅÖ»Y«Y¾Ì·ÁYĸ¼mY YÌ]{ÁZf/{Ö§Z]§»Y{,Á»Y½ZÌ¿YËY{§Ä]vÀ»/v^e dYÄÀÌ»¾ËY{Ä]neÁÔeµZ www.Rug.VestaNar.com Nasir al-Mulk Nasir al-Mulk is a famous historic mosque in the center of Shiraz, located near the Shah Cheragh shrine. It was constructed in the Qajar Dynasty in 1876 by Lord Mirza Hasan Ali Nasir al Mulk. The mosque is known for its extensive use in colored glass in its façade. The construction of the mosque uses other traditional structural elements as well such as “panj kasehi” (five concaves). These days, the mosque is more of a tourist attraction than a place for prayer. Like all mosques in Iran, you must remove your shoes before entering and the floor is lined with Persian rugs from wall to wall. We found out that underneath the rugs is actually a beautiful marble floor as well. www.Rug.VestaNar.com ½YËY¥Z^f{§½Z³|ÀÀ¯{ZÁ½Z³|ÀÀ¯|Ì·ÂeÄË{ZveYÄ»Z¿¶§ ¿Yc¸y{ ¹ÔY¾Ì^»¾Ë{½YÁY§ÄmÂeÄ]¶^«Ä·Z¬»{ÁÄË¿Y¾ÌÌaÃZ¼{ ºË{¯ÃZYZÆ¿Z¿YÖËZÌ¿{¶ËZ»Ä] ½M«cZËMYÖy]ÄÀËY¾¼ dY]Y]ºË¯½M«{cyMÁZÌ¿{cZ¼¸¯Y°e{Y| eį|Äf¨³ Á ºË{ÁMµZj»|ÅZ½YÂÀÄ]dYÄf§³Y«|̯Pe{»cyMÄ]ÄmÂeZÀ¯{ZÌ¿{Ä]ÄmÂeZÆ¿M{įYºË¯ įd¨³ºÌÅYÂy\¸»Ä»Y{Y{®ÀËY Ã|Á|À¿Z» dYÃ{Y{½ZÅZÀ³ÁÖZ »YÕZÌ]]cyMºÅZÌ¿{ºÅÕÁyYÁÕÂÌ¿{[Y~Ã|ÁºË¯½M«{|¿ÁY|y |ÀÀ¯Ö»\ËzeY|mZ»Ä¯Ö¿Z¯Á{ÂÖ»|mZ»{¹{»ÂuY¿Z»Ä¯Ö¯]cyMÁZÌ¿{{[Y~ ì]ÃÂÄËM 3 4 3 3 Ê5§º7 Æ4 3·Á3 É1 7 yZ5 Ì3 7¿|·YÊG 5§º7 Æ4 3·¾Ì3 ¨5 5WZy3 ÓF 5SZÅÂ3 ¸4 y4 |7 3˽7 Oº7 Æ4 3·½Z3 ¯Z3 »3 ®3 X5 3·ÁOZÆ3 5]Y3 yÊ3 5§Ö 3 3 Á3 Ä4 ¼4 YZ7 ÆÌ3 5§3 ¯3 ~7 4˽7 O5×YF |3 mZ5 3 »3 3 À3 »3 ¾7 ¼F »5 º4 3¸7 O¾7 »3 Á3 ºÌ1 -
Data Collection Survey on Tourism and Cultural Heritage in the Islamic Republic of Iran Final Report
THE ISLAMIC REPUBLIC OF IRAN IRANIAN CULTURAL HERITAGE, HANDICRAFTS AND TOURISM ORGANIZATION (ICHTO) DATA COLLECTION SURVEY ON TOURISM AND CULTURAL HERITAGE IN THE ISLAMIC REPUBLIC OF IRAN FINAL REPORT FEBRUARY 2018 JAPAN INTERNATIONAL COOPERATION AGENCY (JICA) HOKKAIDO UNIVERSITY JTB CORPORATE SALES INC. INGÉROSEC CORPORATION RECS INTERNATIONAL INC. 7R JR 18-006 JAPAN INTERNATIONAL COOPERATION AGENCY (JICA) DATA COLLECTION SURVEY ON TOURISM AND CULTURAL HERITAGE IN THE ISLAMIC REPUBLIC OF IRAN FINAL REPORT TABLE OF CONTENTS Abbreviations ............................................................................................................................ v Maps ........................................................................................................................................ vi Photos (The 1st Field Survey) ................................................................................................. vii Photos (The 2nd Field Survey) ............................................................................................... viii Photos (The 3rd Field Survey) .................................................................................................. ix List of Figures and Tables ........................................................................................................ x 1. Outline of the Survey ....................................................................................................... 1 (1) Background and Objectives ..................................................................................... -
The Tree of Life Design – Part 1
S. Busatta– The Tree of Life Design – Part 1 Cultural Anthropology 205 – 220 The Tree of Life Design From Central Asia to Navajoland and Back (With a Mexican Detour) Part 1 Sandra Busatta Antrocom-Onlus sez. Veneto The Tree of Life design is thought to be originated in Central Asia possibly from shamanic cultures, and can be seen as a favorite pattern in many carpets and rugs produced in a huge area, from Afghanistan to Eastern Europe. From the Middle East, together with other Christian and Moorish designs, it was imported to Central America where it mixed with the local versions of Tree of Life. Traders who brought Oriental carpet patterns to be reproduced by Navajo weavers made it known to them, but it was only after the 1970s that the design has had a real success together with other pictorial rugs. Introduction In the late 1970s for the first time I saw a number of samples showing the so-called Tree of Life design embellishing the walls of a restaurant in the Navajo reservation. In one or two trading posts and art galleries in the Southwest I also saw some Tree of Life rugs made by Navajo weavers, and also some Zapotec imitations, sold almost clandestinely by a roadside vendor at a ridiculously low price. The shops selling Mexican artesanias, both in the US Southwest and in Mexico, however, displayed only a type of Tree of Life: a ceramic chandelier- like, very colorful item that had very little to do with the Tree of Life design in the Navajo rugs and their Zapotec imitations. -
Newsletter of the New England Rug Society
View from the Fringe Newsletter of the New England Rug Society Vol. X, No. 3 January 15, 2003 www.ne-rugsociety.org Next Meeting: Bethany Mendenhall and Charles Lave: “Out of the Cedar Chest” At their talk on February 7, NERS members Charles Lave and Bethany Mendenhall will reflect Next Meeting Details on the enterprise of collecting, illustrating their Date: Friday, February 7 thoughts with items from their collections. Charles Time: 7:30PM will pursue ideas about the fun of fragments: the at- traction of asymmetry and the passion for the primi- Place: Armenian Library and Museum, tive. This leads to two concomitant questions: where 65 Main Street, Watertown is the dividing line between “art” and “inept”? And Directions: which side does his collection represent? Bethany Go to Watertown Square (out-of-towners, get off will talk about the interplay of the rational and the the Mass Pike at exit 17 and follow the signs.) emotional in acquisition decisions—“head pieces” Take Main Street (Rte. 20) westbound. The second vs. “heart pieces.” And there will be lots of beauti- light is Church Street, and the Museum is on the ful—probably Anatolian—rugs to see and feel! righthand corner. Charles is a Professor of Economics at the Parking: University of California, Irvine. Retired from teach- Go right on Church Street and into the municipal ing, he still does research and participates in the life lot on the right. Most meters are free after 6PM, of the university. Bethany was a career art librarian but check to make sure! before retiring from the Getty Research Institute five years ago.