Carol Bier Curator Visions of Infinity

VISIONS OF INDNITY:
Design and Pattern in

Oriental Carpets
August 19, 1990 - February 24,1991

I iXHIBITION
VISIONS OF INFINITY: A fascination with color and

geometric pattern is
Design and Pattern in expressed in Islamic art. In
many areas of the Islamic
Oriental Carpets world, historically from
Spain to Indonesia, two-
dimensional repeat patterns
provide the primary means
for organizing color and
space. Ornamentation of
architecture, ceramics, met-
alwork, book illumination,
textiles, and Oriental car-
pets relies upon the repeti-
tion of complex or simple
designs, creating overall sur-
face patterns of apparent
complexity and intricacy.
Patterns may consist of
geometric, floral, callig-
raphic, or figural forms. The
majority of patterns in Ori-
ental carpets consist of
geometric and stylized flo-
ral designs, arranged in a
system of repeats within an
oblong central field framed
by borders. Traditionally,
designs are arranged in the
central field and borders of
a single carpet according to
varying systems of repeat.
The profusion of patterns
contributes to the sense of
complexity and intricacy,
which so characterizes the
apparent visual aspect of
Oriental carpets.
Drawn from The Textile
Museum's collections the
carpets selected for the
exhibition date from the fif-
teenth through the nine-
teenth century and reflect
regional design traditions
from Spa in, Egypt, Turkey,
Iran, and Central Asia.
PILE CARPET,
Safavid Iran, 17th century,
Textile Museum R33.1.3
Acquired by George Hewitt Myers,
1924
Visions of Infinity explores
concepts of infinity and
ambiguity which are made
manifest in the patterning
of Oriental carpets. Not
immediately apparent to
the untrained eye, the
sharp contrast of finite bor-
ders enclosing an infinitely
repeating pattern is none-
theless visually expressive.
The containment of motifs
within individual segments
of an infinitely repeating
geometric framework is at
once a statement of con-
trast and ambiguity. Such
carpets required skilled
weavers and a fairly high
level of capitalization for
the materials required for
weaving. Favored floor cov-
erings for imperial courts,
carpets were also within the
domain of nomadic pas-
toralists whose flocks of
sheep provided wool, a
renewable resource. Com-
mercially produced carpets In another carpet, the sys- PILE CARPET, Mamluk Egypt,
were made for sale in the tem of repeat is so large 15th/16th century
bazaars, for export to the that only one unit fills the RI6. 1.1 Acquired by George Hewitt
West, and for commission. entire central field (no. 1, Myers, 1953
Carpets produced at all eco- Mamluk carpet). Many car-
nomic levels share in the pets that were produced
expression of repeat pat- commercially exhibit com-
terns, achieved in each case plex systems of repeat
by the juxtaposition of which were most likely cop-
knots (cut segments of sup- ied from drafted cartoons.
plementary wefts), which Carpets produced by pas-
are wrapped around adja- toralist commun ities, both
cent pairs of warp yarns. those woven for personal
Occasionally a carpet's use as well as those for
main field will exhibit a commerce, exhibit a sim-
multiple system of pattern plified system of repeat
repeats (no. 2, Persian car- which was easily retained
pet), visually understood as by memory, passed on from
being on different levels. mother to daughter (nos. 7,
The perception of depth 8, and 9, Turkmen rugs and
may also be achieved carpets). Yet with in all this
through the representation diversity, a common lan-
of interlace (nos. 3 and 4, guage of pattern is seen to
Spanish carpet fragments). exist.
We invite you to look at
these carpets as a group, to
discover their individual
peculiarities which are evi-
dent only by means of
comparison. Examine the
overall pattern; try to iden-
tify the unit of repeat, and
individual elements of the
design. Are the basic motifs
floral or geometric? Is the
repeat system simple or
complex? It is on multiple
levels? Can you find evi-
dence of interlace? Is there
an infinitely repeating pat-
tern? If so, how and where PILE BAG FACE, Suggested Readings
is it arbitrarily cut off? Can Central Asia (Sa/or/Turkmen), On Pattern
you identify axes of symme- 18th/19th century,
try and repeat? Are they Textile Museum 1980.13.4 Islamic Patterns, An Analyti-
vertical? horizontal? Is there Gift of Arthur D. Jenkins cal and Cosmological
a radial pattern? How is the Approach, K. Critchlow
pattern constructed? (1976). New York: Schocken
It is not easy to "read" a PILE CARPET, Central Asia (Yomud
Books.
pattern, particularly for Turkmen), 19th century
Westerners so much more R37.5.1 Acquired by George Hewitt The Sense of Order, A Study
familiar with the represen- Myers in the Psychology of Deco-
tational traditions of rative Art, E. Gombrich
(1979). Ithaca: Cornell Uni-
Western art focused on sys-
tems of proportion related versity Press.
to the human form . Visual
analysis of pattern is a proc- Geometric Concepts in
ess. It requires patience and Islamic Art, E. Issam and A.
curiosity on the part of the Parman (1988). london:
viewer. But the effort is, in World of Islam Festival Trust.
fact, relatively simple,
worth while, and enjoy- Symmetries of Culture The-
able. Once gained, this ory and Practice of Plane
visual awareness adds a new Pattern Analysis, D.K.
dimension to one's percep- Washburn and D.W. Crowe
tion of our world. (1988). Seattle and london:
University of Washington
by Carol Bier, curator, East- Press.
ern Hemisphere Collections
and Lorna Carmel Islamic Designs, E. Wilson
(1988). London: British .
Museum.
PILE CARPET FRAG-

MENT Anatolia, 17th
The Textile Museum century. Textile
2320 S Street NW Museum R 34. 17.2.
Washington, DC 20008 Acquired by George
(202) 667-0441 Hewitt Myers in 1927

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VISIONS OF INDNITY:

Design and Pattern in

August 19, 1990 - February 24,1991

VISIONS OF INFINITY: A fascination with color and

PILE CARPET FRAG-

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