Showing 17–18 of 18 results

Trans Caucasus, c. 1885

This design known as “The Leshgai Star” is an evocative demonstration of the power of Caucasian weavings. This fragment serves as an outstanding example of how a piece from its mother rug can function independently as a meaningful art statement. Within this expanding form is centered a small single octagon, profoundly still, but radiating constant energy. The exploding outer form plays with the field, creating layered depth and positive and negative relationships. Notice in this piece’s corners the depictions of saddled fantastic animals. The Leshgai Star pulls the viewer into the mysterious cosmos it has created. For those who look, this fragment is full of magic.


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Verdure fragment, 18th century

Tapestries are made using a warp wrapping technique known as slit weft tapestry. Their production was woven on a grand scale and required great skill involving many elements and materials. Weaving tapestries was big business in medieval and renascence Europe requiring highly trained artisans and engineers.

The scenes in Verdure tapestries were a departure from the biblical and mythological themes one encountered in earlier tapestry production. Their subject matter in keeping with the Rococo and Romantic style was landscapes, rendered with deep thick foliage, aristocracy enjoying nature, and pictures of indigenous wildlife. Castles were often depicted in the distance.

I regard this fragment as a botanical abstraction. Yes the fragment has obvious references to plants and flowers, but for me the image goes far beyond a piece of a romantic landscape. Just as its mother tapestry was composed of a variety of parts, each independently abstract but functioning as an essential part of the totality of the image, this fragment alone with its floral disc and jungle of green pleases me much the same as a Japanese textile would.


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