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Double Happiness is a ligature, "囍" composed of 喜喜 – two copies of the Chinese character 喜 (xǐ ⓘ) literally meaning joy, compressed to assume the square shape of a standard Chinese character (much as a real character may consist of two parts), and is pronounced simply as xǐ or as a polysyllabic Chinese character, being read as 双喜 (shuāngxǐ).
The Lady and the Unicorn: À mon seul désir (Musée national du Moyen Âge, Paris). The Lady and the Unicorn (French: La Dame à la licorne) is the modern title given to a series of six tapestries created in the style of mille-fleurs ("thousand flowers") and woven in Flanders from wool and silk, from designs ("cartoons") drawn in Paris around 1500. [1]
The tapestries were very probably woven in Brussels, [10] which was an important center of the tapestry industry in medieval Europe. [11] An example of the remarkable work of the Brussels looms, the tapestries' mixture of silk and metallic thread with wool gave them a fine quality and brilliant color. [12]
Odyssey 60" x 60" woven in 1967 as a private commission; Large Embrace 41" x 29" woven in 1968 typical of the "Little people" series; and Loreli 58" x 47" woven in 1969 is one of the large female figures displayed on armatures. The three tapestries illustrate the wide range of styles created in Nezhnie's early career.
Forman and later his archive staff have been a primary international ambassador for the tapestries. He published two books available online for used book sellers. "Tapestries from Egypt" by Ramses Wissa Wassef and Werner Forman, 1961, Hamlin Publishing Group "Woven by Hand" by Ramses Wissa Wassef and Werner Forman, 1972, Hamlin Publishing Group
The Franses Tapestry Archive and Library in London is devoted to the study of European tapestries and figurative textiles. [1] It is the world’s largest academic research resource on the subject. [ 2 ] [ 1 ]
Railroad service reached Navajo lands in the early 1880s and resulted in considerable expansion of the market for Navajo woven goods. According to Kathy M'Closkey of the University of Windsor in Ontario , Canada , "wool production more than doubled between 1890 and 1910, yet textile production escalated more than 800%". [ 10 ]
Bags were sometimes woven with a face of soumak, with a tapestry-woven kilim-like top creating slits between blocks of colour: a rope was threaded in and out of the series of slits to fasten and close the bag. [10] Sizes vary, from carpet format through bags for bedding or for use on pack animals, to tiny tribal domestic bags.