Vol. XV, No. 1 September, 2007
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Türk Halı, Kilini Ve Kınlılarında Kullanılan
Türk Halı, Kilini ve kınlılarında Kullanılan Resim/Picture I Kökboya {Rubia tincrorum L.) Madder ( Rubia tincrorum L.) Yrd. Doç. Dr. Recep Türk dokumalarında tabiattan elde edilen boyar- sülfat), siyah renkler için ise Fe2 (S04)3 (demir 3 sülfat), maddelerin kullanıldığı bilinmektedir. Halk arasında FeS04 (demir 2 sülfat) ve kalay tuzlandır. Mordan olarak yaygın bir kanı ve adlandırma olarak bu türlerin hepsi Sn2+ katyonu 16-17, yüzyıllarda Avrupa’da kullanılmış “kökboya” biçiminde anılmaktadır. Bu makalede olmasına rağmen Türk ve İran tekstillerinde görüldüğü üzere boyalar sadece bitki köklerinden değil, kullanılmamıştır.5 bitkilerin toprak üstünde kalan bölümlerinden ve hatta böceklerden de elde edilmektedir. * Marmara Üniversitesi, Güzel Sanatlar Fakültesi, Doğal Boya Araştırma Lâboratuvarı, Öğretim Üyesi. 1. H. Böhmer- R. Karadağ, “Analysis of Dyes”, Kaitag, 1. GİRİŞ Textile A rt From Daghestan, Textile Art Publication, London Türk halı, kilim ve kumaşlarında doğal boyarmaddeler 1993, s. 43; T. Eşberk- M. Harmancıoğlu, “Bazı Bitki Boyalannın ve boyama kaynakları sınırlı sayıda kullanılmıştır. Çoğu Haslık Dereceleri”, Ankara Üniversitesi Ziraat Fakültesi Yıllığı, litaretürlerin aksine boyama kaynağı olarak verilen Yıl 2, Fasikül 4,1952, s. 326; H. Schweppe, “Idenification of Dyes bitkilerin çoğunun çeşitli haslıklarının düşük olması ve in Historic Textile Materials”, Historic Textil And Paper I Materials: Convertion and Characterization, American Society, bazılarının ise boyarmadde içermediği yapılmış olan Washington D.С. 1986, s. 164; H. Schweppe, Handbuch der çalışmalarda tespit edilmiştir.1 Tarihî tekstillerin (halı, Naturfairbstoffe, Landsberg 1992; H. Schweppe, Historic Textile kilim ve çeşitli kumaşlarda) yapılmış olan boyarmadde and Paper Materials I, American Society, Washington, D.С. 1986, analizleri sonucunda, kullanılmış olan boyarmaddeler ve s. 174-183; H. Schweppe, Historic Textile and Paper Materials II, boyarmadde kaynaklarının sınırlı sayıda olduğu tespit American Society, Washington, D.C. -
The Power of Color: Anatolian Kilims Sumru Belger Krody Senior Curator, George Washington University Museum and the Textile Museum
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2016 The oP wer of Color: Anatolian Kilims Sumru Belger Krody George Washington University Museum and The Textile Museum Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Krody, Sumru Belger, "The oP wer of Color: Anatolian Kilims" (2016). Textile Society of America Symposium Proceedings. 973. http://digitalcommons.unl.edu/tsaconf/973 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Crosscurrents: Land, Labor, and the Port. Textile Society of America’s 15th Biennial Symposium. Savannah, GA, October 19-23, 2016. 287 The Power of Color: Anatolian Kilims Sumru Belger Krody Senior Curator, George Washington University Museum and The Textile Museum The kilims of Anatolia are great contemplative and minimalist works of art as stated by a kilim enthusiast.1 Created by women who had a magnificent eye for design and an awesome sense of color, these textiles are prized for the purity and harmony of their color, the integrity of their powerful overall design, their masterfully controlled weave structure, and their fine texture. The kilims are large tapestry-woven textiles. The visually stunning and colorful Anatolian kilims communicate the aesthetic choices of the village and nomadic women who created them. -
Extraordinarily Beautiful Antique Carpets for Today's Homes
Antique Oriental Art Carpets Kaki Hockersmith Interiors Extraordinarily Beautiful Antique Carpets for Today's Homes volume 28 | number 2 “One of the World’s Best Sources of Antique Rugs” financial times Intelligent Shopping with Claremont Rug Company We offer a special breed of antique and vintage Oriental rugs that inimitably complete the home environment. Our inventory is vast and carefully assembled, consistently offering rugs that excel in their artistry, craftsmanship and condition. The hallmark of our business is intelligent customer service. My highly experienced sales staff and myself can act as your close personal consultants to demystify purchasing older hand-woven rugs. As part of this effort, I’ve created a six-tier “Oriental Rug Market Pyramid.” (See below.) May it help you to shop with us with even greater confidence and clarity, and to discover rugs that are both strikingly beautiful home decorations and artworks that express the sublime rather than the mundane. Warm Regards, President and Founder Oriental Rug Market Pyramid Museum-Quality | 13th to 18th centuries and early 19th century High-Collectible | Primarily early 19th century to 1875 CLAREMONT RUG COMPANY Connoisseur-Caliber | Primarily circa 1850 to late 19th century High-Decorative | Primarily circa 1875 to 1910 CLAREMONT 2 Decorative | Primarily circa 1910-1970 Reproductions | Typically 1970 to present Rankings in the rug pyramid are based on artistry, craftsmanship, quality of materials, condition, age and provenance. © Claremont Rug Company. at right, Persian Serapi | 9' 8" x 12' | late 19th century, High-Decorative Our focus is to assist clients who wish their homes to be like no other to select standout antique Oriental carpets. -
Medieval Textiles Coordinator: Nancy M Mckenna 507 Singer Ave
Issue 30 December 2001 Complex Weavers’ ISSN: 1530-762X Medieval Textiles Coordinator: Nancy M McKenna 507 Singer Ave. Lemont, Illinois 60439 e-mail:[email protected] In this issue: Some Medieval Linen Weaves Oriental Carpets p.1 © Carolyn Priest-Dorman, 2001 Some Medieval Linen Weaves p.1 A Weaver’s Compendium p.5 While the most common linen product in the Middle Upcoming Events p.10 Ages was tabby-woven, weavers also produced many Sample Calendar list p.10 types of figured linens. The rippenköper and Wabengewebe described in previous articles represent some early medieval examples. This article expands the scope of medieval cultures and techniques produc- Oriental Carpets ing simple figured linen weaves. The interlacements © 2001 Nancy M. McKenna presented here are both like and yet unlike modern linen weaves, and they can be woven on four to eight Mention Oriental Carpets, and usually knotted carpets shafts. (A future article will address some more come to mind. However, the flatwoven or Kilim complex multishaft linen weaves.) All drafts were carpets are the older variety. Anatolian knotted produced by the present author from drawdowns by carpets are seen from only the 5th or 6th century AD the authors noted in the text. although they may have been known earlier. Anatolia is singled out primarily, as the Turkish people in that Based on the available textile evidence, a variety of region were the first rank of contributors to the true looms created medieval figured linens. Some were development of style in carpets. The Seljukes, ejected likely produced on upright looms using several shafts. -
Everything About Persian Kilims
Everything about Persian Kilims Kilim is a flat handwoven that is produced by tightly interweaving the warp and weft generally with wool of cow, sheep, camel, goat. Kilims usually used as floor covering, traditional bags, hanging wall art. Historically, weaving zones of kilim in Central Asia, Middle East, Eastern Europe, North Africa are traditionally centers of raising sheep, goat, camel so wool material is easily available. Boustani Glorious Handicrafts tells you everything about Persian kilims that currently are recognized as a kind of Modern Persian Rugs which can be divided into below groups: Double faced or flat-weave kilims Kilims that putting wefts technique are used for the weaving process with less thickness than others named double faced or flat-weave kilims. In this kind of Persian kilim, motifs in both sides are same and utilizable. Qashqai kilims, Senneh kilims in Kurdistan and Kamoo sofrehs belong in this group. One faced kilim or Soumak Soumak is a handwoven textile with special technique of weaving. Soumak is a strong, beautiful tapestry used as carpet and saddle bag. The name of Soumak is derived from the name of Shamakhi city in Azerbaijan, Caucasus where was hub for weaving of floral weft-faced kilims. Soumaks finest kilims come from the Caucasus and also have been produced in Iran and Turkey since beginning of 20th century. Soumaks are thicker than ordinary kilims. Motifs and designs of Soumak are visible in front side and behind it on the back side, only colored yarn are scattered irregularly. Other one faced kilims except Soumak In the texture of this type of kilim, flat-weaving method mean putting wefts, Soumak weaving style and in some cases, rug weaving technique are used. -
Woventreasures2019
Woven Treasures 2019 Oriental Rug Calendar with Guides for Rug Care & Rug Making Your Company Information HERE Woven Treasures 2019 JAN MAY SEP Pazyryk Style Bakshaish Style Mamluk Style The world’s oldest known pile carpet – discovered in a Siberian tomb – An exceptional traditional yet updated Persian design is emphasized with Referring to an Egyptian dynasty, the designs of Mamluk thrive again in preserved by permafrost for over 2000 years. Widely reissued in many an ivory ground bordered with a celadon green. Lush plantings placed in today’s rug-making industry taking care to incorporate the mesmerizing sizes, it remains a staple design due to its history and animated figures a directional design bring the garden indoors. Lively abrash keeps interest architectural details woven into these new masterpieces. Indigo is used platted in non-mirroring formation and geometric design. This version is high, tricking the eye to see purple with the electric blending of blue and to create a wide spectrum of blues in this densely saturated study of hand-knotted in Afghanistan with vegetal-dyed wool showing in a square red in the conical tree motifs. Many modern day designs are inspired masterful colorations. Mamluks are typically dominated by oversized size suitable for a gallery space between rooms… or an ice cave. from traditional Persian rugs. Weavers from many other rug-producing medallion and surrounded by geometric 8-pointed stars adding countries maintain the qualities of the originals while creating trend dimension to the overall effect. FEB setting treasures that display charm and splendor to any home interior. Contemporary Style OCT JUN Khotan Style Abstract chic weavings, in earthy or mineralistic tones, may be inspired Gabbeh from blistering tree trunks and rock formations. -
The International Journal of Humanities & Social Studies
The International Journal Of Humanities & Social Studies (ISSN 2321 - 9203) www.theijhss.com THE INTERNATIONAL JOURNAL OF HUMANITIES & SOCIAL STUDIES How Color Combination Changes in Textiles of Different Districts Depending upon Dye Plants Used Dr. Şerife Atlihan Professor, Department of Traditional Turkish Arts, Faculty of Fine Arts, University of Marmara, Istanbul, Turkey Abstract: There are different types of designs and color combinations in traditional textiles in different districts in Turkey and in other countries. Turkey is a large country 814.578 square km. and has different types of landscape and climates. The country is long in a horizontal direction. There are seven topographical areas in the country on the map. They are from west to eastern: 1. Marmara (Northwest), 2. Aegean (West), 3. South (Mediterranean), 4. Central, 5. Eastern, 6. Southeast, 7. Black Sea (North), but there are not strong cultural differences between those areas. Generally mentioned are three areas: West, Central and East Anatolia. We have some similarities in textiles and other objects between all those areas. The local people use the materials and dye stuff in textiles which are found in their areas. Therefore, these types of textiles have their unique characteristics. There are traditional designs and motifs in each district, but the color pallets in the traditional textiles do not depend only on the local people`s taste, material, technique and size. It depends especially upon the dye stuff and dyeing methods. Those rules are the same for all kind of textiles like garments, covers and wall hangings, etc. It would be displayed all these types of textiles from Turkey as samples, but it is impossible to give all samples in this article. -
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Journal of Arts & Humanities Volume 09, Issue 05, 2020: 39-46 Article Received: 20-04-2020 Accepted: 12-05-2020 Available Online: 20-05-2020 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v9i5.1914 Traditional Carpet-Rug Descriptions in the Paintings of Turkish Painters (post-1882 period)1 Müzeyyen TATLICI2, F.Nurcan SERT3 ABSTRACT Background: Carpet-rug art is an important material in Turkish culture and life. Anatolia's thousands of years of cultural heritage, folklore, and life have been processed not only in paintings but also in rugs in order to transfer it to its works, sometimes with realistic, sometimes impressionist or abstract interpretations. The first carpet samples were found in East Turkistan with the Pazırık tomb in the Altai in line with the examinations and information made in the various excavations and it is estimated that they were built in the BC 5-3 century. Objective: Seals identity that the carpet-rug lived in Anatolia in Turkey date is the record of relations with extant prior rights. The characteristics that convey past cultural experiences to today still continue. It enables culture to be passed down from generation to generation with its unique fabric shape and patterns. Method: With this research, it has been tried to be revealed the depictions of traditional rugs in carpets-rugs that were influenced in the works of Turkish painters the period after 1882 by literature scanning. Conclusion: As a result of the study, it is observed that the painters were not independent from the Turkish customs, traditions and culture while they were painting. -
Kaybolmakta Olan Değerlerimizden Doğal Boyamacılık Sanatı
KMÜ Sosyal ve Ekonomi̇ k Araştirmalar Dergi̇ si 14 (23): 89-90, 2012 ISSN: 1309-9132, www.kmu.edu.tr Kaybolmakta Olan Değerlerimizden Doğal Boyamacılık Sanatı Cafer AKYÜREK Karamanoğlu Mehmetbey Üniversitesi, Meslek Yüksekokulu, Gıda Teknolojisi Bölümü, KARAMAN Özet Turizm pazarında, doğaya dayalı turizm olarak tarif edilen kırsal turizm, sürdürülebilir kalkınma aracı olarak görülmektedir. Karaman il sınırları içinde önceleri çok önemli kültür miraslarımızdan olan halı-kilim dokumacılığının yapıldığı ve halen yer yer dokumanın devam ettiği merkezlerinden Taşkale (halı), Ayrancı Büyükkoraş-Küçükkoraş-Çat (halı)-Berendi (kilim, halı) Köyleri ile Kazımkarabekir ilçesi (kilim) kayda değer yerlerdir. Kültürel sanatlarından olan el halısı ve kilimi yapımında kullanılan iplerin doğal boyama ile hazırlanması kaybolan değerlerimizdendir. Karaman ili coğrafi konumu gereği birçok iklim karakterlerini taşıyan ender yerlerden biridir. Bundan dolayıdır ki, bizim de doğal boyamada kullandığımız birçok bitkinin yetişme yeridir. Doğal boyamacılığın temel bitkilerinden olan; kırmızı rengin ana kaynağı Rubia tinctorum L. Kılbasan Tilki Tepesi mevkiinde “boyalık “ denilen yerde, sarı renkte kullanılan Rhamnus tinctoria L. Pınarbaşı Köyü civarında, Vitis vinifera L., kahverengi renkte kullanılan Juglon regia L., gri,siyah tonlarında kullanılan Punica granatum L. kültüre de alınan boya bitkileridir. Bunların yanında sarı rengin alternatif bitkilerinden olan Antehemis tinctoria L., Verbascum sp. , Berberis sp., Hypericium sp., Salvia sp,… il sınırlarında potansiyel -
Id Title Publisher Year Subtitle Dep Isbn1 Isbn2
ID TITLE PUBLISHER YEAR SUBTITLE DEP ISBN1 ISBN2 BOOK NR AUTHOR 1 The women's warpath ucla fowler museum of 1996 Iban ritual fabrics from borneo 15 0-930741-50-1 0-930741-51-x SEA0001 Traude Gavin cultural history 2 Textile traditions of Los Angeles county 1977 15 0-87587-083-x SEA0002 Mary Hunt Kahlenberg Indonesia museum of art 3 Indonesische Textilien Deutsches Textilmuseum 1984 Wege zu Göttern und Ahnen 15 3-923158-05-X SEA0003 Brigitte Khan Majlis Krefeld 4 Walk in splendor ucla fowler museum of 1999 ceremonial dress and the 15 0-930741-72-2 0-930741-73-0 SEA0004 T.Abdullah cultural history Minangkabau 5 Geometrie d'Oriente sillabe, Livorno 1999 Stefano Bardini e il tappeto 5 88 -8347- 010-9 GEN0029 Alberto Boralevi Oriental Geometries antico Stefano Bardini and the Antique Carpet 6 Her-ontdekking van Lamandart 1994 17 90-5276-009-8 90-5276-008-X SNA0001 Brommer,De Precolumbiaans Textiel Bolle,Hughes,Pollet,Sorbe r,Verhecken 7 Eeuwen van weven Nederlands 1992 Bij de Hopi- en Navajo- indianen 17 90-7096217-9 SNA0002 Helena Gelijns, Fred van Textielmuseum Tilburg Oss 8 Bolivian Indian Textiles dover publications, inc. 1981 Traditional Designs and 17 0-486-24118-1 SNA0003 Tamara E.Wasserman, Costumes Jonathan S.Hill 9 3000 jaar weven in de Andes Gemeentemuseum 1988 textiel uit Peru en Bolivia 17 90 68322 14 1 SNA0004 Brommer, Lugtigheid, Helmond Roelofs, Mook-Andreae 10 Coptic Textiles The friends of the Benaki 1971 22 Mag0019 Benaki Museum Museum,Athens 11 Coptic Fabrics Adam Biro 1990 14 2-87660-084-6 CPC0002 Marie Helene Rutschowscaya -
Sustainability of Handwoven Carpets in Turkey: the Importance of Technical Distinctions Between Regional Carpet Styles
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2006 Sustainability of Handwoven Carpets in Turkey: The Importance of Technical Distinctions Between Regional Carpet Styles Feryal Söylemezoğlu Ankara University School of Home Economics, [email protected] Sema Taği Ankara University School of Home Economics Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Söylemezoğlu, Feryal and Taği, Sema, "Sustainability of Handwoven Carpets in Turkey: The Importance of Technical Distinctions Between Regional Carpet Styles" (2006). Textile Society of America Symposium Proceedings. 338. https://digitalcommons.unl.edu/tsaconf/338 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Sustainability of Handwoven Carpets in Turkey: The Importance of Technical Distinctions Between Regional Carpet Styles Feryal Söylemezoğlu and Sema Taği Ankara University School of Home Economics Department of Handicrafts, 06130 Aydınlıkevler-Ankara, Turkey [email protected] Introduction In Turkey, hand-made carpet-weaving is a widespread handicraft which many people are effectively busy with. It is also an important area in which unemployed -
Persian Rugs: Analysis of Selected Designs
PERSIAN RUGS: ANALYSIS OF SELECTED DESIGNS By PARVIN GHAZIZADEH-TEHRANI ~ Bachelor Pars College Tehran, Iran 1976 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE December, 1979 PERSIAN RUGS: ANALYSIS OF SELECTED DESIGNS 1.0423~)8 ;; TABLE OF CONTENTS Chapter Page I. INTRODUCTION. 1 Purpose. 2 Method . 2 I I. HISTORY . 5 III. TECHNICAL INFORMATION . 10 Production, Structure, and Material .. 14 The Knotting. • . ..• 19 Fibers . 23 Woo 1 • • • • • • • • • • • • 23 Si 1k. • . 23 Cotton. 25 Dyes . • . 25 The So-Called Aniline Dyes .. 26 Synthetic Chrome Dyes ... 29 The Natural Dyestuffs of Persia . 29 IV. DESIGN OF PERSIAN RUGS .....•.... 35 The Two Orders of Persian Carpet Design ..... 35 Convention in Persian Carpet Design ... 38 Persian Carpet Patterns ........ 39 The Herati Pattern ......... 39 The So-Called Pine Pattern and its Variations ..•..... 43 The Lechek Torunj Design .. 44 The Mina Khani Design .•.• 48 The Shah Abbasi Design ... 50 The Bid Majnun Design ••. 52 The Harshang or Crab Design . 55 The Gol Henai Pattern . • . 57 The Joshaqani Design ..•. 58 Hadji Abbas Karbassion •.........• 60 The First Assistant to Hadji Karbassian . 61 The Second Assistant to Hadji Karbassian. 62 iii Chapter Page Symbolic Patterns .•...•..•• 62 Prayer Rugs . • • . 62 Carpet with Medallion Pattern . 64 Vase Carpets .•. 64 Animal Carpets .. 64 Patterns and Locations 65 Senneh. • • . 65 Shiraz. .......... 65 Kerman. • • . 67 Tabri z. 69 Hamadan . • . 69 Bakhtiari . 72 Yomud .• 74 Isfahan . 74 Patterns and Locations 77 Design Summary 77 V. SUMMARY 84 BIBLIOGRAPHY • 85 iv LIST OF FIGURES Figure Page 1. Knot Samples ll 2.