Oriental Rug Patterns & Ornament

shema Oriental Rug Patterns & OrnamentThe prevailing majority of oriental rugs belong to culture of an Islam. The ornament passes in a complete abstract composition where there is no place to emotions or pathos where each motive borrowed from a nature adapted to certain, beforehand given I build. Plants appear or extremely stylized, or heraldically grouped and only by way of exception give in to botanical definition. Separate motives appear closely plaited in a plane composition, and the pattern without the rest fills in all surface, almost being never combined with quiet, without a figured surface. To represent human or animal essences the Muslim doctrine forbids. In the koran, the truth, on this account is not present the certain interdiction – its action begins only in Abassids age (750-1258), the Interdiction on the evident image of the person was observed, however, not absolutely punctually – in some areas and in the separate periods there are realistic images of people, for example, on the Persian Rugs, and on the contrary, strictly stylized – on Caucasian Rugs.

The significant place in ornametics east carpets is given, but to a symbol. The general partitioning of a carpet, meanwhile is subordinated to it even as at each separate motive, be it geometrical, animal or vegetable, there is a symbolical substantiation, is exact as well as at colors. The work above a carpet and that is connected to the symbolical maintenance of religion and if to speak about mistakes meeting here and there in a carpet there are they not by a carelessness of the weaver, and on its humility – one allah is not mistaken.

Sample

Talking about nomads rugs or tribal rugs there is no sample in this case. The motives are recreated from a bank of compositional schemes, sometimes from ready carpet knots, which the waever keeps in mind. However, when a gorgeous carpet is being created on a manufacture plant, there always is a sample. The sketch, designed by a calligraphist and a miniaturist, is being transponed to a so-called “bullet” by a drawer, i.e. is transfered to a millimeter-ruled paper where every square stands for a knot. The “bullet” is made either in colors or in monochrome pointing numbers for separate colors of a scale selected. In case several weaver are working using the same “bullet” it can be sliced into strips, so that everyone could have a sample for his sector. In past times quite often instead of a “bullet” drawn on a paper there was a voice of a woman that was coordinating everybody’s work.

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