Illustrated catalogue of the art and literary property collected by the late Henry GMarquand . of Feraghan and others patterned after them is undoubtedly found in these design of No. 1284 shows a large amount of open space. The weaver was not barbarianenough to insert loose patterns to fill up the ground, and having abandoned the perfect coordi-nation common to the fifteenth and early sixteenth century carpets, no other recourse wasleft him but to leave wide areas of the ground color. There are two patterns, rather complex,repeated in alternate rows, and so arranged in the rows tha
Illustrated catalogue of the art and literary property collected by the late Henry GMarquand . of Feraghan and others patterned after them is undoubtedly found in these design of No. 1284 shows a large amount of open space. The weaver was not barbarianenough to insert loose patterns to fill up the ground, and having abandoned the perfect coordi-nation common to the fifteenth and early sixteenth century carpets, no other recourse wasleft him but to leave wide areas of the ground color. There are two patterns, rather complex,repeated in alternate rows, and so arranged in the rows that they are never side by side. Alittle analysis makes it clear that this is the original Herat design, lancet leaves and all. Thepattern itself starts in a central point, extends upward and downward by the combination ofcorresponding floral elements, and terminates in two small white or ivory-tinted lily shapeswhich meet and are balanced against two similar shapes from the pattern following. Here arethe ends and here is the meeting-place of the successive patterns. The middle point of each. 1285 pattern is where the four curved leaves lie back to back, and the trinoriate flower stem, with themiddle bud in yellow and the supporting ones in blue, outlined in white and dashed with red,points toward the common centre. Opposite these centres, in the alternating rows, fall thelily shapes before referred to, and on either side of the centres, facing one another and againarranged in fours, are the stalks of the Guli Hinnai (flower of the henna) each bearingfive blossoms. The flowers in this rug are similar to those found in recognized weavings of Shiraz, butthe manner in which they are utilized is of the North. Certain textile indications, such as themany-colored silk warp and the small crimson overcasting at the sides, are characteristic of thefinest Sehna rugs of to-day. The shape, also, is that of the Sehnas; but it is quite impossibleto make hard and fast classification of a rug wo
Size: 1302px × 1919px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookauthorkirbytho, bookcentury1900, bookdecade1900, bookyear1903
