turkish carpetsby j. iten-maritz

2
Turkish Carpets by J. Iten-Maritz Review by: Marion Davis ARLIS/NA Newsletter, Vol. 5, No. 3 (APRIL 1977), p. 103 Published by: The University of Chicago Press on behalf of the Art Libraries Society of North America Stable URL: http://www.jstor.org/stable/27945832 . Accessed: 14/06/2014 09:11 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . The University of Chicago Press and Art Libraries Society of North America are collaborating with JSTOR to digitize, preserve and extend access to ARLIS/NA Newsletter. http://www.jstor.org This content downloaded from 195.34.78.137 on Sat, 14 Jun 2014 09:11:23 AM All use subject to JSTOR Terms and Conditions

Upload: review-by-marion-davis

Post on 20-Jan-2017

213 views

Category:

Documents


1 download

TRANSCRIPT

Turkish Carpets by J. Iten-MaritzReview by: Marion DavisARLIS/NA Newsletter, Vol. 5, No. 3 (APRIL 1977), p. 103Published by: The University of Chicago Press on behalf of the Art Libraries Society of NorthAmericaStable URL: http://www.jstor.org/stable/27945832 .

Accessed: 14/06/2014 09:11

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

The University of Chicago Press and Art Libraries Society of North America are collaborating with JSTOR todigitize, preserve and extend access to ARLIS/NA Newsletter.

http://www.jstor.org

This content downloaded from 195.34.78.137 on Sat, 14 Jun 2014 09:11:23 AMAll use subject to JSTOR Terms and Conditions

Thai Painting, an excellent companion to the author's volume on Thai sculpture, is a comprehensive survey of the two dimensional arts of Thailand. The translation from the French by Janet Seligman makes available in English the only scholarly account of.this subject. The large format book is organized into two general discus

sions: the paintings, and their iconography. This basic text is well supplemented by chronological tables, maps, a glos sary, plans of major Wats, notes which include the major bibliography in the field. Two appendices carry additional material on the theatre, techniques and iconographie manu als. Although the book is well indexed, there is no list of plates. The volume is sumptuously illustrated, containing over 159 figures, 40 of which are in color. The printing of the volume maintains the high Kodansha standard. Jean Boisselier, an expert on Southeast Asian art, begins

the book with a discussion of the techniques and philoso phies of Thai "painting", a term which includes all manner of two dimensional works such as metal work, lacquer, inlays of mother-of-pearl as well as banners, panels, silks and wall paintings, and manuscripts. The linear graphic

style of Thai painting was easily adapted to any flat sur

face so that the difference between a Wat fresco and a mo

ther-of-pearl inlaid library cabinet is basically one of tech

nique rather than that of concept or approach. Thai Painting is basically a survey of the two dimensional

art of Thailand, and as such has the usual problems of a survey. The first half of the book is devoted to a stylistic and aesthetic analysis of the objects. The highly conven tionalized nature of Thai painting increases the problem of identifying a work as to date, school or region. A further problem is the fact that although a few of the wall paintings date from the Sukhothai era, most date in the eighteenth and nineteenth centuries. The cross influences between schools as well as the static decorative form of painting causes immense dating and identification problems. However, Boisselier has attempted a historical survey as well as a divi sion according to regional schools. His extensive first-hand

knowledge of the works is a basic factor in his ability to

accurately place and identify schools as well as specific hands. There is a minor problem in the apparent haphazard organization of plates, which are scattered throughout the book. Numbers in the page margins refer to the plates, but it is necessary to flip back and forth through the book to follow the point being discussed. The second half of the book, and in a way the most in

formative, contains the iconographie basis of painting in Thailand. Each tale is a complicated story and a moral lesson. Boisselier has carefully explained both as well as the involved geography and philosophy of the various

worlds of Thai Buddhism. A further help in understanding the nature of the stories and their illustration is contained in the plate identifications: title, date, location, and a short description. This excellent survey of the two dimensional arts of

Thailand is unique in its scope and scholarship. No other book has presented so many monuments, nor attempted to analyze the various schools and influences. The author has achieved his stated purpose of preserving the art works through publication, and although the book is expensive,

it is well worth it. This will certainly be the basic source on Thai painting.

-Sara Jane Pearman

Cleveland Museum of Art

Iten-Maritz, J. Turkish Carpets. New York, Kodansha International, 1977. 353p., illus. $50.00 LC 76-15130 ISBN 0-87011-281-3

Turkish carpet expert J. Iten-Maritz has written this work for the benefit of other carpet specialists, who asked him to share his expertise in this unfamiliar field. He has, therefore, emphasized those aspects of his subject which are most

helpful to experts in establishing the provenance and value of carpets, in a discussion of over one hundred examples chosen from Trukish museums and his own collection. Museum examples span the thirteenth through the nine teenth centuries; examples from his collection, the century from 1875-1975. Inclusion of several examples from Euro

pean Turkey makes Turkish Carpets the correct title for this study, but its main emphasis falls on examples of carpets from Asian Turkey, Anatolia, where the majority of Turkish

carpets are now made.

Since the socio-economic, religious, and historical influ ences are as important as a knowledge of materials and con struction techniques in establishing the origins of a carpet, the book includes sections on history, ethnic groups, econo

mics, and religion, to acquaint the reader with Anatolian weaver, while sections on materials and carpet-making tech

niques familiarize him with Anatolian weaving traditions.

Following the introductory sections are examples of

carpets, arranged by place of origin: Western, Central, Eastern Anatolian weaving are the major headings. Sub

headings are based on regions, which are defined in terms of town centers where weavers sell carpets and the

surrounding villages where they live and work. Each sub division begins with a map of the region. Photographs of scenery, people, and historic landmarks accompany each

map. Color reproductions of carpets characteristic of the

region come next; each entry is given a standardized

description (dimensions, techniques, materials, and date) and one to several paragraphs dealing with history, econo

mics, aesthetics, technique, and design. A brief section on the pronunciation of Turkish words ends the text. There is a bibliography of nineteen references.

-Marion Davis

Franklin Institute

POSITION AVAILABLE: Head of Media Department in the Anne Bremer Memorial Library of the San Francisco Art Institute. M.L.S. in Library Science with an emphasis in media or another Master's in a media related field, or strong art background. A minimum of one year's experience working in a media center or library with past supervisory experience. Knowledge of contemporary art, ability to work with diverse personalities, good organizational abilities. Expan sion of media department which now contains over 24,000 slides and 205 audio cassette tapes. Expansion into 16mm film, video and micro fiche. Position available 1 July 1977. Resumes must be submitted by 1 June 1977. Salary $12,000 plus benefits. Send resume and applica tions to Ms. Elizabeth E nos, Director of Library Services, Anne Bre mer Memorial Library, San Francisco Art Institute, 800 Chestnut St., San Francisco, CA 94133. (415) 771-7020.

103

This content downloaded from 195.34.78.137 on Sat, 14 Jun 2014 09:11:23 AMAll use subject to JSTOR Terms and Conditions