Dear folks –

A few years ago, Daniel Walker,

speaking as the Director of the Textile Museum, began his presentation at a rug conference by asking where the next generations of rug and textile collectors, textile museum supporters and textile conference goers are to come from.

A titter ran through the audience.

Don't laugh," Dan cautioned, "there's hardly anyone in this room under 40."

It got quiet.

And, of course, all of us, rug collectors and enthusiasts, who frequent rug and textile museums, exhibitions, conferences and clubs, are nearly constantly aware of the relative absence of younger faces in this world.

Various strategies are being employed in efforts to draw the potential future generations, but many of these seem to me to be predicated on the assumption that the traditional material, residing in the various collections, institutional and private, is not an asset, and that this drawing in must be based on contemporary textiles.

This is a post about an effort that attracts my eye because it does not "give up" on the possibility that younger people might be encouraged to engage with traditional rugs and textiles, and does so in a way that reserves to them the character of their response.

The folks who have done this, are members of the Montreal Oriental Rug Society,

led, in this effort, by Giuseppe Di Leo.

In this post, I am going to present, mostly, a virtual version of the catalog that was produced as part of this effort and exhibition, but I am also going to talk to it, as I go along.

I will draw primarily on the catalog materials, but will also use some others, I have been given on the side. As indicated elsewhere, I will also sometimes supplement with outside images, to illustrate text points, as well as to relieve fatigue from extended text reading on a monitor.

My treatment will not follow the catalog sequence, nor does it pretend to be complete.

It will be long, but I think I can predict it will be interesting. Coffee and wine breaks are allowed, even encouraged.

I have also, occasionally, indulged in modest editing, but hope not to have intruded on the fact that these responses were created by members of the Dawson College community, mostly student, but also some faculty.

A Canadian Distinction

It may be useful to provide a description of the college system in Quebec. This to dispel any confusion between “university-level” students in both Canada and the US, on one hand, and “college” ( or pre-university) students in Quebec, on the other. The latter are generally a year or two younger. Students in the province of Québec who intend to pursue post-secondary education must attend a General and Vocational College before enrolling in a Quebec university.

Dawson College, the school the Montreal Oriental Rug Society worked with in this project and exhibition, is such a “pre-university ‘college’.”

Giuseppe Di Leo, who headed this effort, is a member of the Fine Arts faculty of Dawson College.

The “Logic” of the Effort

The basic logic of the Montreal club’s design was familiar (quilter “challenges” are often based on it, and, as I write, The Textile Museum has an exhibition hanging that asked noted fiber artists to look in the TM archives and choose a piece or pieces to serve as an inspiration for a contemporary textile they would create).

But what attracted my eye, in particular, is the way the Montreal club used this design to draw a particular group of students into traditional woven materials, while reserving to them the unencumbered opportunity to respond to them on their own terms.

To repeat: the Montreal club demonstrated that the traditional materials in most textile museum collections are not necessarily a disadvantage in efforts to engage new generations.

Giuseppe says more about how they did this in his catalog forward which follows.

Note: I have added some images that are not in the catalog both to illustrate and break up the sometimes, intensive, text only, passages.

Forward (this is Giuseppe, writing)

Oriental carpets, among other forms of woven goods, have been part of the rich, material culture of Central Asia and Western Europe.

They are integral to both secular and religious circles and have become expressions of social status, aesthetic appeal, and emblematic markers of tribal clans. Unlike other aesthetic forms of high art expression, however, these items were functional for everyday use. Indeed, their tactile, but lustrous, nature made them appropriate to keep the floors underfoot warm, to rest or to sleep on, and to act as a mat for worshipping. Their makers cherished these necessary objects of daily use and saw them as worthy of artistic embellishment.

Anatolia’s carpet history is rich and colorful with blends of different cultures, languages and ethnicities. In itself, this history may have been enough to satisfy a curator’s impetus to mount an exhibition of antique Anatolian woven products, within the confines of an equally vibrant college community.

Installation, Warren Flowers Art Gallery Dawson College, Montreal, Canada

I felt compelled, however, to add another dimension. Given my experience as a teaching artist of 25 years at this institution, simply presenting ethnographic material in the conventional manner for public education could not completely satisfy my desire for interactive responses. Instead, I wanted to engage students beyond the mere cursory looking at historical objects not immediately available within their experience.

How to temporarily distract them from the pulse of youth culture,

Warcraft III iphone

RelationshipsStuDIES

Facebook Concerts

Athleticsand, more importantly, how to enrich their experience of discovery and connection, through positive reception of these textiles, were questions I had to address.

Inevitably, the challenge was daunting, but the idea to convene a manageable group of students of diverse fields of study and ask them to creatively respond to images of rugs, intended for an exhibition, seemed an innocuous, but effective, approach.

The process was as simple as casting a net, though without any guarantee of gathering participants.

Equipped with a slide presentation, and with guided assistance,

I visited a number of classes and followed up with a talk about the rug making process, the weavers that made them, dyes, symbols and design, period of manufacture, purpose, and their relevance then and today.

I then invited the students to select one rug out of many illustrated in the power point presentation that struck them in some sense, and to fashion a response to it and submit it. I pointed out their response may be informed from within their discipline of study.

We would “jury” the submitted responses and select a number of them.

These selected responses would appear in the exhibition, where that was possible, next to the rugs to which they responded. These responses would also appear in similar ways in the catalog.

So why participate?

I explained a number of reasons.

In contributing to this project, a student would, inextricably, become implicated in a community undertaking and, with their voice, draw the community’s attention.

Their inspiration and intimate responses to these woven objects would also empower them to convey a message acknowledging the richness of cultural diversity over the cultural differences that set apart and alienate regions and societies.

Sue Elmslie, literature teacher of the Song and Poem course, was very receptive in introducing this idea as a springboard for an assignment in her course.

Andrew Katz, of the English department, and a coordinator of the SPACE initiative, was instrumental, and largely responsible for, drawing the attention of students and faculty beyond my grasp.

Several faculty members, who were significant in attending to students as well, took it upon themselves to contribute to creating a work.

Several students and faculty availed themselves of the resources offered by members of the Montreal Oriental Rug Society, who were readily available in answering questions. The “Anatolian project,” as it was dubbed, became a directed project, with the expressed hope of inclusion, irrespective of a student’s course or program.

MORS members Bruce Young and Jim Hampton, Pres. Frank Mulvey, Artist and Faculty

What is manifested in the exhibition and in this catalogue, through artwork, creative writing, documentation and science analysis, are students’ desires to contribute beyond the scope of their studies towards participating in events designed to enrich our community and their own welfare.

Anatolian Rugs; Spirited Reflections And within such an endeavour, it was my aspiration, after all, to share through both the student’s language, and that of the rug enthusiast, my passion for beautifully crafted woven items.

Giuseppe Di Leo, Faculty Fine ArtsDirector, Warren Flowers Art GalleryDawson College, Montreal

Anatolian Carpets: Through the Eyes of Mourad

Our ambition is to present the cultural and traditional values of these carpets in Montreal compared to those of the Anatolian homeland through a filmed documentary. These pieces of art have, as some would say, devolved into a corporate endeavor, yet the expressions and symbols of the past are still present in every carpet. Mourad is a collector and distributor of these antique carpets. His interpretation and insight of the uses of these masterful carpets, while offering a glimpse of the Anatolian carpet trade in Istanbul, makes up the bulk of this video project. Whether it’s here in the heart of the western world or across the globe in the birthplace of these artistic pieces, every carpet has a story and everybody involved day to day with these works can shed some light on what Anatolian carpets really mean today.

The catalog begins with a still by two Cinema and Communications students Max Marin and David Allen. Their contribution was a video presentation of an interview with Montreal dealer and MORS member Mourad Ozcanian. Below is their statement.

Bruce Young, a member of the Montreal Oriental Rug Society, wrote this catalogue introduction:

Antique Anatolian Carpets and Textiles

Anatolian weaving means many different things to many different people. The region referred to by rug collectors as Anatolia would, today, cover much of modern Turkey. Although weaving has undoubtedly taken place in this region for thousands of years, the oldest surviving examples date back to at least the 13th century. Precise dating of these fragments is uncertain and is largely based on the age of the mosques where they were found or on other ancient accounts that are simply inconclusive.

The evolution of Anatolian weaving, since the 13th century, is best understood by examining the many cultural and political changes that were occurring at that time. Design and colour in textiles from this period were influenced by many factors, including; the expansion of the Muslim faith in the region, by the Seljuk Turks, followed by the Ottomans, the silk trade with the Far East and, the tribal and often nomadic nature to the peoples inhabiting the remote regions of this vast territory.

At approximately the same time, the Ottomans were capturing Constantinople and establishing an empire that would last until the end of the First World War, Anatolian weavers were producing carpets that were fervently sought out by the rich and powerful Europeans of that time.

A testament to the great value that was placed on these carpets is the manner in which Anatolian carpets were portrayed in Renaissance paintings by such artists as Hans Holbein (1498-1543), Lorenzo Lotto (1480-1556) and Hans Memling (1430-1494).

Magnificent Anatolian carpets were displayed on the tables and floors of the wealthy and on the altars of cathedrals. Descriptions of Anatolian carpets still refer today to the “Holbein pattern” or the “Memling gull” and have a direct link back to the design elements found in the carpets displayed in these 600 year-old paintings.

The design, dyes, weave and tradition of Anatolian pieces from this period provided a basis for the development of Anatolian rugs through the 18th and 19th centuries. During this period, the complexity, the bright and vibrant dye colours, the predominantly wool construction and the use of the symmetrical knot are where the similarities between Anatolian weaving ends.

The stylized flowers and curvilinear designs, found in some Western and Central Anatolian carpets, are in contrast to the dominant geometric and rectilinear designs of Eastern Anatolian weaving.

The coarse weave of the Konya rugs and tribal Yöruks have a much different look and feel when compared to the denser weave of the Gördes prayer rug or Kula. The classic sejjadeh or prayer rug size was frequent, but so, too, were the heybe, or small bags, and yastik, or “cushion” rug.

Anatolian rugs and textiles from the Ottoman period were not woven by machines or mass produced, but were hand-woven by men and women for use in grand Ottoman palaces and mosques, to decorate the floors and walls of tents, or carry grain and salt to markets.

The art of Anatolian weaving evolved through this period, apprentices learning from master weavers, daughters learning from mothers. Weavers were guided by and borrowed from traditional design, but added new elements, reflecting changing cultural influences, a nomadic way of life or simply artistic licence. In nomadic tribes, women were the weavers, proudly passing on traditions, patterns and colours through natural dyes, from grandmother to daughter to granddaughter.

This is how Anatolian weaving developed from the time of Holbein to the First World War.

Nineteenth century Central Anatolian Mucur, Kirşehir and Ladik prayer rugs, early 19th century Western Anatolian Demerci rugs, the tribal Yöruk rugs of Eastern Anatolia, 19th century Western Anatolian Monastir rugs, Malatya and Gaziantep Anatolian Kurdish rugs, Transylvanian designs and antique tribal kilims are part of a collection of Anatolian weaving that is as much art as utilitarian, as much a representation of diversity of culture as it is commerce.

Zoe Worsnip, a Liberal Arts student respondent, chose the catalog cover rug for her focus. She wrote about the “Holbein” gol that decorates its field.

Yoruk Rug

First half 19th centuryMalayta, Kurdish, Eastern Anatolia112/124 x 249 cm

This piece, even with some condition issues, illustrates the lustrous wool and beautiful dye coloursemployed by Kurdish weavers in the mountainous Malatya region of Central/Eastern Anatolia.Of particular interest is the use of the Holbein motifs in the three remaining “Sandikli” guls.

Here is what Zoe wrote:

Holbein Motif

The earliest known creations of Turkish rugs date back to the 14th century. In fact, most surviving copies were designed for commercial purposes and traded throughout the Orient, reaching the far corners of Europe by the 16th century. Given the distance to which these creations were distributed, only a careful analysis of a rug’s intricate pattern, colour and weaving could shed light on their origins.

In order to understand the origins of early Turkish rugs, researchers began separating abstract patterns into classes of distinctive geometric repetitions. These patterns were oftentimes depicted in Renaissance paintings and, as a result came to be designated by the name of their painter.

One of the most important instances of this phenomenon is the Holbein motif, depicted in The Ambassadors (1533)by Hans Holbein the Younger.

The Holbein motif is one of the earliest Turkish rug designs, used from prior to the 15th century up until the second part of the 19th century. This design typically takes two different forms: the small patterned Holbein and the large patterned Holbein. Both types are made up of an octagon paired with a gol motif. A gol motif is considered to be a tribal emblem of such nomadic people as the Slaghur or Salor Turkoman, who were central weavers of the time. The larger design,

present in this Yoruk from the Malatya region and dating to 1800, depicts the larger Holbein, which contains greater Islamic strapwork detailing its interior forms. The Holbein design’s long-standing use even permeated into rug motifs made by Islamic and post-Islamic Spain, as well as Egypt. Nevertheless, its depiction in western paintings remains one of the most popular and recognized representations of early Turkish rug creations.

Holbein’s Ambassadors depicts two men, Jean de Dinteville and George de Selve, on opposite sides of a table, symbolizing the secular and religious powers in fifteenth century Europe.

While both men appear to rival each other, they are overshadowed by the series of objects strewn across the large Turkish rug covering the table. These objects portray the recent advances in science and other technologies. Innovations such as these greatly affected the efficiency of exploration, eventually giving rise to the Age of Discovery.

The Turkish rug, found underneath various tokens of the Renaissance, presents the basis of all other fourteenth and fifteenth century innovations: capital.

As trade increased, materialist desires did too, prompting a desire for luxurious and exotic things such as the Turkish rug. Creations such as these came to be traded through the increasingly numerous Oriental trade routes. Increase in trade meant economic security, which fuelled all other sectors, such as arts and sciences.

Thus, the presence of a Turkish creation in western European art bears witness to the rise in economic power of the European states, which could be seen as a building block toward all other Renaissance achievements.

Erin Lacelle, a Graphics Design student, with a background in science, chose the rug on the left below for her response. Her response is the image on the right.

Double–Niche Demirci Kula Electron Mircrogaph of Plant and Animal Tissues (magnified 10 million times actual size) .

Here is the gallery label on the Demirci Kula rug.

Double–Niche Demirci Kula

Late 19th centuryWestern Anatolia121 x 171 cm

The design of this rug is based on the variant of a double-niche “Transylvanian” rug with designsimilarities notable with a Transylvanian rug fragment you will see later in the exhibition. An almost exact replica of this rug is found on the cover of the book “Carpets of the Orient,” by LadmillaKyborla and Dominique Darbois.

And here is the catalog description of Ms. Lacelle’’s micrograph response image.

With this project, the designer aims to expose the public to the beauty of the shapes and structures traditionally exhibited exclusively to the scientific community. The response tothe Kemirci Kula was produced using electron micrographs, which were used with permissionfrom Dartmouth University’s database. The images are samples of a walnut stem, mamallianlung tissue and mamallian pancreatic tissue, magnified up to 10 million times their actual size.

And here is a one-quarter detail of the complete image to let you better see the detail in this imaginative response.

The Demirci Kula rug inspired two other student responses.

First, it inspired the poem below by Marie-Claude Gill-Lacroix.

Demerci Kula

Feeling of the knees that once were pressed White marks where the weave is distressed Those prayers, they weighed Flowered skirts: prone are the followers Blue petals flirt with legs of bobbers Blooms for an hour

Prayer rug for a ancient Turk Flowers bloom for a young girl’s work Tremendous worth

Demerci Kula on the wall Raised at last, no prayer, no fall Poised and stretched tall

The Demirci Kula rug also drew a response from Armen Keuchguerian, a Fine Arts student. This is how he described his graphic submission.

I chose the Demirci Kula 19th century rug asmy source of inspiration due to its very captivatingintricate designs, patterns and colors.

The deep blue and the red ornate center enclosed within a light frame of flowers, evokes a narrative I try to grasp within my piece.

A late 19th century Mucur rug, with a nicheformat, also drew several responses.

Mucur Prayer Rug

Last quarter, 19th centuryMucur (Mudjur), Central Anatolia118 x 178 cm

A prayer rug from the Central Anatolian region. Although best described as a Mucur, the rug shows many design elements associated with the Kaysehir weaving area. Classic use of red wefts, combined with red mihrab, outlined in light blue and set of a green field. Of particular interest are he design elements in the center of the mihrab.

First, Michael Oberman, a student in history and economics, wrote the essay below, focused on this rug.

Beyond the Prayer Rug : Window Into the Culture of Time

The history of the later Ottoman Empire is rife with intense paradoxes. Having survived immense decline throughout the 18th century, the Ottoman Empire would experience a resurgence which would allow it to survive another century, finally ending with the First World War. Even stranger than the empire’s unexpected revival ,is the fact that these economic, social and political advancements were, for the most part, diffused from generations of prolonged conflict and social interactions with Christian Europe. However, this is not to say that the Ottoman Empire was under-developed, in fact, the traditional view of the backwards and savage Islamic world has been revisited in recent years to acknowledge the “advanced and cosmopolitan” (Philliou, 1) qualities the empire exhibited as a whole. This is not to say that the Ottoman Empire existed in a perpetual utopian existence. The decline throughout the 18th century had created numerous social conflicts and Ottoman art like this Anatolian rug reflected the anomalies which existed in modern-day Turkey throughout the 19th century.

The first event of interest to us when examining this Mucur rug was the growing industrialization of the Anatolian rugs during the 19th century. The rich of Europe saw no problem with fighting a theological war with Turkey, while simultaneously consuming their luxury goods, and as a result “European demand for ‘oriental carpets’ mounted rapidly” (Quataert, 2). As to why this demand suddenly appeared, it is possible to cite the increase in wealth caused by the Industrial Revolution happening in Europe at the time. To compensate for this increased demand Christian workers began to be allowed in the rug industry. Also of note is the rise in power of the Phanariots experienced about the same time period (Philliou, 10). The Phanariots were a network of Christian elite “intimately bound up with the Ottoman government (Philliou, 13). Considering the plethora of influences, at the time, it is no surprise then that there was a possible theocratic exchange that took place, undetected by both parties involved. This phenomenon serves to explain the presence of anchors, traditional Christian symbols, on an Islamic prayer rug.

The anchor, drawing off its literal use, is seen in Christian theology as a sign of Christ, as he is the permanent weight the devout use to situate themselves in the physical world (Hassertt). Due to the monotheistic nature of the Islamic religion, there should be little difficulty in expropriating the symbol of the anchor and applying it to Allah: which is exactly what happened. Similarly, the flower and garden imagery one sees on the rug almost assuredly originate in the Garden of Eden motif present in Judeo-Christian works.

However, it is important to understand that the rug was created in a culture ruled predominantly by Turkish and Islamic values. The geometric patterns which repeat all over the rug are unique to Anatolian art work and were heavily favored by the Ottoman elite. (Miccuci). It is also possible that the recurring patterns emphasize the orderly pattern of nature of a divinely-created world, but, an analysis such as this can only be considered an educated guess (Miccuci).

The shape in the center of the carpet is indubitably a mosque, and the type of the building is meant to point toward Mecca.

The mosque also serves as an indicator of where the worshiper is to sit on the prayer rug, but done so in a particularly symbolic manner.

Lastly, there is a possible color symbolism which takes place on the rug. Generally, in Anatolian artwork, red and white respectively represent innocence and purity (Halici).

The almost sole use of these two colors inside the mosque , perhaps, emphasized the importance of these qualities in the Islamic religion. As we have seen through an analysis of many of the aspects of the Mudjur prayer rug, all levels of art can be used as a window into the culture of the time. The fusion between Islamic and Christian symbolism which takes place on the rug is representative of the strange social atmosphere which characterized the Ottoman Empire at the time.

Frank Mulvey, a faculty member, also chose the Mucur “prayer” rug for his submission.

Here, first, is the image he produced. I’m presenting it here , initially, without any explanation, excepting to say that he describes it as a “charcoal drawing,“ not as a “photograph,” and that he entitles it “Temple for Humanity, 2011.”

I had asked Giuseppe whether we have any images of contributors, working on their submisons, and Mr. Mulvey had documented his creative process carefully.

So, here is a little side-trip to observe that.

This is Mr. Mulvey writing:”

…I was struck by the prayer niche architectural motif.

I decided to make a drawing of the rug in an architectural setting.”

Thoughts

The motifs in Anatolian rugs are derived from a variety of sources that traverse cultural and geographicdivides. Artistic traditions from across the Mediterranean can be appreciated in Anatolian rug designsthrough the centuries where the faiths of Islam, Judaism and Christianity intertwine. The complexityand beauty of these rugs reflects the interwoven nature of humanity itself.

While conceiving of the drawing Temple for Humanity (which features an Anatolian prayer rug), mydesire was to speak of spirituality without exclusive reference to any one religion. After a series ofhelpful discussions with people more informed than I on questions of religion, history and rugs, andin the process of constructing the drawing, I felt that the best way to pay tribute to a multiplicity offaiths and traditions would be to focus on very simple and universal elements.

Noteworthy in the drawing are a rug, sandals, a bowl, soft light, and a mountain seen through anarched window. Although people can bring their own meaning to these elements, the bowl could beseen as containing water for physical/spiritual cleansing, or a vessel for sustenance. The sandals,having been removed as a sign of respect, are placed beside the rug. On a more subtle level, the lightthat enters into this quiet space from an unseen source can be interpreted as coming from a divineplace. The pattern on the wall echoes the structure of the drawing, which itself is a tall shape that could connote the architectural forms associated with spiritual themes. The stains around the drawing and within its composition speak of surfaces humbled by age.

Originally it was my intent to draw a puzzle of architectural styles (based on elements from mosques,synagogues and churches) as seen through the portal, with mountains visible in the background. Irealized in the process of drawing this idea that the specificity of these buildings bothered me, andmoreover I didn’t want palatial connotations here. Since mountains are universally associated withtranscendent experience, I decide to focus on this and eliminate the buildings. Ultimately, the Templefor Humanity can be interpreted as the inner sanctum of the room with its rug, and simultaneously asthe austere and unknowable mountains beyond.

Frank Mulvey

Here’s Frank Mulvey’s catalog description of hispiece and the process he used to create it.

TEMPLE FOR HUMANITY2011Charcoal on paper52” X 20”

A third response to the Mucur “prayer” rug was created by Madeleine Sibthorpe, a Fine Arts student.

Although, the Mucur is her inspiriation reference, Ms. Sibthorpe has shaped her response to it distinctively. She has retained its “niche” design character, but has changed its colors and design specifics.

Her creation is open to different readings. It could be a covering with holes through which parts of an underlying carpet can be seen.

But there are shadows around the “shoe” prints and some sole designs can be seen.

What is going on here?

Here is Ms. Sibthorpe’s description of her intent.

My piece is a reflection of how we leave marks everywhere we walk. This is especially noticeable on carpets.

I wanted to show the beautiful patterns of tapestries on the bottoms of the shoes, imprinting not only the ground, but the shoe.

This piece also shows how little people think about what we are experiencing.

There were four Yastiks in the exhibition. Here they are, one at a time with, their gallery labels.

Eastern Anatolia, last quarter 19th century100 x 65 cm

A village weaving attributed to a transitional zone of design influencethat lies between central and eastern Anatolia. Wonderful medallionwith a superb cochineal (insect) dye.

Eastern Anatolia, last quarter 19th century

The whimsical nature of the drawing in this Yastik, possibly woven byKurds, suggests a tribal product of Eastern Anatolia. A rich indigo dyein the field generates a contrasting effect where three hooked medallionsoutlined in the classic cochineal ( insect) dye appear to twist inspace. In addition, the complimentary and dazzling effect of threeborders each with a distinct motif is not unusual for this region.

Dazkiri region Western Anatolia, 19th century97 x 50 cm

Interesting yastiks (cushion covers) are becoming harder to find, manynot surviving their usage. Most were discarded before their time, perhapsbecause they were used at eye-level and not on the floor. This examplegraphically focuses the eye towards the centre, and then teases the viewerwith little arrow features that then redirect your gaze outward. This piecepresents big graphic ideas in a small package.

Bergama, Western Anatolia. Late 19th century79 x 46 cm

Rich in polychrome, this Yastik is imbued with contrasting colour changes throughout the 3 repeating tiles. This is probably due to the weaver running out of green yarn in the center compartment and light blue yarn in the right motif. The motifs appear to be a metamorphosis of a geometric variant possibly of a small pattern Holbein derivative.The shift of balance from what was initially a positive design element into a negative dominant motif has over many generations transformed the original meaning of thedesign.

Cristina Negrean, a student in Health Sciences, selected this fourth yastik for a very definite purpose.

Here is her response to it as it appears in her catalog entry.

Analysis of the Dyes of an Antique Anatolian Yastik(conducted on the Bergama Yastik from the previous page)

Abstract

Oriental rugs have been an important part of the Central Asian and European culture for long decades.People were fascinated not only by it’s complex design, but also by it’s fabrication and the qualityof its composition. This experiment will focus on the composition quality of a late 19th centuryyastik (a pillow cover) and especially on the properties of the fibers.Threads of four colours were taken and were put in three different solutions: hydrochloric acid, acetoneand cyclohexane. The results showed that the dye used for the red wool fiber is a polar dye. Theblue and the yellow dye reacted with hydrochloric acid resulting in formation of a precipitate. Thusthe blue and yellow dye have an ionic basis.

Introduction

The dye composition found in Anatolian woven goods in the 19th century is a characteristic evidentin the rich cultural material of Central Asia and Europe.

This experiment was designed especially to determine the composition of one material, the dye of theyastik. So, in order to determine the composition of the dye four different coloured wool fibers fromthe warps and pile were taken: red, blue, yellow and natural wool. Those fibers were placed in testtubes with hydrochloric acid (HCl), acetone (C3H6O) and cyclohexane (C6H12).

Each of the solutions above were selected in order to determine some of the possible properties of thedye: presence of a dipole in the dye’s molecule or possibility of the complexation due to ions.

If the reaction occurs between the dye and acetone that will prove the polar properties of the dye. Inorder to see if the dye mixture has an ionic basis, hydrochloric acid with a concentration of 3 molarwas chosen.

The possible reaction between them is a complexation reaction. Complexation is a chemical reactionbetween a metal ion and a molecule that has at least one atom with an unshared pair of electrons (polaratom). Another possibility is the reaction between cyclohexane and the dye. This reaction would showthe presence of non-polar properties in the dye.

Results

After 24 hours, the test tubes were taken from the fume hood. It was clearly observed the presence ofa viscous white liquid in the test tube number 2. The colour of the solution changed also, from colourlessto a slight blue nuance. This blue nuance is characteristic for copper. So the change in colourshows a possibility of copper presence in the red-dye composition.

Conclusion

The presence of the white viscous solution in the second test tube shows that the red dye reacted withthe acetone (C3H6O). This viscous solution and the blue nuance present in this test tube proves that thered dye’s molecule has a dipole. This is because only a polar dye could react with a polar solvent. “Likedissolves like”.

The slightly blue nuance in test tube number 3 with hydrochloric acid (HCl) and in test tube number 2with acetone C3H6O) shows the presence of copper in the dye composition. The formation of a precipitatein test tubes number 3 and 6 can be explained by complexation phenomena that is characteristicto ionic solvents. So, the blue dye has some copper ions in its composition. Moreover, the change incolour of the solution, makes it possible to explain the fading (slight colour change) observed on therug. The presence of some acidic substance in the surroundings where the rug was kept, might be thecause of the fading.

It is possible to presume that the yellow dye also has an ionic basis because of the precipitate formationin the test tube.

It is necessary to state that if the sample wool fibers were taken from another part of the rug, the resultsmight have changed. Moreover, with a bigger variety of solvents it might be possible to deduce evenmore properties of the dye.

Finally, it is possible to affirm that because the red dye exhibited some polar properties, the dye’s moleculehas a dipole. The red and the blue dye have copper in their composition because of the slightlyblue nuance of the solution after 24 hours. Moreover, it is possible to conclude that in the blue and

yellow dye there is a presence of ions because of the formation of a precipitate in the solution. The precipitatefound in the solution after 24 hours was not present in the solutions neither in the test tubesat the beginning of the experiment.

Two conclusions could be drawn from this experiment: the material content found in the yastik was anatural fiber and the dyes used were natural and colourfast.

The first conclusion could be made from the fact that the fibers had spread out in the test tubes. Onlynatural fibers such as, in this case, wool (a fibrous protein) spread out, as opposed to artificial fibers likenylon or polyester, that never spread out during a chemical reaction.

The second conclusion could be drawn from the fact that even though the fibers were placed in testtubes with a very strong acid and strong acetone, the fibers didn’t lose their colour. This is explained bythe strength of the binding of the natural dyes to the wool fibers, with the aid of a mordant.The slight blue nuance present in those test tubes could also indicate the presence of an abrash (slightshift in the colour contrast) observed on the yastik.

Although the Anatolian yastik is over a century old, it is impressive to only see some abrash, rather thancolour fading.

It’s quite obvious, in short, that the dyes used for the yastik are natural dyes, considered to be colourfast.

There are several reasons why I became involved with this project. Rugs have been a part of my cultureand back home in my native country, Moldova, we had rugs similar to those exhibited here. So naturally,I was very curious to learn more about them especially about the quality of their composition.

While my life goal is to become a scientist, this represented a perfect opportunity to design and conductan experiment by myself and a chance to test my abilities.

Furthermore, it was stimulating to explore other interests beyond my field of study in the Health Sciencesat Dawson College and it offered a great opportunity to enrich my knowledge in general education.

Cristina NegreanSources;Chemistry, Zumdahl / Zumdahl, 8th edition Brooks, chap. 11, pages 400-450.Daniel Bariel, chemistry instructor, NYB.

And this is Cristina’s statement.

Vanessa Fleising, a student in Fine Arts, says:

For the Anatolian Rug Project, I chose to present my sketchbook, as it contains unconsciousdrawings. I was inspired by the patterns within the rugs as well as the magical element thatcame to my mind when I saw the rugs of this exhibit: I imagine flying on these rugs and believe that my unconscious doodles reflect this magical element.

The seeming, primary, reference rug looks like this:

Konya Prayer Rug

Central Anatolia, late19th century79 x 145 cm

An interesting prayer rug with a soft yellow field and rust coloured mihrab. Two design elements of particular interest are the notched mihrab that is more associated with a Milas style of weaving and the use of the blue Holbein motif in the central field of the mihrab.

Lucas Ferguson Sharp, a Fine Arts student, also chose the yellow ground Konya “prayer” rug for his response.

I chose the Konya prayer rug because of the original use of complementary colors which create a sense of tranquility and harmony. These two qualities remind me of my grandmother. As she nears the end of her life, her connection with death becomes clearer, her own legacy and gift to the world is questioned. What will she leave behind for us in this world and how will she be viewed in her afterlife? These Anatolian rugs represent more then just their formal qualities, they begin to speak of a past life, of culture and tradition.

Colorful Confusion

With the help of your handsa colourful rug was woven.

Perhaps there is a storyhidden behind it,

as with a grandmother’shand-made quilt.

With the help of your hands,beauty was carefully created,

although I’m not sure that manynotice it.

They walk on itwith careless feet

and it’s always the sameconfusing beat.

Maybe you feel yourbeautiful creation has been

left unappreciated.Doesn’t that makeyou aggravated?

Azin Mohammadi

Azin Mohammadi, a student, created the poem on the right, in response to the exhibition. He did not reference this specific rug, but could have been thinking of a similar one.

Karakecili Rug

19th century Western Anatolia 138 x 82 cm Karakecili (“black goat”) Wefts are black goat hair

There were three Konya “prayer” rugs in the exhibition. This contribution by Emilie Cassini, a student, was placed opposite the second one in the catalog.

What Makes a Home

Walk on me; I cannot see theDust that clings to me so freely

Step up on me

Kneel on me, I'm here and will keepSilent as you pray, never weep

Kneel still on me

Colors weave through my many knotsLet them soothe your tension-filled thoughts

Fears you forgot

Let me stay within your warm homeTreasure me; I'm all you have known

You're not alone

Emilie Cassini

And here is the second Konya “prayer rug”, again, with its gallery label.

Konya Prayer Rug

19th centuryCentral Anatolia100 X 147cm

The third Konya “prayer” rug, did not draw a specific response. My own is that I’d take it home in a minute.

Here it is, again, with a gallery label you can read.

Konya Prayer Rug

18th CenturyCentral Anatolia142 x 104 cm

This specimen illustrating twin columns, triple arches and flower petal motif in its border is a derivative example of early Greco-Armenian altar/prayer rugs of the 17th century, the likes of which can be found in the Vakiflar Museum in Turkey. Those earlier examples held predominant Christian motifs such as, crosses, elongated columns and quatrefoil petals in the main border. Over time, these features were eventually transgressed; making their way into this prayer rug and in later prayer rugs namely of the Tulip-Ladik type.

And a couple of closer detail images.

Gauche, but nice.

Manistir

Lie on me, lie on meBegin to conduct your worship

Kneeling down on my soft threads,Your voice will be heard.Speak of sin and hope,For what you may love.

Your mind focuses on your words,Saying thanks to the skies.

Bliss is now upon you,For you have apologized.

Thank the heavens for what you haveBut your knees are on my threads, and

Without me, pain strikes your knees.You should thank the one who puts them at ease.

Lie on me, lie on meOnce you've come to your senses,

And prayed for forgivenessFor your hand-made offenses.

Jonathan Plesko

Manastir prayer rug19th centuryBalkans/West Anatolia98 x 175 cm

Jonathon Plesko, a student, responded to a Manastir rug with a “niche” format.

Roy Hartling, who heads the Professional Photography program at Dawson College responded to this rug.

I cannot show, adequately, the details in his photo of a wall in Istanbul, but let me try on the next page

Wall Detail, Hagia-Sophia, Istanbul, 2003Film based Panoramic image, output to Ink Jet.

From an on-going series documenting the most fascinating city in the world, Istanbul.

Roy Hartling

And here, again, is the inspiring Karapinar rug, this time with its gallery label.

Karapinar Rug

Mid 19th CenturyCentral Anatolia, Konya region117 x 157 cm

I like the square format incorporating rich colours, particularly the stand-out white carnation bloomsagainst the dark chocolate ground within the saturated orange-red serrated-leaf lattice. The latticeformat, to my knowledge, is not seen that frequently in the Anatolian design vocabulary, being morereminiscent of older Ottoman rugs and textiles and very common in Persian weavings.

Elissa Brock, a Health Sciences student, asked three questions of the rugs in the exhibition:

Why Are the Colours of Rugs, Made in Eastern Anatolia vs Western Anatolia, Different?

How Does the Dye Bond to Wool?

How Do Different Chemicals Create Different Colours?

I’ve repeated her questions ,on the next three pages, together with her answers, and associated them with rugs from the exhibition.

Why Are the Colors of Rugs made in Eastern vs. Western Anatolia Different?

The difference in color between rugs made in Eastern Anatolia and those made in Western Anatoliais due to the geographic area. In Eastern Anatolia there was an abundance of walnut trees, and therind of the walnuts was used to create a brown dye. In Western Anatolia there grew many chamomileflowers which were crushed to create a different, yellow dye.

Yoruk, 19th centurySouth Eastern Anatolia200 X 114 cm

Double-Niche “Transylvanian” RugLast quarter 18th centuryWestern Anatolia155/162 X 150cm

How Does the Dye Bind to Wool?

Wool is made from a fibrous protein that is linear in shape–that is to say, all the strands of protein arepacked very tightly one on top of the other. A dye with a similar, linear molecular structure (e.g. thebrown dye) will bind to the wool more easily. A dye with a dissimilar, non-linear molecular structure(e.g. the yellow dye) will have more difficulty binding.

To understand this chemical principle more concretely, think of Velcro. Two long, straight piecesof Velcro stick together very easily and are hard to rip apart. This strong binding can be seen withthe brown dye, which has a linear molecular geometry similar to that of the wool. However, what ifone of the pieces of Velcro were squished up into the shape of a ball? It would have a much hardertime sticking to the other. This weak binding can be seen with the yellow dye, which has a differentmolecular structure, and which requires the addition of what is called an aluminum “mordant” to helpit bind to the fibrous wool.

Kula, Prayer RugLate 18th century185 X 129cm

Kurdish Rug,19th century Eastern Anatolia93 X 195 cm

How Do Different Chemicals Create Different Colours?

There is a debate as to whether the colour of the dye is due to the pigment of the dye itself or due tothe refraction of light off the dye. Refraction is the process whereby white light, as it passes througha substance (see illustration), becomes divided into its component wavelengths. We perceive thesewavelengths as distinct colors.Each atomic element refracts light a little differently. (Because of this fact, we are able to analyze thecolours refracting off other planets, such as Mars, and, working backwards, determine the elementson that planet.) Because our perception of color is based on the visible wavelengths refracting offdifferent chemicals, it is possible that our perception of the different colors of the rugs is due to therefraction of light off their dyes, and not due to our perception of the pigment itself.

Sources;Reece, Jane B., and Neil A. Campbell. "The Structure and Function of Macromolecules." Biology. 7th ed. San Francisco: Pearson Education. Print.Holden, Dr. Steven. Dawson College, department of Chemistry. 2 March 2011.“Velcro Example.” Verbal CommunicationKalyoncu, Tayfun. "Dyes Used For Rug Yarns Their Characteristics and History." About Turkey. 28 Feb. 1997. Web. 09 Mar. 2011. <http://www.about-turkey.com/carpet/dye.htm>. http://www.bautforum.com

Andrew Katz, a faculty member in the English and Lit., chose a rug, originally, likely, woven for tourists, but now old enough to collect as an oddity.

Turkish Kayseri RugCirca 191086 x 146 cm

This is an accurate depiction of a stamp designed by Charles-Olivier Merson. Stamps ofthis type were issued for use in the Ottoman Empire by France between 1902 and 1907.Weavers also wove rugs with images of cigar bands, cigarette boxes and portraits.

Rugs like this were also woven in accurate reproductions of Turkish paper currency.

Mr. Katz juxtaposed this rug with a quotation attributed to Seth Lerer, who does historical analysis of the English language.

**

Alfred Hitchcock, famously, found ways to insert himself into his movies,

Well, the next rug provides me the chance to do that, too.

I first heard about this Montreal exhibition and project when Giuseppe Di Leo, sent me an email, asking whether a participant in this project could draw on my postings on my Textiles and Text web site. I said “of course,” and eventually Giuseppe sent me a copy of the catalog.

I had given a Textile Museum “rug morning” on the “Memling gul” motif and had subsequently posted a virtual version of it on Textiles and Text.

I got nearly through the catalog before discovering that Susan Elmslie, a faculty member, and one of the real forces behind this exhibition and project, had picked this rug as the focus for her response.

You may remember in Moliere’s play of that name, his Bourgeois Gentilhome, informed by his teacher that literature is divided into poetry and prose, and that every word his speaks is prose, goes out, proudly, bragging about that.

Ms. Elmslie, had done Moliere one better: she had used some of my description of the Memling gul in my post, to fashion a “found” poem about it.

This is the rug with Memling guls, in the Montreal exhibition, that Ms. Elmslie chose, together with its gallery label.

Konya / Yoruk Memling Gul Rug

Late 19th CenturyKonya, Central Anatolia132 x 211 cm

A rug displaying two columns of the distinctive Memling gul motif set in a white background.Of interest are the two borders, rust and apricot coloured. It is possible that this rug mayhave a more Yoruk nomadic origin based on the thick wool pile and tribal border design.

Here is Ms. Elmslie’s poem. Memling Gul Pantoum: A Found Poem

R. John Howe lectures on the Memling Gul motif in Anatolian rugs

Let’s talk about what might be called “the anatomy of the Memling gul.”Let’s begin with the earliest examples we seem to have.

They all contain one or more stepped medallions or lozenges.If there are multiple stepped medallions, they are nested inside one another.

Begin with the earliest examples we seem to have:there are hook devices on the outside corners of the outermost stepped medallion.

If there are multiple stepped medallions, they are nested inside one another.These hooks move outwards before curling back.

There are hook devices on the outside corners of the outermost stepped medallion.The medallion(s) and hooks are, usually, encompassed by an octagon.

Hooks move outwards before curling back.Walter Denny calls attention to the fact that the Memling gul is two-dimensional.

Medallions and hooks are, usually, encompassed by an octagon.There is no hint of one design element passing over or under one another;

Denny calls the Memling gul two-dimensional.In some versions of other designs like the “small pattern Holbein gul,” below, there is

one design element passing over or under.

This Holbein device shows clear three-dimensionality with its “interlacing” effects.In some versions of other designs like the “small pattern Holbein gul,” that does occur.

All the elements of any Memling gul are arrayed in a single plane.

This Holbein device shows clear three-dimensionality with its “interlacing” effects.All contain one or more stepped medallions or lozenges.

The elements of any Memling gul are arrayed in a single plane.Talk about the anatomy of the Memling gul.

Susan Elmslie

There’s a little more to notice about Ms. Elmslie’s contribution.

Look, again, at her title.

Memling Gul Pantoum: A Found Poem

Poets, and lit majors may know perfectly well what “pantoum” means, but folks like me likely have to look it up.

When you do, one discovers that a “pantoum” is a specific poetic “verse form, composed of quatrains in which the second and fourth lines are repeated as the first and third lines of the following quatrain.

So much for “finding.”

Ms. Elmslie’s “findings” and construction of her poem are not serendipitous. She is a skilled poet, at work in her craft.

Now read it, again, on the next page, with new eyes.

Memling Gul Pantoum: A Found Poem

R. John Howe lectures on the Memling Gul motif in Anatolian rugs

Let’s talk about what might be called “the anatomy of the Memling gul.”Let’s begin with the earliest examples we seem to have.

They all contain one or more stepped medallions or lozenges.If there are multiple stepped medallions, they are nested inside one another.

Begin with the earliest examples we seem to have:there are hook devices on the outside corners of the outermost stepped medallion.

If there are multiple stepped medallions, they are nested inside one another.These hooks move outwards before curling back.

There are hook devices on the outside corners of the outermost stepped medallion.The medallion(s) and hooks are, usually, encompassed by an octagon.

Hooks move outwards before curling back.Walter Denny calls attention to the fact that the Memling gul is two-dimensional.

Medallions and hooks are, usually, encompassed by an octagon.There is no hint of one design element passing over or under one another;

Denny calls the Memling gul two-dimensional.In some versions of other designs like the “small pattern Holbein gul,” below, there is

one design element passing over or under.

This Holbein device shows clear three-dimensionality with its “interlacing” effects.In some versions of other designs like the “small pattern Holbein gul,” that does occur.

All the elements of any Memling gul are arrayed in a single plane.

This Holbein device shows clear three-dimensionality with its “interlacing” effects.All contain one or more stepped medallions or lozenges.

The elements of any Memling gul are arrayed in a single plane.Talk about the anatomy of the Memling gul.

Susan Elmslie

OK. I started with an issue and a question and I don’t want to lose it.

I said that the Montreal “Anatolian Project” attracted my eye because it was an effort that did “not "give up" on the possibility that younger people might be encouraged to engage with traditional rugs and textiles.”

So how did they do? What were the apparent results?

Well, first, I think we have to say that their “engagement” objective was achieved. The contributor area on the credits page of the catalog, lists the names of 25 students and four faculty members.

More, many of the accepted and published responses to the rugs in the collection were imaginative and creative, and some, it seems to me, were quite remarkable.

I would hold that the Montreal Oriental Rug Society has demonstrated that it is quite within our reach to engage the “next generations” with the kind of traditional material that populates most of the collections of most museums with a significant rugs and textiles collection.

There is no need to assume that traditional materials are not an asset in appealing to the folks that follow us. We just have to be creative about engaging them.

Yes, there were instances of seeming less than gifted poetry (although we should probably be cautious about that judgment, unless we are competent in that field).

Experienced collectors might complain that some rugs of real merit were not selected for response and should have been.

But it seems to me that the basic design “worked” very well.

More, I would argue, that the real engagement of the Dawson College community is not fully indicated by the favorable results in the exhibition and catalog.

It cannot be but that an exhibition in which student peers successfully, visibly, participated would not draw a wide audience of Dawson College students and their friends and families.

I hope that other groups and museums will notice the Montreal Oriental Rug Society effort at Dawson College, and be encouraged to mount efforts to draw the next generations into the traditional material that dominate their collections. There is no reason to give up.

Acknowledgements

The exhibition Anatolian Rugs; Spirited Reflections at the Warren G. Flowers Gallery, as well as thiscatalogue would not have been possible without the enthusiasm and support of a good number of individuals.

First, I wish to thank the participating members of the Montreal Oriental Rug Society for their help andloan of their beautiful specimen, and for sharing their enthusiasm with the Dawson College community.

I owe a debt of gratitude to the following individuals for their assistance: Barbara Freedman, Dean ofInstructional Development, Tina Romeo, SSAP Coordinator, Frank Mulvey, Lois Valliant, JuliannaJoos, Gilles Morissette, Andres Manniste, Roy Hartling, Donna Varica (Office of Director General),and Helen Wawrzetz secretary, Visual Arts sector all members of Dawson college

To Hombeline Dumas, Photographer and Terence Boisvert Graphic Designer for their expertise and patience.

A very special thank you to Kayla Zigayer, and to Kassandra Pinsonneault for her generosity anddiligent attention to details. A heartfelt thank you to Andrew Katz who remained loyal and was a motivatingenergy in relentlessly helping students achieve their objectives and to Sue Elmslie for weavingthe concept into her course.

Thank you to MORS members Jim Hampton for his encouragement, and Jacques Martignole and Bruce Young for their articles.

Thank you to Mr. Gerard Emin Battika, Consulate General of Montreal, SPACE, and Dawson College for their support.

And finally, but not least of all, a great thank you to the students for their commitment and effort inmaking this exhibition all the more extraordinary.

Let me end with the following acknowledgements from the catalog’s last page. I’m sure this is Giuseppe Di Leo writing. Thanks to him and his group for making this virtual version possible.

R. John Howe

Giuseppe Di Leo welcomes and addresses the public at the Vernissage at the Warren Flowers Art Gallery at Dawson College, Montreal, April 6, 2011

The next several slides are pictures of the Vernissage and gallery installation

An attentive audience with students,faculty, and MORS members

The evening was celebrated with fine wine and Turkish music

Members, friends, professors, and family were all fascinated by the outcome

Rose Carpet by Kassandra Pinsonneault

The Team

Students assisting with the installation. It was important (and fun) to have them engaged in carefully handling these fine handmade specimens while collaborating in making judicious decisions about placing according to region.(MORS members felt students had more fun!!!)