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During the Safavid era, prayer rug designs emphasized explicitly Islamic themes and specifically Shi'a Islam, with inscriptions reinforcing religious identity. [18] Conversely, Qajar prayer rugs reflect a growing focus on the individual, with patron's names, images of kings and heroes, and motifs inspired by contact with the West, signaling a ...
In Turkmen weavings, such as bags and rugs, guls are often repeated to form the basic pattern in the main field (excluding the border). [4] [5]The different Turkmen tribes such as Tekke, Salor, Ersari and Yomut traditionally wove a variety of guls, some of ancient design, but gul designs were often used by more than one tribe, and by non-Turkmens.
The "Marby rug", one of the finest examples, was preserved in a church of the Swedish town of Marby, and a bold adaptation of an originally Chinese "dragon and phoenix" motif is in Berlin. Both are rugs, less than 2 metres long, and about 1 metre wide, with two compartments, though the Berlin carpet lacks a border down one long side. [19]
Geographically, oriental rugs are made in an area referred to as the “Rug Belt”, which stretches from Morocco across North Africa, the Middle East, and into Central Asia and northern India. [4] It includes countries such as northern China, Tibet, Turkey, Iran, the Maghreb in the west, the Caucasus in the north, and India and Pakistan in the ...
The fact that the group of Transylvanian single-niche rugs represent the classic pattern of Islamic prayer rugs has been subject to scientific discussions and speculation. In some of the rugs, Islamic religious inscriptions in Arabic calligraphy are woven into the pile which clearly evokes a religious context.
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