Daun Curry 18 Material Submitted for Publication Will Not Be Returned Unless ”Handmade Rugs Are a Unique Artform” Specifically Requested
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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. -
Sustainability of Handwoven Carpets in Turkey: the Context of the Weaver
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 Context of the Weaver Kimberly Berman University, Ithaca, NY Charlotte Jirousek Cornell University, Ithaca, NY Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Berman, Kimberly and Jirousek, Charlotte, "Sustainability of Handwoven Carpets in Turkey: The Context of the Weaver" (2006). Textile Society of America Symposium Proceedings. 340. https://digitalcommons.unl.edu/tsaconf/340 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 Context of the Weaver Kimberly Berman, graduate student, Charlotte Jirousek, Assoc. Professor Department of Textiles and Apparel Cornell Department of Textiles and Apparel University, Ithaca, NY Cornell University, Ithaca, NY Forms of Production Past research, conducted mainly in the 1970s and 1980s, has identified three forms of production in which carpets are woven as commodities1. These are petty-commodity production, the putting-out system, and workshop production. Petty-commodity production involves weaving in the home, with the male head of the household or other male relatives selling the finished product to a carpet dealer or at a local or regional market (fig. 1). The family owns the loom and other weaving supplies, and family members purchase or prepare the yarn themselves. -
Rugs Weave New Lives
Rugs Weave Scholar-in- New Lives Residence n 1978, German chemist Dr. Harald Boehmer sparked “The Great IAnatolian Rug Revolution,” transforming the entire Turkish rug industry. Even more than an industrial revolu tion, it has become a cultural survival project known as DOBAG, a Turkish acronym for Nat ural Dye Research and Development Project, which has restored the ancient art of handwo ven carpets and established the first-ever woman’s rug weaving cooperative in the Islamic world. Boehmer will give a lecture, Nomads of Anatolia, at 7 p.m., Saturday, Sept. 13, in Hudson Audi torium, Nerman Museum of Contemporary Art. The lecture is free and open to the public as part of JCCC’s Scholar-in-Residence program. A reception with Boehmer begins at 6 p.m. During his Sept. 13-17 residency, Boehmer will also address JCCC textile classes. Boehmer’s passion for native rugs began when he was teaching in Turkey. Using thin-layer chromatography, the chemist was able to ana lyze the dyes used in old Turkish rugs and match the vibrant colors to their original plant sources. Under Boehmer’s guidance, weavers stopped buying petroleum-based dyes and returned to Indeed, the DOBAG Project has raised the the natural plant dyes for their wool. The profit- social and economic status of women. Villagers Anatolain rugs are sharing cooperative DOBAG began and now are no longer forced to move to cities to look for displayed here, supports about 400 families in western Turkey. work. A participating weaver must send her photographed by children to school, and no child labor is Boehmer in 2007. -
Rug Buying Guide Find the Perfect Rug for Any Space
Rug Buying Guide Find the perfect rug for any space. Learn more about rug construction, sizes, material, style, and care. The right rug can do more than just help define a space. It can protect your floors from wear and tear while adding to a visually appealing aesthetic with its colors and patterns. However, purchasing a rug is no easy task. You must consider your lifestyle, placement of the rug, design of the rug, and what you will need from a rug. We’ve compiled the ultimate guide to help you find the exact rug that will fulfill the needs of your space. Rug Weaves The weave of a rug can determine the feel, look, and durability overtime. Although rugs can now be made more efficiently, there are still many craftsmen who tediously weave rugs by hand. Hand-Knotted Hand-knotted rugs are very labor intensive with lasting results. They are very durable and can last for over 20 years with minimal shedding. The most common fiber used is wool. Because hand-knotted rugs are very labor intensive to create, they can take on average 5-7 months to be completed, sometimes even longer. The time and labor put into creating a hand-knotted rug does make it considerably pricier than other. Weavers will begin by hand tying knots onto warps before tying tufts of wool around the warp creating knots. The end of knots create the pile. Wefts are then threaded through in order to tighten the knots. This creates the foundation of the rug. The more knots per inch, the more intricate the pattern, and usually the more durable the knots will be. -
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. -
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. -
The Space of the Anatolian Carpet, an Analytical Vision
275 Ismail Mahmoud, et al. The Space of the Anatolian Carpet, an Analytical Vision Prof. Ismail I. Mahmoud Textile Department, Faculty of Applied Arts, Helwan University, Egypt Ahmed Abdel Ghany Master Student, Faculty of Applied Arts. Helwan University, Printing, Egypt Abstract: Keywords: Anatolian rug designs are known to have a number of historical and aesthetic Space values. They certainly constitute a large portion of the body of existing oriental Anatolian rugs carpets. This study assumes that through an analytical investigation of their space; it will be easier for scholars to appreciate and comprehend the Anatolian rugs in Oriental rugs relation to their relevant layout, which will enable making new rug layouts with Composition similar aesthetic values. Composition principles Through a studious analysis of symbols used in Anatolian rugs, and comparing the use of space in the Anatolian and contemporary rug, a better understanding can be Rug Layout achieved of the sense and taste of aesthetics and ratio to spacing that would help Rug Design Anatomy predict the changes in carpet and rug spacing, so that new rug and carpet spacing Layout analysis methods can be introduced in a way that appeals to consumers. This study aims to analyze the layout of Anatolian rugs in accordance to design Anatolian rug layout basics; to help designers to better understand and develop rug layouts in a development systematic way. Along with studying the layouts, the focal standpoint of this study undergoes an artistic analysis of oriental rugs, covering discussions in various original studies and data sources. Furthermore, the research aims to further explore the motives related to the design and development of these rugs. -
Care and Cleaning Instructions
Care and Cleaning Instructions You can expect years of beauty and enjoyment from a Capel braided rug when it is maintained properly. Home care is very important for any floor covering, and braided rugs may require some unique maintenance over the years, easily accomplished at home. UNROLLING When first unrolled, a new braid may have a wrinkle or a bulge appear that prevents it from laying flat on the floor. This is common and is a result of being tightly rolled or folded during shipment. The wrinkle is easily removed if the proper method is used. Lay the rug as flat as possible. Use a broom handle or similar pole and, starting in the center using a sweeping motion, push one half of the wrinkle to the left. Then push the remaining half of the wrinkle to the right side of the rug. Never push the entire wrinkle to one side or end of the rug; this only stretches the rug and may damage it. REVERSE AND ROTATE Reverse and rotate braided rugs as they soil. This process will prolong the life of the rug by evenly distributing the traffic to both sides. SPROUTING During initial use, excess sprouts of yarn may work their way to the surface of the rug. This is to be expected, and in no way lessens its wearability. These sprouts should be clipped off at the base with scissors. Do not pull the yarn out as this may result in damage to the rug. REPAIR Only the strongest threads are used to stitch the braids together. -
Vol. XV, No. 1 September, 2007
View from the Fringe Newsletter of the New England Rug Society Vol. XV, No. 1 September 2007 www.ne-rugsociety.org September Meeting: Jerry Becker on Navajo Blankets By Tom Hannaher Any rug lover who watches Antiques Roadshow will remember the famous moment when the Navajo first- September Meeting Details phase “Chief’s Blanket”—which had adorned the Date: Friday, September 21 owner’s piano for 30 years—was appraised at half a Time: 7:30PM million dollars and deemed “an American treasure.” If you’ve always wondered what made one Navajo weav- Place: First Parish, Bedford Road, Lincoln ing worth $50 and another $500,000, then don’t miss Note: $5 guest fee for non-members st the NERS meeting on September 21 at the First Parish Directions: in Lincoln. Jerry Becker, one of the country’s leading From Rte. 95 (128) take the Trapelo Road West exit experts on southwestern weavings, will make a presen- (#28B) in Waltham. Proceed west about 2.5 miles to tation on Navajo wearing blankets. a stop sign at the five-way intersection in Lincoln (there Jerry started Elk Creek Trading Co. in 1972 and is a white planter in the middle of the intersection.) began trading in antique American Indian art. Soon he Go right on Bedford Road for 0.1 miles to Bemis specialized in vintage Navajo rugs and early Navajo Hall, a large brick building on your right. The parish wearing blankets. Elk Creek Trading is currently con- house is on your left. sidered one of the top dealers in the world in this field. -
Pre-Orientalism in Costume and Textiles — ISSN 1229-3350(Print) ISSN 2288-1867(Online) — J
Journal of Fashion Business Vol.22, No.6 Pre-Orientalism in Costume and Textiles — ISSN 1229-3350(Print) ISSN 2288-1867(Online) — J. fash. bus. Vol. 22, No. 6:39-52, December. 2018 Keum Hee Lee† https://doi.org/ 10.12940/jfb.2018.22.6.39 Dept. of Fashion Design & Marketing, Seoul Women’s University, Korea Corresponding author — Keum Hee Lee Tel : +82-2-970-5627 Fax : +82-2-970-5979 E-mail: [email protected] Keywords Abstract Pre-Orientalism, Orientalism, The objective of this study was to enhance understanding and appreciation of oriental fashion, Pre-Orientalism in costumes and textiles by revealing examples of Oriental cultural-exchange, influences in Europe from the 16th century to the mid-18th century through in-depth study. The research method used were the presentation and analysis of previous literature research and visual data. The result were as follows; Pre-Orientalism had been influenced by Morocco, Thailand, and Persia as well as Turkey, India, and China. In this study, Pre-Orientalism refers to oriental influence and oriental taste in Western Europe through cultural exchanges from the 16th century to the mid-18th century. The oriental costume was the most popular subspecies of fancy, luxury dress and was a way to show off wealth and intelligence. Textiles were used for decoration and luxury. The Embassy and the court in Versailles and Vienna led to a frenzy of oriental fashion. It appeared that European in the royal family and aristocracy of Europe had been accommodated without an accurate understanding of the Orient. Although in this study, the characteristics, factors, and impacts of Pre-Orientalism have not — been clarified, further study can be done. -
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.