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The rugs continued to be popular through the 19th century. The design motifs on early American hooked rugs varied, consisting predominantly of geometric patterns, floral designs, landscapes, seascapes and animals. No matter what the motif, hooked rugs displayed a great sense of individual expression.
Men, women, children joined a co-operative in order to crochet and produce products to help with famine relief during the Great Irish Famine. Schools to teach crocheting were started. Teachers were trained and sent across Ireland to teach this craft. When the Irish immigrated to the Americas, they were able to take with them crocheting. [21]
Toward the end of the 19th century, Navajo weavers began to make rugs for non-Native tourists and for export. Earlier Navajo textiles have strong geometric patterns. They are a flat tapestry-woven textile produced in a fashion similar to kilims of Eastern Europe and Western Asia, but with some notable differences. In Navajo weaving, the slit ...
The mats or rugs were sometimes backed with old burlap bags or feed sacks. [2] Sometimes a penny was stitched inside the mat to make it lie flat. [citation needed] Not all penny rugs were meant to cover the floor. Many were meant as hearth rugs, with darker colors to disguise dirt and burn marks. Others were used as decorative coverings for ...
Starting to develop in Armenia as a part of everyday life, carpet weaving was a must in every Armenian family, with the carpet making and rug making being almost women's occupation. [5] Armenian carpets are unique "texts" composed of the ornaments where sacred symbols reflect the beliefs and religious notions of the ancient ancestors of the ...
Oushak rugs are known for the silky, luminous wool they work with. The dyes tend towards: cinnamons, terracotta tints, gold, blues, greens, ivory, saffron and grays. The late 19th century saw the rejuvenation of Oriental rug production, at this time Oushak re-surfaced as a preeminent center of weaving industry.
Rya rugs, for example, are woven with a combination of techniques that include weaving tapestry, needlework, and carpet knots. [6] Traditionally, Scandinavian Rya rugs were hand-made by artisans who would add symmetric Turkish (or Ghiordes) knots directly to the warp through a specially woven backing. Small holes in the weave allowed the rug ...
Men in ancient China wore their hair in a topknot bun (Touji 頭髻); visual depictions of this can be seen on the terracotta soldiers in the Terracotta Army sculptures. They were worn until the end of the Ming Dynasty in AD 1644, after which the Qing Dynasty government forced men to adopt the Manchu queue hairstyle (queue order).