Carpets For Commerce: Rug-Weaving In The Caucasus (original) (raw)
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Rugs as Transottoman Commodities: The History of a Rug from Uşak
Transottoman Matters, 2021
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Comparison of a Set of Savak Tribe Carpets to the Others Weaved Around Anatolia in Composition
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ARTISTIC AND TECHNICAL CHARACTERISTICS OF THE DAGESTANI FLAT-WOVEN CARPETS
Аннотация: Статья содержит обзор технических и орнаментально-декоративных характеристик дагестанских безворсовых ковров. Отмечено, что дагестанское ковроткачество как с точки зрения техники ткачества, так и орнаментального богатства ковров и ковровых изделий – явление самобытное; что не имеют аналогов в мире лезгинские сумахи, аварские гладкотканые ковры «давагины» и «супрадумы» с их уникальными рисунками, кумыкские «думы» с их своеобразным сочетанием кавказских и древнетюркских орнаментальных мотивов. Дагестанское ковроткачество, при всем многообразии и неповторимости локальных типов и форм ковров, содержит признаки, позволяющие характеризовать данный вид народного искусства как общую, дагестанскую традицию. В силу географического положения и неизбежной вовлеченности Дагестана в военно-политическую, экономическую и культурную жизнь Кавказа, мусульманского Востока, России, влияния и инновации в различные сферы жизни, в том числе в ковроткачество, были неизбежны. Выражались последние в формировании эстетических предпочтений, «моды» и спроса на определенные виды и типы ковров, в переориентации коврового промысла на потребности внешних рынков, в коммерциализации коврового производства, распространении техники и орнаментики ковров за пределы ареалов их традиционного бытования. Ключевые слова: дагестанские ковры, ковровые орнаменты, безворсовые ковры, лезгинские сумахи, аварские килимы, аварские давагины, кумыкские килимы, кумыкские думы. Abstract: The article provides an overview of the technical, ornamental and decorative characteristics of the Dagestani flat-woven carpets. It is noted that the Dagestani carpet-weaving both in terms of the technique of weaving and ornamental richness of carpets and rugs, – is the original phenomenon; that Lezgi Sumakhs, Avar flat-woven «Davagin» and «Supradum» rugs with their unique images, Kumyk «Dum» with their inimitable combination of Caucasian and Turkic ornamental motifs, have no analogues in the World. Dagestani carpet-weaving, with all the diversity and uniqueness of local types and shapes of carpet, contains signs that allow to characterize it as a General, the Dagestani tradition. As a result of the involvement of the Dagestan Republic in the political, economic and cultural life of the Caucasus, the Muslim East, Russia, the influences on and innovations in the carpet production
ARMENIAN FALSIFICATIONS OF CAUCASIAN CARPETS
FALSIFICATIONS OF CAUCASIAN CARPETS. 14 NOVEMBER// INTERNATIONAL DAY AGAINST ILLICIT TRAFFICKING IN CULTURAL PROPERTY, 2021
A widespread illegal sale of stolen carpets have been carried out by Armenian carpet speculators via galleries that specialize on trade with stolen cultural property. Most often this is done by “Ayaan Gallery” and “Yoruk Rug”. “ACHDJIAN GALLERY”, “SERAFIAN'S ORIENTAL RUGS ”, “Tufenkian Carpets ” and others are also well known names involved in trade with stolen goods, manufacture and sale of fake carpets. Carpets with authentic inscriptions and dates in Arabic script are sold in these galleries as Armenian. Perhaps these galleries selling Oriental carpets know very well the difference between Armenian and Arabic inscriptions on carpets. At the same time, it is well known that the ethno-cultural identity of the traditional Caucasian carpet is determined not only by the inscriptions. Each carpet, in its artistic and technical potential, also contains its own true “genealogy”, which even without an inscription “shouts loudly” about its origin.
Bagh-e Nazar, 2022
Problem statement: The border of a rug asa frame of decorative systemsisindependent ofits context and is a result of repeating a set of motifs with considerable visual capacities. The stable presence of borders with distinctive features in Safavid rugs can indicate the styles which define the context of each region’s productions. Therefore, the differences of borders in any of the weaving regions can be considered as the product identifier. In this regard, two questions have been answered; What styles do the decorative elements of 10thcentury rugs represent in productions of different regions? How doesthe cultural-artistic situation of the weaving areas relate to the dominant styles on the borders of the rugs? Research objective:This study attempts to fill the gap onthe classification of rugs based on their borders. The main purpose of this study is to present the stylistic analysisof the rugs in the 10thAHcentury based on the borders’ differences to present the patterns of the original borderof each region to contemporary designers,who deal with regional rug designs. Research method:This is qualitative research using structural content analysis based on library and Internet data. Fifty-seven Safavid rugs belonging to the 10th century (the period of Shah Ismail and Shah Tahmasb kingdoms) were selected from documentary sources in a purposeful and non-random manner. Based on the most frequent linear structures extracted from the borders (thirty-eight samples), the styles in association with them were defined. Conclusion: By analyzing the visual systems governing the borders of the rugs, the dominant styles were introduced based on the dominant motifs (floral arabesque, cloudband arabesque, and animal fights) and dominant composition Ghalamdani, Pictorial,and Mayegan Herati). The continuity of a decorative motif or structure with various forms in the productions of different regions reinforced the idea that visual systems are identifiers influenced by the cultural backgrounds (religion, politics, and art) of the regions in which the art product has been developed.
Soumak and Kelim Weaving of the Caucasus: A Weaving Art Museum Exhibition
Prior to the mid-nineteenth century exemplary flat-woven bags and larger weavings were produced in the area known as the Caucasus. Within this geographically isolated region numerous settled, semi-settled and nomadic tribal groups maintained lifestyles requiring the production of such weavings for utilitarian as well as possibly for religious or other non-secular purposes. The high mountain plains and valleys provided ample grazing land for the flocks of sheep and goats these peoples depended upon and the immediately adjacent surrounding lowland areas provided shelter during the cold winter months. These lifestyles were closely followed until outside political and economic forces during the mid-nineteenth century disrupted and then eventually destroyed them as well as the traditional ways and reasons a weaving was woven. New commercial synthetic dyes and dyeing methods became readily available and ever increasing export markets created an important new reason to weave. Eventually, foreign inspired design combinations replaced traditional ones and the complete destruction of traditional weaving cultures which had existed for centuries was ensured. While the story of the loss of this tradition is historically significant... The author, Jack Cassin, discusses a number of the historic masterpiece soumak and Kelim weavings in the Museum's collection and provides some new evidence to understand them.