You raise several questions, each of them deserves a discussion in separate threads. The main two points are, however, about RARE and BEAUTY.
I think we don’t need to debate tediously on the adjective RARE. It means uncommon, almost unique, right?
On the other hand, BEAUTY is a subject already discussed several times in Turkotek and it could be discussed till the end of time without reaching a conclusion. The best thing is, as you say, trying to offer some examples.
But let me state first my taste. In the oriental rugs field my standard for judging beauty is:
A - Color - I prefer them saturated. Reds and blues, mainly.
B - Design - it should be simple and uncluttered. This doesn’t mean I don’t like a good "cluttered" Quashqa’i.
C - Quality of materials: good, lustrous wool to be caressed with your hands and your eyes, the latter enjoying the ever changing reflexes drawn from it by the light…

The two examples you present in your Salon should satisfy my standards but I don’t like the first one, the prayer rug. I understand it is rare, yes, but - at least what I see on my monitor (besides a fastidious moiré pattern, but this must be my monitor fault) - does not appeal to me. I don’t like the colors nor the design. I like VERY much the second one, though.

I do not owe any beautiful rare rug so my example comes from a book. It’s the Kazak prayer rug on Kaffel’s "Caucasian Prayer Rugs" cover:

Now, generally I don’t like green, but I absolutely love this abrashed green field. This rug is what I mean with BEAUTY. The Beshir? Not even close. Why? May be it’s also a matter of proportions…Or may be, when we try to define beauty we only produce some rationalizatios… What do you think, folks?
Regards,

Filiberto

You say that you like the green abrashed field of the prayer rug you show, but it looks like shades of grey on my monitor. Did you change the colors?

As for RARE, the description UNUSUAL could also apply. This would include examples of a standard type with something attractively unusual.

As for Green, you have said you like saturated colors and you don't generally like green. These two statements are not in contradiction because most greens are overdyed, two-color combinations.
For me, green is one of the most pleasing of rug colors simply because good greens have a depth and variation due to this duality that single, saturated colors don't have. The shades and variations due to different depths of saturation of each color can literally make a good green shimmer.

BEAUTY, on the other hand, may be subjective, but appears to be nearly universal. A recent study showed that the responses of men to seeing a beautiful woman are similar to the effects of stimulating drugs.
I wonder what they would find if they hooked up the sensors to viewers at ACOR? Maybe Jerry can use those scientists to hook up their machines to the Selection Committee.

Patrick Weiler

-Jerry-

So, unable to define exactly what BEAUTY is, I have to come to the same conclusion of Judge Potter Stewart: I know when I see it - and to make my point I showed it to you. I’m glad you liked it too, Jerry.
I’d like to see other people’s Top One Example.
Regards,

Filiberto

Just some thoughts:

1) Yes, of course, it is nice to see beautifull things on an exhibition. Saying this, I want to add that I think our idea of beauty is strongly influenced by the 'fashion of the day'. For example, nowadays Modernism -in art- is very popular, and I think, as a result of this, we unknowinlgly develop a taste for 'uncrowded' carpets, furniture and other objects. But rather then have my senses 'easily' satisfied I would like an exhibition to rise above the taste of the day (possibly by having used a theme as a criterium instead of 'beauty').

2) I like to learn something new; see things in a different light, have ideas I might not have had without the exhibition. No need for those pieces to be beautiful. Yes, again I cast a vote for a theme 'glueing' beautiful and ugly pieces together...

Hoping this makes some sense,

regards,

Patricia

We considered having a "theme" for the exhibition...something academic, scholarly, informative, advancing the thin line of knowledge in the face of rampant ignorance.

But we rejected the notion. Too much damn work (he said, with complete candor).

Doing a convincing job of proposing and supporting a thesis requires research and rugs. If the thesis is to be promulgated far and wide, there should be a catalog.

Perhaps the choice of "rare and beautiful" is in itself a theme. (It is, for instance, the theme of this Salon.) Have we unknowingly backed into a "themed exhibition"?

-Jerry-

But only if it is a rare and beautiful "good old Ghiordes."

They were so done to death back when they were the taste of the times that finding a rare one would be a coup, indeed.

-Jerry-

Are Turkoman weaving's going to be prominent or has Turkomania subsided? Is Ned Long involved with the selection process? I thought Steve's idea about fresh material was really good and in that vein I know of collectors in the East who have frequently exhibited but still haven't taken that masterpiece down from the bedroom wall. A vetenarian in Philly comes to mind, his Yomud "best in the world"(my opinion) chuval. Ex. Hatch collection. There are things like this out there and it would be wonderful to draw them out. The appeal of showing great material in a section devoted to really fresh material would be different and appealing! Jim allen

Visitors to the exhibit at ACOR expect to see rugs which embody features which make them superior to others of their type. They should show indicators of acknowledged age, the most desirable combinations of colors, archaic designs, subtle nuances of construction and idiosyncracies of drawing which should be pointed out in accompanying labels to differentiate them from the pedestrian.
The rugs in the exhibition should be the kinds collectors should aspire to have in their own collections. They should show us the things which make them better, help us to see why they are better and improve our ability to discern the difference.
If you have two superior rugs, a comparison should be made between them, but both should be shown, in order to establish a baseline for analysis of similar rugs.
Comprehensive structural descriptions should accompany the rugs and explanations of how these examples are either typical or better or different should be explored.
As for their beauty, it should be apparent to the uninitiated, even if it has to be seen through the haze of a fragmentary condition.

Good Luck,

Patrick Weiler