jpweil00@gte.net
Curtain Call for Crepuscule With Carpets: The Salon began uneventfully
with a discussion on the word "crepuscule". Steve Price suggested it had
something to do with boils and zits. Steve, your job is getting to you.
Mark Hopkins pointed out, when suggesting more examples like Balisht #2 be
posted, that "Crepuscule Time" just doesn't roll off the tongue. Henry
Sadovsky expected a discussion about the almost disconcerting effect that
low light conditions have of transforming the appearance of rugs. The
conclusion was that maybe the weavers appreciated the varying conditions
the rugs would be used in and incorporated color combinations to
salubrious effect. Or maybe not. National Geographic will probably
underwrite an expedition to explore this phenomenon. The first balisht
elicited much speculation about the curious feature it has of both
symmetrical and asymmetrical knots. Tom Cole remarked that this feature is
common in Tekke and Yomud work. Mark Hopkins deduced that the well known
and respected weaver, Tammy Turkmen, probably shared her weaving technique
with her close neighbors, the Baluch. Marvin Amstey, having likely
attended many a lamb and goat BBQ with the Baluch, agreed. Daniel
Deschyteneer referred us to http://www.marlamallett.com/ef-weft-.htm
for details on the structure of end weaves similar to these intricate
weavings. The elaborate end finishes are very complex and are probably
under-appreciated due to the general ambivalence with which "mainstream"
collectors (read "the very wealthy") view Baluch weavings. The
"upside-down", or top-woven-first technique of balisht #1 generated
speculation on the reasons for this somewhat unusual feature. Mark Hopkins
indicated that 20% of his balisht collection showed this feature. It
appears in a stunning 33% of my own balisht collection (just three rugs),
a full one third of which (just one) is completely symmetrically woven!
Another one third of my balisht collection (again just one) has only
asymmetrical knotting! (balisht #2) I am certain that these comprehensive
statistical findings will be exhaustively confirmed. Or maybe not. Henry
Sadovsky suggested that the #1 balisht was very young. The combination of
patina, aura and glow are indicators of "acceptable" age, and #2 seems to
have it, but not #1. A number of other weavings similar to #2 were added
to the board for comparison. It was constructive to see the similarities
in the #2 type and it may argue for a separate weaving provenance. Or
maybe not. Steve Price brought up the possibility that the change in
border design in one of the rugs Kenneth Thompson added to the salon has
been considered an "internal elem". That may be a fancy word for
"mistake". Or maybe not. John Howe put an Ersari weaving on the board,
relating the diamond shapes to the serrated leaf design in the Khamseh
bags. Guido Imbibo added a lovely Beshire prayer rug with similar
features. Daniel brought up the possibility of determining the origin of
Khamseh weavings using the markers of a bright red color, crossed wefts
and two-colored weft materials. A subsequent inspection of both Khamseh
weavings in the salon confirms two-color wefting. The consensus of the
participants in this Salon shows a fervid passion for rampant speculation
with virtually no supporting documentation. ![]() As the light lingers less with the passing season, we shall
ready our flocks for the return migration to winter grazing lands. Or
maybe not..... Patrick Weiler |