File:The practical book of oriental rugs (1920) (14576861108).jpg

Summary

Identifier: cu31924014064749 (<a class="external text" href="https://commons.wikimedia.org/w/index.php?title=Special%3ASearch&profile=default&fulltext=Search&search=insource%3A%2Fcu31924014064749%2F">find matches</a>)
Title: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidcu31924014064749">The practical book of oriental rugs</a>
Year: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookyear1920">1920</a> (<a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookdecade1920">1920s</a>)
Authors: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookauthorLewis__G__Griffin__George_Griffin___b__1865">Lewis, G. Griffin (George Griffin), b. 1865</a>
Subjects: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectRugs__Oriental">Rugs, Oriental</a>
Publisher: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookpublisherPhiladelphia___London__J_B__Lippincott_company">Philadelphia & London, J.B. Lippincott company</a>
Contributing Library: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookcontributorCornell_University_Library">Cornell University Library</a>
Digitizing Sponsor: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksponsorMSN">MSN</a>

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Text Appearing Before Image:
ian looms. The ^arber pole stripes in the border, the reciprocal VanDyke design, and the wine glass figure in the widest border areall characteristic designs found in Caucasian rugs. Even the nicheis similar to other Daghestan prayer rugs. But we see at oncePersian influences in the field of the rug. The flame design as it is called here, which is in reality avariation of the familiar river loop or El-Ayassi pattern,and which is distinctly a Persian figure, is here used throughoutthe field. As if to emt>hasize the theory that the flame, whichthe early Persians worshipped, is represented by this design, eachindividual figiire is made to give off rays of light and warmth. Another interesting and noticeable feature in this rug is thatwhile in Persian fabrics like the Sereband, where this or a verysimilar design is used, the figures are almost all exactly alike,whereas here they differ considerably and no two are alike indetail. (See page 254) ^^4^v\. .^\..:\i^i:^A\^ W:- -W^. SAX \i\^S
Text Appearing After Image:
\^fk:: li^^t^ljiF/^ THE BELUCHISTAN RUGS BELUCHISTAN RUG BY COUBTEST OF HABDWICK & MAOEE COMPANT, PHILADELPHIA The geometrical or mosaic design is of secondary importance toone who studies this rug. All of the attention is claimed by thecharm of the deep mahogany coloring. The delighthil sheen of the Angora wool contributes no smallshare toward making it a most desirable furnishing. ^-^.^ THE BELUCHISTAN RUGS Beluehistan is a vast, wild and moimtainouscountry extending from Kirman to India and fromAfghanistan to the South Arabian Sea, partlyunder Persian rule and partly under the protec-tion of Great Britain. It has an area ofabout 146,000 square miles with but 800,000 popu-lation. The capital, Kelat, has a population of15,000. The inhabitants are principally Nomadtribes of primitive habits and of the Mohammedanfaith. The rugs of Beluehistan are taken wayacross Afghanistan to Bokhara to be marketed.On this account and also because of their greatlikeness to the Turkoman products th

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