HALI : the international magazine of fine carpets and textiles.
| Autor Corporativo: | |
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| Formato: | Seriadas |
| Lenguaje: | inglés |
| Colección: | HALI : the international magazine of fine carpets and textiles.
v. 13 no. 5 1991 no. 59 |
| Materias: |
Tabla de Contenidos:
- Forum / The earliest Iranian pile carpet and other ancient textile fragments excavated at Shahr-i Qumis yield up their secrets.
- Patricia Baker Connoisseur's choice /
- Jennifer Wearden A synthesis of contrasts /
- Michael Craycraft Baluch perspectives /
- Toby Falk, Jennifer Wearden and Ian Bennett The shahs' tents /
- Shimon Amir Marvadia Yerushalem /
- Exhibitions / Cloth-of-gold in Cleveland; the world's best known pre-Columbian weaving back on display in Brooklyn; a major Anatolian kilim exhibition in Munich; rugs from New England private collections in Rhode Island; Tibetan sacred art on tour in America; Mingei textiles in Glasgow; and Balinese weavings in Basel.
- Imagen de la portada: "The Paracas Textile" (detail). Ceremonial Mantle or Burial Cloth. Peru, south coast, Paracas/nazca period, ca. 300-100 BC. 0.64 x 1.50m The central field design of the ancient Peruvian ceremonial cloth consists of this stylized face motif repeated in different colours. Each of the 32 faces was created using a technique known as "warp-wrapping" - unspun coloured camelid fleece was wrapped around sections of individual warp threads during the weaving process, creating a sheer but completely reversible design. The field is surrounded by an elaborated frieze-like border showing a procession of ninety miniature figures.
- Imagen de la portada: "El tejido de Paracas" (detalle). Manto ceremonial o lienzo funerario. Perú, costa sur, periodo Paracas/Nazca, ca. 300-100 a. C. 0,64 x 1,50 m. El diseño del campo central de este antiguo tejido ceremonial peruano consiste en un motivo de rostro estilizado que se repite en diferentes colores. Cada uno de los 32 rostros se elaboró mediante una técnica conocida como "envoltura de la urdimbre" ("warp-wrapping"): se envolvían secciones de hilos individuales de la urdimbre con fibra de camélido coloreada y sin hilar durante el proceso de tejido, creando así un diseño ligero pero totalmente reversible. El campo central está rodeado por un elaborado borde a modo de friso que representa una procesión de noventa figuras en miniatura.