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Name Textile, wool

Associated Records

Image of 2005.1.1 - Unknown

2005.1.1 - Unknown

Hand-woven camel saddle-bag, flat weave geometric pattern on front with long tassels along bottom edge.

Image of 2010.6.22 -

2010.6.22 -

Kungrat embroidered wall decoration Ilgich, small square and shield-shaped decorative embroideries, are used as part of a dowery and to decorate a home. This ilgich has a central spiral-edged medallion surrounded by four saw tooth-edged horn figures with an outer band of simpler shapes. It is unlined with raw edges.

Image of 98.4.10 -

98.4.10 -

Two tent band fragments from Qataghan Uzbek tribe in Northeastern Afghanistan from the late 19th century. The bands are wool flat weave in red, black, brown, and white with decoration that depicts jewelry designs. “The begs, or nobility, of the Qataghan Uzbek were the de facto rulers of large tracts of present-day Afghanistan, dominating settled Turk and Tajik peoples through a loose system of chiefdoms under the beg of Kunduz” Kate Fitz Gibon and Andrew Hale, "Uzbek Embroidery in the Nomadic Tradition," 2007.

Image of 98.4.11 -

98.4.11 -

Wool pile weave Yomut tent bag with guls in dark and light blue. Small designs at lower center; running dog and bull horns.

Image of 98.4.16 -

98.4.16 -

Nigde, Turkmen kilim from 18th-19th century, decorated with elibelinde motifs, stars, and crescents. A kilim is a flat-woven covering, hanging, or rug produced in the Islamic lands of western Central Asia, the Middle East, the Balkans and North Africa. This kilim features several motifs well known in Anatolian weaving. The large, central medallions are variations of the koçboynuzu, or ram’s horn, design, which is thought to represent masculinity, male fertility, and strength. In contrast, the border is dominated by the elibelinde motif, which is an anthropomorphic goddess figure (literally meaning “hands on hips”) symbolizing female fertility. The variations of elibelinde, appearing in rows a

Image of 98.4.17 -

98.4.17 -

Kilim from Shirvan, Azerbaijan, possibly Lesghi, tapestry-woven with a banded design and diamond and dash patterns. Kilim weaves produce no pile and have a characteristic geometric pattern. Kilims produced in the villages of western Anatolia feature strong, colors, stepped lines, and various zoomorphic motifs drawn largely from traditional symbols of nomadic and steppe art. Kilims are produced in the Islamic lands of western Central Asia, the Middle East, the Balkans and North Africa.

Image of 98.4.19 -

98.4.19 -

Wool pile carpet from Eastern Anatolia, Yuruk people, c. 1870, decorated with three central medallions and triangles along the sides.

Image of 98.4.20 -

98.4.20 -

Carpet decorated with guls, triangles, and latch hooks from Central Anatolia, possibly Yuruk. This carpet of sheep or goat's wool and natural dyes, shows the gul (tribal emblem), triangle and latch hook motifs typical of the nomadic "Yuruk" as well as Kurdish weavers of the Balkans, Anatolia and other Central Asian territories.

Image of 98.4.5 -

98.4.5 -

Bag panel or fragment decorated with rows of deer. The well-known monumental desert petroglyphs, the Nasca lines often represent animals in large and abstracted forms, with little curvilinearity or naturalness of structure. This may be a result of technical determinism, that is, the limitations of creating large artworks from stones and sand. But textiles such as the bag panel indicate this was an aesthetic preference. While earlier Nasca textiles were painted in bright colors and curvilinear designs, this later-period textile fragment introduces iconography and design that can be compared to the large earthworks and to early textiles from the region as well as Paracas textiles. Renee McG