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VILNIAUS DAILĖS AKADEMIJA VILNIUS ACADEMY OF ARTS RŪTA BŪTĖNAITĖ Meno projektas KILIMAS: TARP MENO IR DIZAINO OBJEKTO Art Project THE CARPET: BETWEEN ART AND DESIGN OBJECT Meno doktorantūra, Meno sritis, Dizaino kryptis (W200) Art Doctorate, Design (W200) Vilnius, 2015 Meno projektas rengtas Vilniaus dailės akademijoje 2013–2014 metais. Projekte naudota studijų VDA aspirantūroje 2003–2005 m. medžiaga. KŪRYBINĖS DALIES VADOVĖ: Prof. Dalia Adomonienė Vilniaus dailės akademija, dizainas W200, interjero dizainas TIRIAMOSIOS DALIES VADOVĖ: Prof. dr. Ieva Kuizinienė Vilniaus dailės akademija, humanitariniai mokslai, menotyra 03H Meno projektas ginamas Vilniaus dailės akademijoje Dizaino krypties gynimo taryboje: PIRMININKAS: Prof. dr. Algimantas Mačiulis Vilniaus dailės akademija, humanitariniai mokslai, menotyra 03H, architektūra NARIAI: Prof. dr. (hp) Aleksandra Aleksandravičiūtė Vilniaus dailės akademija, humanitariniai mokslai, menotyra 03H Prof. Eglė Ganda Bogdanienė Vilniaus dailės akademija, dailė W100, tekstilė Prof. Lylian Meister Estijos dailės akademija, dizaino fakultetas Dr. Lijana Natalevičienė Lietuvos kultūros tyrimų institutas, humanitariniai mokslai, menotyra 03H 2 Meno projektas ginamas viešame Dizaino krypties gynimo tarybos posėdyje 2015 m. gruodžio 15 d. 14 val. VDA „Titaniko“ antro aukšto galinėje parodų salėje (Maironio g. 3, Vilnius). Meno projektas ir jo santrauka išsiųsta 2015 m. lapkričio 15 d. Su disertacija galima susipažinti Lietuvos nacionalinėje Martyno Mažvydo, Vilniaus dailės akademijos bibliotekose. © Rūta Būtėnaitė © Vilniaus dailės akademija ISBN 978-609-447-188-9 3 The Artistic Research Project was carried out at Vilnius Academy of Arts during the period of 2013–2015 The project employs material from the author's postgraduate studies at VAA in 2003 – 2005 ART PROJECT SUPERVISION: Prof. Dalia Adomonienė Vilnius Academy of Arts, Design W200, Interior Design THESIS SUPERVISION: Prof. Dr. Ieva Kuizinienė Vilnius Academy of Arts, Humanities, Art History and Theory, 03H The Artistic Research Project will be defended in an oral examination before the Academic Board of Design at Vilnius Academy of Arts composed of the following members: CHAIRPERSON: Prof. Dr. Algimantas Mačiulis Vilnius Academy of Arts, Humanities, Art History and Theory, 03H, Architecture MEMBERS: Prof. Dr. (hp) Aleksandra Aleksandravičiūtė Vilnius Academy of Arts, Humanities, Art History and Theory, 03H Prof. Eglė Ganda Bogdanienė Vilnius Academy of Arts, Fine Arts W100, Textile Prof. Lylian Meister Estonian Academy of Arts, Professor, Dean of the Faculty of Design Dr.LijanaNatalevičienė Lithuanian Culture Research Institute, Humanities, Art History and Theory, 03H 4 The public defense of the Artistic Research Project will be held on the 15th of December, 2015, 2 p.m., at the Titanikas Exhibition Hall (Maironio str. 3, 01124, Vilnius). The thesis and its summary were sent out on the 15th of November, 2015. The thesis is available at the Martynas Mažvydas National Library of Lithuania and the libraries of Vilnius Academy of Arts. © Rūta Būtėnaitė © Vilnius Academy of Arts ISBN 978-609-447-188-9 5 TURINYS Padėka / 8 Acknowledgments / 9 KŪRYBINĖ DALIS KILIMAS: TARP MENO IR DIZAINO OBJEKTO Katalogas / 11 TIRIAMOJI DALIS ISTORINIAI MENINIŲ KILIMŲ VAIDMENYS IR JŲ TRANSFORMACIJOS ŠIUOLAIKINIAME MENE IR DIZAINE Įvadas / 46 I. Informacinis / naratyvinis kilimo vaidmuo. Tekstas kilimuose / 60 I.1. Kilimo kompozicinių elementų ir tekstinio rašto sąsajos / 60 I.2. Tekstas islamo kultūros kilimų istorinėje raidoje / 65 I.3. Tekstas krikščioniškosios kultūros kilimų istorinėje raidoje / 71 I.4. „Kilimo daina“. Deklamavimo vaidmuo Rytų kilimų audimo tradicijoje /76 I.5. Vaizdaraščio naratyvinis vaidmuo Rytų kilimuose / 78 I.6. Tekstas šiuolaikinių kilimų dizaine / 82 II. Ritualinis / apeiginis kilimo vaidmuo. „Perėjimo“ idėja Rytų kilimų tradicijose / 95 II.1. Paziryk kilimas kaip mediatorius tarp gyvųjų ir mirusiųjų. Kilimas laidojimo apeigose./ 97 II.2. Maldos kilimai / 108 II.3. Ritualinio / apeiginio kilimo vaidmens atspindžiai šiuolaikiniame mene bei dizaine / 123 6 III. Kilimo kaip emocinės / meditatyvinės zonos vaidmuo. Rojaus sodų kilimai / 139 III.1. Islamo kultūros Rojaus sodų kilimų ištakos ir meninė raiška. Nešiojamasis nuosavas Rojus / 141 III.2. Rojaus sodų kompozicijos įtaka kitų šalių istoriniams kilimams / 165 III.3. Rojaus sodų kompozicija Lentvario kilimuose / 173 III.4. Rojaus sodai šiuolaikiniame kilimų dizaine bei mene / 176 IV. Islamo meninių kilimų sąsajos su asmenine kūryba / 187 Tyrimo išvados / 216 Literatūros ir šaltinių sąrašas / 220 Iliustracijų sąrašas / 228 Summary / 241 Santrauka / 263 Trumpai apie autorę / 284 On the Autor / 285 7 Padėka Esu nepaprastai dėkinga tiriamosios dalies vadovei prof. dr. Ievai Kuizinienei už pastovų palaikymą, atidumą ir kantrybę, racionaliai ir logiškai struktūrizuojant mano mintis ir tekstus. Nuoširdžiai dėkoju savo kūrybinės dalies vadovei prof. Daliai Adomonienei už toleranciją ir paramą, nuodugnius ir vertingus komentarus. Ypatingai dėkinga Dizaino krypties doktorantūros komiteto nariams, visuomet įsigilindavusiems į mano tekstus ir kūrybinius projektus – pirmininkui prof. dr. Vytautui Kibildžiui, prof. dr. (hp) Aleksandrai Aleksandravičiūtei, prof. Aušrai Lisauskienei. Dėkoju Julijonui Urbonui už meninio tyrimo paskaitas, kurios labai prisidėjo formuojant doktorantūros darbo kryptį. Labai dėkinga prof. Eglei Gandai Bogdanienei ir dr. Lijanai Natalevičienei už detalias šio darbo recenzijas. Ypatingai dėkoju kolegai Vladui Daškevičiui, padėjusiam prisijaukinti naują taftinginės technologijos įrangą bei visuomet pagelbėjusiam kilimų audimo procese. Dėkinga VDA Tekstilės katedros kolegoms už jų supratingumą ir palaikymą šiais studijų metais. 8 Acknowledgments I am immensely grateful to my research supervisor Prof. Dr. Ieva Kuizinienė for her continuous support, attention and patience, as well as assistance in structuring my thoughts and texts rationally and logically. I sincerely thank my creative project supervisor Prof. Dalia Adomonienė for her tolerance and support, as well as profound and valuable comments. I am also particularly thankful to the members of the Design Doctorate Committee, who always took the time to get a close look at my texts and creative projects – the Committee’s Chairman Vytautas Kibildis, Prof Dr. (hp) Aleksandra Aleksandravičiūtė, and Prof. Aušra Lisauskienė. I am grateful to Julijonas Urbonas for artistic research lectures which significantly contributed to shaping the direction of my PhD thesis work. I thank Prof. Eglė Ganda Bogdanienė and Lijana Natalevičienė for their detailed reviews of this work. Special thanks goes to my colleague Vladas Daškevičius, who helped me master the new tufting equipment and constantly offered assistance in the process of carpet weaving. I am grateful to my colleagues at the VAA Textile Department for their understanding and support during this academic year. 9 10 KŪRYBINĖ DALIS KILIMAS: TARP MENO IR DIZAINO OBJEKTO Katalogas 11 Meno projektą Kilimas: tarp meno ir dizaino objekto sudaro trys dalys, sukurtos ieškant asmeninės kūrybos sąsajų su islamo šalių kilimų kūrimo intencijomis ir vaidmenimis tautos, šeimos ar atskiro žmogaus gyvenime. Kilime Eccentric (liet. Ekscentriškas) susipynė, atrodytų, viskas – 2013 metų taikomosios tekstilės tendencijos, sunkiausiai išgaunama, dažant natūraliais dažais, turkio spalva, medalionas, su visais jam priskiriamais simboliais, ikat audiniai, aproprijuotos Jano Katho kilimų rožės, dizainerio perimtos iš Karabacho bei besarabų kilimų, mano šešiametės dukros languotame sąsiuvinyje piešiami „kilimai“ bei mano pačios kūrybą identifikuojantis kilimų raštas – sodrios, „skanios“ spanguolės. Legenda apie VI a. Sasanidų dinastijos šachui Chosrau I sukurtą Baharestan kilimą inspiravo pradėti kurti kilimus, gebančius sužadinti jausmus ir emocijas, surasti, kas kuria nematerialią funkcionalaus tekstilės objekto vertę. Pirmasis kolekcijos Malonumas kilimas – Šokoladas (angl. Chocolate). Abstraktaus piešinio, turtingos paviršiaus faktūros, skirtingų tekstilinių pluoštų ir jausmingų spalvinių santykių jungtis turi tikslą per regą ir lytėjimą sužadinti skonį bei uoslę. Impulsyvūs, neatsikartojantys spalviniai deriniai, kiekviena audimo eile sukuria vis kitą emocinį bei estetinį įspūdį. Kilimo esmė atsiskleidžia per jo kasdienę kontempliaciją, kiekvieną dieną akiai užkliūvant už vis naujos detalės, o vaizdinių abstraktumas leidžia užsimiršti, ilsėtis, svajoti. Tolimesniame Malonumo kolekcijos etape plėtoti kitų skonių ir kvapų inspiruotų paviršių sprendimai. Interpretacijų inspiracijoms pasirinkta: ledai su braškėmis, kava, cinamonas, slyvos ir biskvitiniai sausainiai. Kadangi visa kolekcija skirta sužadinti emocijas, medituoti, ilsėtis, buvo audžiama be išankstinio projekto, lygiai taip pat improvizuojant ir laisvai atsiduodant emociniams potyriams, keliamiems skonių ir kvapų, eilė po eilės kuriant galutinį rezultatą. Visi kolekcijos kilimai projektuojami kaip „gurmaniški“, suprantami ir pajaučiami galbūt daugiausia tekstilės „gurmanų“. Kilimų kolekcijoje Rojaus sodai sujungiamos beveik visos tiriamajame darbe analizuotos Rytų kilimų simbolinės prasmės. Kuriama tam tikro, religiniu bei kultūriniu aspektu universalaus Rojaus sodo, kuriame atsiskleidžia tikėjimo, vilties, svajonių, estetinio grožio intencijos, vizija. Šiame kūrinyje sujungiamos į vieną visumą ir stebuklingo pažadėto sodo, ir „skraidančio kilimo“, mediatoriaus tarp dviejų pasaulių, 12 idėja. Kilimų tikslas – sukurti emocinės zonos atmosferą,
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    ORIENTAL & FINE AREA RUG CLEANING IDENTIFICATION MANUAL “TRY NOT TO BECOME A MAN OF SUCCESS, BUT RATHER A MAN OF VALUE.” – ALBERT EINSTEIN RUG TYPES AND CONSTRUCTION The construction of any hand-woven or machine-woven rug begins with the interlacing of warp (vertical) and weft (horizontal) yarns, which are known as the foundation. This creates the basic structure of the rug, to which the pile yarns may be added with hand knotting or mechanical insertion. Foundation yarns used in rugs are: wool, silk, cotton, jute, polyester and polypropylene. Foundation yarns include: Warp – cotton, wool, silk, linen, polyester, slit-film polypropylene. Weft – cotton, wool, silk, jute, spun polypropylene. Stuffer – cotton (one or several). Differences between Hand-Made and Machine-Made Rugs Items to Inspect: Machine Made: Hand Made: Warp Yarns Warps visible on the back Knots visible, pattern distinct Weft Yarns Double “shots” if Gripper Visible on back, single and Axminster double weft End Finish Fringe sewn or stitched on Extension of warp yarns unless repaired Edge Finish Edges are machine serged or Edges hand sewn or stitched “overcast” WARPS NAP OR PILE KNOTS (SHOWN IS THE EDGE WEFT ASSYMETRIC BINDING “PERSIAN” OR “SENNEH” KNOT KNOW) WARP WEFTS KILIM END FINISH OVERCASTING OR KILIM KILIM FRINGE 1 Basic Rug ID Chart: Hand Woven: Hand Knotted Iran, India, Pakistan, Oriental China,Tibet, Nepal, Visible Weft Turkey, Afghanistan, Overcast by Hand Africa, Spain Fringe Extension of Warp Pattern on Back is Distinct Flat Weave Not Perfectly Symmetrical Dhurrie,
  • Magic Carpet Ride

    Magic Carpet Ride

    Magic Carpet Ride The Pazyryk Carpet is the world's oldest pile rug. It was found in a burial mound in the Pazyryk Valley in Siberia. Experts agree that it was most likely not made there, rather Persia or Armenia. They have dated it to some time in the 4th or 5th Century BCE (about 2,500 years old). https://www.mattcamron.com/ blog/the-worlds-oldest-rug-the- pazyryk-rug This Persian carpet dates back to the year 946. It took three years for five weavers to complete the carpet, which was ordered by Shah Tahmasp for the Sheikh Safi mosque. https://www.carpetencyclopedia.com/ Azerbaijan Carpet Museum https://www.youtube.com/watch?v=ai2hDCHSPRw https://www.advantour.com/azerbaijan/handcrafts/carpets.htm https://en.wikipedia.org/wiki/Azerbaijani_rug wool dying https://www.youtube.com/watch?v=Qq94Hvsx46k Motifs https://www.orientalrugsalon.com/interpreting-rug-designs/ Faig Ahmed (1982- https://www.faigahmed.com https://www.youtube.com/watch? v=nT9PwBqDDMw https://www.shangrilahawaii.org/ visit/residencies/faig-ahmed/ Faig Ahmed is an Azerbaijani contemporary visual artist who is best known for his surrealist weavings which integrate visual distortions into traditional oriental rugs. Afghan War Rugs Since the Soviet invasion of Afghanistan in 1979 and continuing today, traditional Afghan rug weavers have incorporated stylized representations of political figures, Kalashnikovs, flags, maps, architectural landmarks, tanks, drones and ammunition amid colorful floral and geometric patterns; designs reflecting a reality familiar to the people of this multi-generational war-torn region. In 1971 the Italian conceptual artist Alighieri Boetti (1940-1994) began commissioning Afghan weavers to produce a series of map textiles originally inspired by his collected newspaper illustrations of the Arab-Israeli Six-Day War (1967).
  • 001 FALL 2006.Qxd 3/9/16 11:24 AM Page 2

    001 FALL 2006.Qxd 3/9/16 11:24 AM Page 2

    AREATHE OFFICAL PUBLICATION OF THE ORIENTAL RUG IMPORTERS ASSOCIATION, INC. FALL 2016 FALL DESIGN FOCUS Robert Passal KATE SPADE NEW YORK COLLECTION JAIPUR LIVING BIGGER. BETTER. BEYOND EXPECTATIONS. OVER 3,100 CROSS-CATEGORY BRANDS NEW SHOWROOMS ON EVERY FLOOR NEW FLOORS • Boutique Design & Accessories on C5 • Casual/Outdoor on C12 & C13 • Gift, Housewares & Gourmet on C11 NEW TEMPORARY TRADESHOW: THE PAVILIONS • Design, Handmade, Gift & Home CAPEL RUGS • Introducing DISCOVERIES: The Antique Vintage Marketplace JANUARY 22-26, 2017 JANUARY 22-25, 2017 LAS VEGAS MARKET THE PAVILIONS AT LAS VEGAS MARKET #LVMkt LasVegasMarket.com spring 2016 final.qxp_001 FALL 2006.qxd 3/9/16 11:24 AM Page 2 jamison 53304 jamison 53308 maddox 56503 Invite your customers to experience island-inspired living at its fi nest through the refi ned yet casual Tommy Bahama area rug collection. OWRUGS.COM/ Tommy The Juneau Collection. Available now in six designs. spring 2016 final.qxp_001 FALL 2006.qxd 3/9/16 11:24 AM Page 2 fall 2016 final for Drew.qxp_001 FALL 2006.qxd 8/22/16 12:34 PM Page 6 From the President’s Desk Dear Members and friends, REZA MOMENI President - Oriental Rug Importers Association, Inc. 6 Fall 2016 fall 2016 final for Drew.qxp_001 FALL 2006.qxd 8/22/16 12:34 PM Page 7 AREA Fall 2016 Published by the Oriental Rug Importers Association, Inc. 400 Tenafly Rd., #699, Tenafly NJ 07670 • 201-866-5054 • www.oria.org President Reza Momeni Vice-President Kami Navid Treasurer Behrooz Hakimian Secretary Ramin Kalaty Executive Director Lucille Laufer AREA Advisory Reza Momeni, Chrm.