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Handmade Berber carpet from Morocco A woman weaving a carpet using a handloom in 1961 in al-Qayrawan. Modern industrialized Berber carpets are distinguished by a loop pile construction type that gives a similar appearance to the distinct knot of traditionally woven Berber carpets. The modern carpets usually contain small flecks of dark colour ...
The carpets often depict the scenes of falconry or images of a ferocious lion. Well known are also Tabriz carpet-pictures with images of fragments of palaces and mosques, scenes of battles. Often, in creation of this or that ornamental pattern carpet weavers were inspired by the hand-painted covers of ancient books.
Eventually, everything tired, clichéd or boring is rediscovered. In L.A., what has come back around is a flooring tradition that's among the most heinous scourges on the human race
The designs that most frequently appear in Moroccan rugs are traditional and ancient, passed down from weaver to weaver. Elsewhere in Morocco, most major cities have a unique style or design characteristic that distinguishes their carpets. Perhaps the most important carpet-producing city in Morocco is Fes. The city reached its golden age during ...
Patterns are usually floral or garden inspired. The Khesti, an established garden motif, is perhaps the most well-known rug design. The carpet is divided into individual squares with animals and plants acting as symbols. Another influential design features a decorated field with lattice designs and floral ornaments.
The Heris Carpet is the only carpet in the world where stories of the Old times are woven. [2] Heriz rug weavers often make them in geometric, bold patterns with a large medallion dominating the field. Such designs are traditional and often woven from memory.
The Berber carpets of North Africa have a distinct design tradition. Apart from the products of city workshops, in touch with trading networks that might carry the carpets to markets far away, there was also a large and widespread village and nomadic industry producing work that stayed closer to traditional local designs.
To create a sharp pattern, weavers usually end each pattern element at a particular thread, winding the coloured weft threads back around the same warps, leaving a narrow gap or slit. These are prized by collectors for the crispness of their decoration. The motifs on kilims woven in this way are constrained to be somewhat angular and geometric. [2]
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