File:Oriental rugs, antique and modern (1922) (14780547245).jpg

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

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Text Appearing Before Image:
rther changes to meet the demands ofa fluctuating foreign taste, it would be of little use to describe them,especially as all their original characteristics exist in the old pieces. The striking features of Asia Minor rugs woven over fifty yearsago are the colour schemes, main patterns, and the separate designs,which may be either independent of the pattern or constitute partof it. The colour effect of Asia Minor rugs is as a rule brighter thanthat of the Central Asian, Indian, or Persian groups; for the reds,blues, and yellows are less subdued. Some of their tones never appearin Chinese rugs, and on the whole they most closely resemble thoseof the Caucasian pieces; yet it is not unusual to see such coloursas mauve, lavender, and canary yellow, that rarely appear evenamong these. Moreover, in a few of them masses of strongly con- * It is also to be noted that within the last few years large numbers of piecesbearing resemblance to old Oriental rugs have been woven about Constantinople.
Text Appearing After Image:
ASIA MINOR RUGS 165 trasting colours are placed beside one another without the customaryshading of Persian rugs or the artificial device of Caucasian latch-hooks to soften the effect of harsh combinations. The difference, nevertheless, between the Asia Minor rugs andthose of other groups is less apparent in the colour schemes than inthe main patterns, for in the Asia Minor rugs is evidence of an in-dependent inspiration and development. There are lacking the rigidoctagonal figures of the Central Asian groups; the frets and floralsprays distinctive of Chinese; the naturalistic floral treatment ofthe Indian; the delicate tracings, rhythm of movement, and wealthof foliage motives that characterise the Persian; as well as theseverely geometric forms and conventionalised motives of the Cau-casian. Instead of gracefully flowing lines we find strong rectan-gular ones; instead of flowers realistically balanced on interlacing,foliate stalks, they are arranged separately in formal rows. Butif t

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