Carol Bier, Curator - Dragon, Blossoms, Sunbursts: Textile Arts of the Caucasus (1989) (original) (raw)
Related papers
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.
Colour symbolism in the folk literature and textile tradition of the Caucasus
Optics & Laser Technology, 2006
Colour associations have been analysed indirectly by a study of oral traditions and legends, using methods developed in structural anthropology. Colours were considered, not in isolation, but mainly in contrasting pairs or in sequences. It was found that a specific colour could have different associations in different conditions, and that generally the associations were more abstract than concrete. In surviving woollen rugs and felts and silk embroideries, colours appear to be linked with availability of dyes rather than symbolism. r
The Buta (Paisley) Motif and Its Use in Azerbaijan Kelaghayi
Journal of the Oriental Rug and Textile Society, 2023
The Oriental Rug and Textile Society of Great Britain was founded in 1977 to encourage interest and enthusiasm in the carpets and textiles of Asia and now of the whole world. We aim to advance understanding of the processes involved in their creation and to promote knowledge of the traditional centres of weaving. Members receive details of up to eleven events (lectures, visits and trips abroad) each year and three full colour journals. Annual membership subscriptions: Individual £42 (£30 with journals by email); Student under 25 years Free (journals by email) For membership information please contact Dimity Spiller on 020 7937 6212
One of the most famous antique carpets, the Dragon and Phoenix rug now in Berlin: Museum fur Islamische Kunst, inventory # I. 4, has been unconvincingly and vaguely attributed to the 15th century as the work of Qaraqoyunlu Turkmen Dynasty. This is in part due to late 19th and early 20th German scholarship that assumed rugs from the Near East were automatically the work of Islamic craftsmen and women, particularly Turkmen and later Ottoman, but with no precise documentation. This general undocumented supposition also applied to Oriental carpets depicted in hundreds of Renaissance Italian paintings, although all of them are presented in a Christian context, particular associated with the Virgin Mary. The author presents firm documentation involving both historical but especially earlier iconographical examples of the dragon-phoenix motif in Armenian art of the late 13th century, borrowed directly from the source of this coupling of animals, China during the Yuan Mongol Dynasty. He suggests that its most convincing provenance is Armenia perhaps as early as the 14th century.
2011
Project Manager: Shahin Mustafayev Academic Editorial Board: K. Baypakov, Sh. Pidayev, A. Khakimov Authors: K. Baypakov, T. Doschanova (Kazakhstan) Yu. Yakubov (Tajikistan) N. Byashimova (Turkmenistan) D. Mirzaakhmedov (Uzbekistan) T. Dostiyev (Azerbaijan) This book is published as a part of the project The Artistic Culture of Central Asia and Azerbaijan in the 9th–15th centuries, carried out by the International Institute for Central Asian Studies. The objective of the project is to systematise the academic knowledge and data related to a wide range of items of the material and artistic culture of the 9th–15th centuries, including ceramics, architecture, glass making, toreutics and other forms of applied arts. The publication is aimed at specialists as well as at the general public interested in the culture of the East.
2012
The Artistic Culture of Central Asia and Azerbaijan in the 9th-15th centuries. Volume III. Toreutics. — Samarkand-Tashkent: IICAS, 2012.— 297 p. Project Manager: Sh. Mustafayev Academic editorial board: K. Baypakov, Sh. Pidaev, A. Khakimov In charge of the publication: Sh. Pidayev Authors: K. Baypakov (Kazakstan) A. Kamishev (Kyrgyzstan) Yu. Yakubov (Tajikistan) N. Byashimova, a. ataeva (Turkmenistan) J. Ilyasov, A. Khakimov (Uzbekistan) T. Dostiyev (Azerbaijan) This book is published as a part of the project The artistic culture of central asia and azerbaijan in the 9th–15th centuries, carried out by the International Institute for central asian Studies. The objective of the project is to systematise the academic knowledge and data related to a wide range of items of the material and artistic culture of the 9th–15th centuries, including ceramics, architecture, glass making, toreutics and other forms of applied arts. The publication is aimed at specialists as well as at the general public interested in the culture of the East.
Anatol Dreyer, Nina Schmidt sowie weitere Mitarbeiterinnen und Mitarbeiter Die Verfasser der Aufsätze und Buchbesprechungen sind für den Inhalt ihrer Beiträge allein verantwortlich. Titelbild Katabira (Sommerkimono); Ramie, Plattstichstickerei in Seide, Auflegearbeiten in Goldfäden, Reispaste-Reservetechnik; Japan, späte Edo-Zeit (1603-1868) L 169,0 cm; B (über die Ärmel gemessen) 121,6 cm; Inv.-Nr. B 5.183, Slg. Baelz, erworben 1891 durch das Landesgewerbemuseum Stuttgart Das Objekt wird in der Sonderausstellung "Oishii! Essen in Japan" vom 15.10.2016 bis zum 23.4.2017 im Linden-Museum Stuttgart zu sehen sein.