Gyakori motívumok: 1. Abbász sah minta 2. Mina Kháni minta 3. Guli Hinnai 4. Heráti design. 5-a, b, c, d, e, f. Svasztika 6-a, b, c, d, e, f, g, h, i, j, k, 1, m. Körte 7. Felhőképek 8. Kancsó. 9. Kis-ázsiai és örmény motívumok 10, nyolcszögek 11. Fésűk 12. Melez szőnyegmotívumok 13-a, b, c, d, 14,15. Hagyományos levélformák a kis-ázsiai szőnyegekben 16-a, b, c. Lótusz 17. Csomó 18-a, b. Dagesztáni és kabisztáni motívumok
English: Identifier: orientalrugsanti1922hawl (find matches) Title: Oriental rugs, antique and modern Year: 1922 (1920s) Authors: Hawley, W. A. (Walter Augustus), 1863-1920 Subjects: Rugs, Oriental Publisher: New York, Dodd, Mead Contributing Library: Sterling and Francine Clark Art Institute Library Digitizing Sponsor: Sterling and Francine Clark Art Institute Library View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: p re-semble the Caucasian rugs. They may also be distinguished fromother Asia Minor rugs by the facts that the weft is of coarse, wirywool, and the threads of warp are not strung closely together, sothat at the back each half knot appears very distinct from the other. A similarity prevails in the technique of most Caucasian rugs, as allhave the Ghiordes knot, and almost all have warp and weft of wool,sides that are selvaged, and ends with a web and loose fringe. More-over, classes that are in a measure geographically related show resem-blances, as for instance: the Chichi, Daghestan, Kabistan, andShirvan, which have short nap; the Tcherkess, Kazak, and Genghaswhich have medium to long nap; and the Soumak, Shemakha, andKuba, which have a similar selvage at sides and ends. The only classesin which one thread of warp to each knot is depressed or doubled underthe other are the Karabagh, Shemakha, and Shusha, from the south-eastern part of Caucasia, and the Lesghian from the northern part. Text Appearing After Image: Plate O. No. 1, Shah Abbas design. No. 2, Mina Khani design. No. 3, Guli Hinnai design.No. 4, Herati design. Nos. 5-a, b, c, d, e, f, Swastikas. Nos. 6-a, b, c, d, e, f, g, h, i, j, k, 1, m, Peardesigns. No. 7, Cloud-bands. No. 8, Pitcher. No. 9, Motives of Asia Minor and Armenian rugs.No. 10, Octagonal disc. No. 11, Combs. No. 12, Motives of Melez rugs. Nos. 13-a, b, c, d, 14,15, Conventionalised leaf-forms in Asia Minor rugs. Nos. 16-a, b, c, The lotus. No. 17, Knot ofdestiny. Nos. 18-a, b, Motives of Daghestans and Kabistans. 292 ORIENTAL RUGS The Soumak with its flat stitch and with ends of yarn hanging looseat the back is unlike all other rugs. At the sides is a carefully wovenselvage, and next to the nap at the end is a narrow selvage of finespun threads. The rugs of Shemakha, woven by some of the sametribes who dwell nearer the mountains, have similar selvages at thesides of blue or bluish green, similar ends of a narrow web of her-ring-bone weave and one or more rows of knots, Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.