Als Berberteppich werden die meisten der in den Maghreb-Staaten Marokko. Die Formen "Teppiches" und "Teppiche" sind veraltet. . [1, 2] Wikipedia-Artikel „ Teppich“: [1, 2] Digitales Wörterbuch der deutschen Sprache „Teppich“: . Der Afschar (persisch افشار) ist eine Teppichart, der von dem turkstämmigen Stamm der Afschar (افشار, türkische Transkription: Avşar, Afşar cmalaw.euşari. In seltenen Fällen sind Orientteppiche durch nachträglich angebrachte Inschriften zu datieren: Daraschuri -Teppiche sind denjenigen der Schischbuluki sehr ähnlich, aber gröber geknüpft. Jahrhunderts, als neue Manufakturen in Kaschan eröffnet wurden, die dann vornehmlich den Export bedienten. Das Patent auf diese sogenannten Druckteppiche , das Leopold Schoeller erhielt, wird mit den zugehörigen Zeichnungen noch im Geheimen Staatsarchiv zu Berlin aufbewahrt. Er besiegte sowohl die Afghanen als auch die Osmanen, setzte die Safawiden wieder als Herrscher ein und verhandelte mit dem Russischen Reich über die Rückgabe der kaukasischen Territorien Persiens in den Verträgen von Resht und Ganja. Die Kunst- und Kulturwissenschaften unterscheiden Orientteppiche von Teppichen europäischer Produktion. Ein Mischgarn aus merzerisierter Baumwolle mit geringer Beimischung von Seide wird im Teppichhandel als Flosch bezeichnet. Möglicherweise unterliegen die Inhalte jeweils zusätzlichen Bedingungen. Zur Eindämmung von Kinderarbeit haben der Orientteppich-Fachhandel und verschiedene Nichtregierungsorganisationen Initiativen gegründet und Zertifizierungsprogramme für Gütesiegel eingerichtet, die Verbrauchern sozialverträglichere Herstellungsmethoden signalisieren sollen. Als schönste und feinste Orientteppiche gelten nach wie vor die, welche in Persien, z. Reza Schah war der erste Monarch, dem hierzu moderne Waffen zur Verfügung standen. Es gibt viele moderne Farben und Muster in diesen Teppichen sowie varriiert die Qualität der Knüpfung auch sehr. Auch Bukhara geschrieben war eine wichtige Handelsstadt in Zentralasien und liegt heute im Sports stream live Usbekistan liegt. Während der er und er Jahre erwachte das Interesse europäischer Kunden darts world grand prix Gabbeh -Teppichen, die ursprünglich von den Nomadenstämmen für den eigenen Gebrauch hergestellt wurden, und die sich von geplantem Manufakturdesign durch ihre naiven, abstrakten Muster, die grobe Knüpfung und die Verwendung natürlicher Farben unterscheiden. Möglicherweise hat sich die Technik zu unterschiedlichen Zeiten und an unterschiedlichen Orten silent hunter online spielen. Die Muster sind traditionelle persische, überwiegend Herati, man sieht aber auch Mina Khani, Harshang, und einfachere Medaillonformen. Persien wurde ein Teil der Islamischen Welt und von Kalifen regiert. Naturfarbstoffedie in persischen Teppichen verwendet werden, werden aus Pflanzen und Insekten gewonnen. Manchmal sind die wetter in panama Zahlen unleserlich, weil die Knüpfer vielleicht nicht lesen und schreiben konnten und die Zahlen eher wie Ornamente nachahmend wiedergaben. Sie haben oftmals einen Anklang eines Isfahan Musters. Eine seltenere Variante stellt die Innenfeldaufteilung in verschieden geformte Felder auf, die auf der insel Zweigen, Blüten, Bäumen und Sträuchern, aber auch Brunnen, Vögeln und Tieren ausgemustert sind. Mit diesem Punch bets casino no deposit bonus bezeichnet arne kahlke Perser die verschiedenen Tönungen einer Farbem die ungewollt im Teppich dann auftreten, wenn z. Menschen mit unterschiedlicher Sprache können Mitglieder desselben Stamms sein. In casino angestellte bezeichnung Zeit der Mongolenherrschaft der vorangegangenen zwei Jahrhunderte wurde die Technik zur Perfektion entwickelt.
Teppich Wiki VideoLada Niva - Teppich für den Inneraum #1
wiki teppich - not agreeFeingeknüpft, kurzgeschoren mit dichter Musterung in sehr attraktiver Farbharmonie wirken diese Teppiche immer sehr attraktiv. Es kommt auch vor, dass die Knüpfer bei der Ecklösung improvisieren, also das Ornament nicht vollständig passend um die Ecke führen. Aus Indien und Pakistan stammen heute vielfach Kopien Nachknüpfungen hochwertiger, gesuchter Provenienzen. Dieser Bildteppich stammt sehr wahrscheinlich aus Lahore und ist um datiert. Es war eine wichtiges Handelszentrum während der Zeit der Seidenroute und auch den Stadt des berüchtigten Genghis Khan. Diese entwickelten in gegenseitiger Beeinflussung sowohl neue Muster und Formen, als auch neue Arbeitsprozesse. Die Analyse der Motive und Muster von Orientteppichen erlaubt es, sie einer einheitlichen Gruppe zuzuordnen und scheinbar ganz unterschiedliche Motive in einen sinnvollen Zusammenhang zu bringen.
According to Sylvette Lemagnen, conservator of the tapestry, in her book La Tapisserie de Bayeux:. The Bayeux tapestry is one of the supreme achievements of the Norman Romanesque Its survival almost intact over nine centuries is little short of miraculous Its exceptional length, the harmony and freshness of its colours, its exquisite workmanship, and the genius of its guiding spirit combine to make it endlessly fascinating.
The cloth consists of some fifty scenes with Latin tituli , embroidered on linen with coloured woollen yarns.
In the hanging was rediscovered by scholars at a time when it was being displayed annually in Bayeux Cathedral. The designs on the Bayeux Tapestry are embroidered rather than woven, so that it is not technically a tapestry.
It can be seen as a rare example of secular Romanesque art. Tapestries adorned both churches and wealthy houses in Medieval Western Europe, though at 0.
Only the figures and decoration are embroidered, on a background left plain, which shows the subject very clearly and was necessary to cover large areas.
It is expected to be exhibited at the British Museum in London, but not before It will be the first time that it has left France in years. The earliest known written reference to the tapestry is a inventory of Bayeux Cathedral ,  but its origins have been the subject of much speculation and controversy.
The reasons for the Odo commission theory include: Anglo-Saxon needlework of the more detailed type known as Opus Anglicanum was famous across Europe.
It was perhaps commissioned for display in the hall of his palace and then bequeathed to the cathedral he built, following the pattern of the documented but lost hanging of Byrhtnoth.
Carola Hicks has suggested it could possibly have been commissioned by Edith of Wessex. Florent in the Loire Valley, and says the detailed depiction of the Breton campaign argues for additional sources in France.
In common with other embroidered hangings of the early medieval period , this piece is conventionally referred to as a "tapestry", although it is not a true tapestry in which the design is woven into the cloth; it is in fact an embroidery.
The Bayeux tapestry is embroidered in crewel wool yarn on a tabby-woven linen ground The main yarn colours are terracotta or russet, blue-green, dull gold, olive green, and blue, with small amounts of dark blue or black and sage green.
Later repairs are worked in light yellow, orange, and light greens. Events take place in a long series of scenes which are generally separated by highly stylised trees.
The tituli are normally in the central zone but occasionally use the top border. The borders are otherwise mostly purely decorative and only sometimes does the decoration complement the action in the central zone.
The decoration consists of birds, beasts, fish and scenes from fables, agriculture, and hunting. There are frequent oblique bands separating the vignettes.
There are nude figures, some of corpses from battle, others of a ribald nature. The end of the tapestry has been missing from time immemorial and the final titulus "Et fuga verterunt Angli" "and the English left fleeing" is said to be "entirely spurious", added shortly before at a time of anti-English sentiment.
In a linen backing cloth was sewn on comparatively crudely and, in around the year , large ink numerals were written on the backing which broadly enumerate each scene and which are still commonly used for reference.
In a series of pictures supported by a written commentary the tapestry tells the story of the events of — culminating in the Battle of Hastings.
The two main protagonists are Harold Godwinson , recently crowned King of England, leading the Anglo-Saxon English, and William, Duke of Normandy , leading a mainly Norman army, sometimes called the companions of William the Conqueror.
William became Duke of Normandy at the age of seven and was in control of Normandy by the age of nineteen. His half-brother was Bishop Odo of Bayeux.
King Edward the Confessor , king of England and about sixty years old at the time the tapestry starts its narration, had no children or any clear successor.
At that time succession to the English throne was not by primogeniture but was decided jointly by the king and by an assembly of nobility, the Witenagemot.
The Norman chronicler William of Poitiers  reported that Edward had previously determined that William would succeed him on the throne, and Harold had sworn to honour this, and yet later that Harold had claimed Edward, on his deathbed, had made him heir over William.
However, other sources, such as Eadmer dispute this claim. The tapestry begins with a panel of Edward the Confessor sending Harold to Normandy.
On the way, just outside the monastery of Mont Saint-Michel , the army become mired in quicksand and Harold saves two Norman soldiers.
Harold leaves for home and meets again with the old king Edward, who appears to be remonstrating with him. William orders his men to find food, and a meal is cooked.
Messengers are sent between the two armies, and William makes a speech to prepare his army for battle. The Battle of Hastings was fought on 14 October less than three weeks after the Battle of Stamford Bridge but the tapestry does not provide this context.
The English fight on foot behind a shield wall , whilst the Normans are on horses. King Harold is killed. The final remaining scene shows unarmoured English troops fleeing the battlefield.
The last part of the tapestry is missing but it is thought that the story contained only one additional scene. Tituli are included in many scenes to point out names of people and places or to explain briefly the event being depicted.
The first reference to the tapestry is from when it was listed in an inventory of the treasures of Bayeux Cathedral.
It survived the sack of Bayeux by the Huguenots in ; and the next certain reference is from He had no idea where or what the original was, although he suggested it could have been a tapestry.
Chaudary Mukhtar Ahmad Member son of Maher Ganda introduced and taught this art to locals and immigrants. He is considered founder of this industry in Pakistan.
Sangla Hill is now a focal point in Carpet Industry in Pakistan. Almost all the exporters and manufacturers who are running their business at Lahore, Faisalabad and Karachi have their area offices in Sangla Hill.
The Persian carpet is a part of Persian Iranian art and culture. Carpet- weaving in Persia dates back to the Bronze Age. The earliest surviving corpus of Persian carpets come from the Safavid dynasty — in the 16th century.
However, painted depictions prove a longer history of production. There is much variety among classical Persian carpets of the 16th and 17th century.
Common motifs include scrolling vine networks, arabesques , palmettes , cloud bands , medallions, and overlapping geometric compartments rather than animals and humans.
The majority of these carpets are wool, but several silk examples produced in Kashan survive. Scandinavian rugs are among the most popular of all weaves in modern design.
Preferred by influential modernist thinkers, designers, and advocates for a new aesthetic in the mid-twentieth century, Scandinavian rugs have become very widespread in many different avenues of contemporary interior design.
With a long history of adaptation and evolution, the tradition of Scandinavian rug-making is among the most storied of all European rug-making traditions.
Turkish carpets also known as Anatolian , whether hand knotted or flat woven, are among the most well known and established hand crafted art works in the world.
The carpets are always hand made of wool or sometimes cotton, with occasional additions of silk. These carpets are natural barriers against the cold.
Turkish pile rugs and kilims are also frequently used as tent decorations, grain bags, camel and donkey bags, ground cushions, oven covers, sofa covers, bed and cushion covers, blankets, curtains, eating blankets, table top spreads, prayer rugs and for ceremonial occasions.
The majority of them represent geometric and stylized forms that are similar or identical to other historical and contemporary designs. The knotted rug is believed to have reached Asia Minor and the Middle East with the expansion of various nomadic tribes peoples during the latter period of the great Turkic migration of the 8th and 9th centuries.
Famously depicted in European paintings of The Renaissance , beautiful Anatolian rugs were often used from then until modern times, to indicate the high economic and social status of the owner.
Women learn their weaving skills at an early age, taking months or even years to complete the beautiful pile rugs and flat woven kilims that were created for their use in every aspect of daily life.
As is true in most weaving cultures, traditionally and nearly exclusively, it is women and girls who are both artisan and weaver. It is useful to distinguish between the original Turkmen tribal rugs and the rugs produced in large numbers for export in the s, mainly in Pakistan and Iran.
The original Turkmen rugs were produced by the Turkmen tribes who are the main ethnic group in Turkmenistan and are also found in Afghanistan and Iran.
They are used for various purposes, including tent rugs, door hangings and bags of various sizes. Oriental carpets began to appear in Europe after the Crusades in the 11th century, due to contact by Crusaders with Eastern traders.
Until the midth century they were mostly used on walls and tables. Except in royal or ecclesiastical settings they were considered too precious to cover the floor.
Starting in the 13th century oriental carpets begin to appear in paintings notably from Italy, Flanders, England, France, and the Netherlands.
Although isolated instances of carpet production pre-date the Muslim invasion of Spain, the Hispano-Moresque examples are the earliest significant body of European-made carpets.
Documentary evidence shows production beginning in Spain as early as the 10th century AD. The earliest extant Spanish carpet, the so-called Synagogue carpet in the Museum of Islamic Art, Berlin, is a unique survival dated to the 14th century.
The earliest group of Hispano-Moresque carpets, Admiral carpets also known as armorial carpets , has an all-over geometric, repeat pattern punctuated by blazons of noble, Christian Spanish families.
The variety of this design was analyzed most thoroughly by May Beattie. Many of the 15th-century, Spanish carpets rely heavily on designs originally developed on the Anatolian Peninsula.
Carpet production continued after the Reconquest of Spain and eventual expulsion of the Muslim population in the 15th century. Two of the most popular motifs are wreaths and pomegranates.
During the Moorish Muslim period production took place in Alcaraz in the province of Murcia, as well as being recorded in other towns.
Carpet production after the Christian reconquest continued in Alcaraz while Cuenca , first recorded as a weaving centre in the 12th century, became increasingly important, and was dominant in the 17th and early 18th century.
Cuenca was closed down by the royal degree of Carlos IV in the late 18th century to stop it competing with the new workshop. Madrid continued as a weaving centre through to the 20th century, producing brightly coloured carpets most of whose designs are strongly influenced by French carpet design, and which are frequently signed on occasions with the monogram MD; also sometimes with the name Stuyck and dated in the outer stripe.
After the Spanish civil war General Franco revived the carpet weaving industry in workshops named after him, weaving designs that are influenced by earlier Spanish carpets, usually in a very limited range of colours.
Pirot carpet [a] Serbian: Pirot kilims with some ornaments and 96 different types have been protected by geographical indication in They are one of the most important traditional handicrafts in Serbia.
In the late 19th century and up to the Second World War, Pirot kilims have been frequently used as insignia of Serbian and Yugoslav royalty.
This tradition was revived in when Pirot kilims were reintroduced for state ceremonies in Serbia. Carpet weaving in Pirot dates back to the Middle Ages.
Pirot was once the most important rug-making centre in the Balkans. Pirot is located on the historical main highway which linked central Europe with Constantinople.
The Pirot carpet varieties are also found in Bulgaria and Turkey, and in many other international collections. One of the chief qualities are the colour effects achieved through the choice and arrangement of colours.
In the beginning of the 19th century plant dyes were replaced by aniline colourings. The designs are extremely pretty, and the rugs, without being so heavy as the Persian, or so ragged and scant in the web and woof as Caramanian, wear for ever.
The manufacture of these is almost entirely confined to Pirot. The Chiprovtsi carpet Чипровци килим is a type of handmade carpet with two absolutely identical sides, part of Bulgarian national heritage, traditions, arts and crafts.
Its name is derived from the town of Chiprovtsi where their production started in the 17th century. The carpet weaving industry played a key role in the revival of Chiprovtsi in the s after the devastation of the failed Chiprovtsi Uprising against Ottoman rule.
They earn only five francs a month and the payment was even lower before". In , the locals founded the Manual Labour carpet-weaving cooperative society, the first of its kind in the country.
Work is entirely manual and all used materials are natural; the primary material is wool, coloured using plant or mineral dyes.
In recent decades, however, the Chiprovtsi carpet industry has been in decline as it had lost its firm foreign markets. As a result, the town and the municipality have been experiencing a demographic crisis.
This production was soon moved to the Savonnerie factory in Chaillot just west of Paris. They are densely ornamented with flowers, sometimes in vases or baskets, against dark blue or brown grounds in deep borders.
The designs are based on Netherlandish and Flemish textiles and paintings. These masterpieces, made under the artistic direction of Charles Le Brun , were never installed, as Louis XIV moved the court to Versailles in Pierre-Josse Joseph Perrot Q is the best-known of the mid-eighteenth-century carpet designers.
His many surviving works and drawings display graceful rococo s-scrolls, central rosettes, shells, acanthus leaves, and floral swags.
The Savonnerie manufactory was moved to the Gobelins in Paris in Carpet production in small, privately owned workshops in the town of Aubusson began in Carpets produced in France employ the symmetrical knot.
Knotted pile carpet weaving technology probably came to England in the early 16th century with Flemish Calvinists fleeing religious persecution.
Because many of these weavers settled in South-eastern England in Norwich the 14 extant 16th and 17th century carpets are sometimes referred to as "Norwich carpets.
All but one are dated or bear a coat of arms. Like the French, English weavers used the symmetrical knot.
There are documented and surviving examples of carpets from three 18th-century manufactories: Exeter —, owned by Claude Passavant , 3 extant carpets , Moorfields —, owned by Thomas Moore, 5 extant carpets , and Axminster —, owned by Thomas Whitty , numerous extant carpets.
Exeter and Moorfields were both staffed with renegade weavers from the French Savonnerie and, therefore, employ the weaving structure of that factory and Perrot-inspired designs.
Neoclassical designer Robert Adam supplied designs for both Moorfields and Axminster carpets based on Roman floor mosaics and coffered ceilings. Axminster carpet was a unique floor covering made originally in a factory founded at Axminster, Devon, England, in by the cloth weaver Thomas Whitty.
Resembling somewhat the Savonnerie carpets produced in France, Axminster carpets were symmetrically knotted by hand in wool on woolen warps and had a weft of flax or hemp.
Like the French carpets, they often featured Renaissance architectural or floral patterns; others mimicked oriental patterns. Similar carpets were produced at the same time in Exeter and in the Moorfields section of London and, shortly before, at Fulham in Middlesex.
The Whitty factory closed in with the advent of machine-made carpeting. The name Axminster, however, survived as a generic term for machine-made carpets whose pile is produced by techniques similar to those used in making velvet or chenille.
Machine woven carpet is an investment that will last 20 or 30 years and woven Axminster and Wilton carpets are still extremely popular in areas where longevity and design flexibility are a big part of the purchasing decision.
Hotels and leisure venues almost always choose these types and many homes use woven Axminsters as design statements.
The finished result, which can be intricately patterned, creates a floor that provides supreme underfoot luxury with high performance.
Tufted carpets are also popular in the home. They are relatively speedy to make - a pre-woven backing has yarns tufted into it. Needles push the yarn through the backing and which is then held in place with underlying "loopers".
Tufted carpets can be twist pile, velvet, or loop pile. Twist pile carpets are produced when one or more fibres are twisted in the tufting process, so that in the finished carpet they appear to be bound together.
Velvet pile carpets tend to have a shorter pile and a tighter construction, giving the finished article a smooth, velvety appearance. Loop pile carpets are renowned for being hard wearing and lend carpets great texture.
The traditional domain of rugs from far away continents, hand knotted squares and rugs use the expertise of weavers to produce work of the finest quality.
Six of Axminster carpets are known as the "Lansdowne" group. These have a tripartite design with reeded circles and baskets of flowers in the central panel flanked by diamond lozenges in the side panels.
Axminster Rococo designs often have a brown ground and include birds copied from popular, contemporary engravings. Even now a large percentage of the 55, population town still seek employment in this industry.
The town of Wilton, Wiltshire is also known for its carpet weaving, which dates back to the 18th century. The Brussels Loom was introduced into England towards the middle of the eighteenth century marked the beginning of a new era in carpet-weaving.
It was the first loom on which a pile carpet could be woven mechanically, the pile consisting of rows of loops, formed over wires inserted weftwise during weaving and subsequently withdrawn.
Brussels was the first type of carpet to be woven in a loom incorporating the jacquard pattern selecting mechanism and in power was applied to the loom by Biglow in the U.
Later when bladed wires were developed the pile loops were severed on withdrawal of the blade wires to produce a carpet known as Wilton, after this development the loom became known as the Wilton loom, and in modern usage the designation Wilton applies to both cut-pile and loop-pile carpets made in this loom.
The latter now variously described as Brussels-Wilton, round wire Wilton, loop-pile Wilton, and round wired jacquard. The methods of manufacture, including the principles of designing, preparatory processes, and weaving, are the same in most respects for both Brussels and Wilton qualities.
The chief difference between them is that whereas Brussels loop-pile is secured satisfactorily by the insertion of two picks of weft to each wire 2-shot , the Wilton cut-pile is woven more often with three picks of weft to each wire 3-shot to ensure that the tufts are firmly secured in the carpet backing.
Brussels carpets have a smooth slightly ribbed surface and their patterning is well defined, a characteristic feature of the carpet. Closeness of pile rather than height contributes to their neat appearance and hard wearing properties, although they do not simulate the luxury of cut-pile carpets.
The looms could incorporate up to 5 frames all with different colours thus enabling figured or pattern carpets to be manufactured. With judicial and very skilful planting of colours in the frames the number of colours could be increased to about twenty, thus enabling very complex designs to be produced.
Bayeux raven banner 2. Bayeux Tapestry comet Halley Harold. Bayeux Tapestry Eustache de Boulogne. Bayeux Tapestry Horses in Battle of Hastings.
Bayeux Tapestry in the museum. Bayeux tapestry laid work detail.. Bayeux Tapestry scene23 Harold oath William. Bayeux Tapestry scene23 Harold sacramentum fecit Willelmo duci.
Bayeux Tapestry scene Harold coronation. Bayeux Tapestry scene31 detail Stigand. Bayeux Tapestry scene32 Halley comet. Bayeux Tapestry scene43 banquet Odo.
Bayeux Tapestry scene43 banquet. Bayeux Tapestry scene44 William Odo Robert. Bayeux Tapestry scene51 Battle of Hastings Norman knights and archers.
Bayeux Tapestry scene55 Eustach. Bayeux Tapestry scene55 William Hastings battlefield. Bayeux Tapestry scene55 William lifting his helmet.
Bayeux Tapestry scene55 William on his horse. Bayeux Tapestry scene57 Harold death cropped.
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