|Subject||:||New Production, Tomorrow's Collectibles|
|Author||:||Muammar Ucar mailto:%firstname.lastname@example.org|
|Date||:||08-23-2001 on 09:38 a.m.|
|There are many carpets and kilims being produced that claim to be made
with handspun wool and natural colors but, in fact, are not. Many very
well known major manufacturers of carpets make such claims in their
advertisements. Of course, some productions are done with handspun wool
and natural dyes. Others are not, and I am sure that those carpets won't
be the collector pieces and will disappear after the first buyer and won't
return to market again.
Every collector knows that two subjects are and will be the most important in rugs. REAL handspun wool and natural colors. If they were not important, why would very loose, coarse and crooked carpets be collected?
For a collector the design isn't very important; it is only a matter of preference. The carpets and kilims woven in 1920 -1940 were traditional designs and handspun wool, but all used synthetic colors. Now there are many of them everywhere at very low prices. Some flatweaves were cut to make bags, shoes, and furniture covers. If nomadic tribes were not introduced to chemical colors, maybe today we would have more items. On the other hand, nomadic tribes were not interested in whether colors are natural or chemical.
Now, some manufacturers of carpets and kilims are considering the future, which is good news for the next millenium collectors. So far in Turkey, DOBAG is one of the best organized for using the traditional skills of weavers, professional dyers as well very conscious buyers. On the other hand, Konya's new production kilims and carpet will have their own space in the collection of millenium collectors, as Konya farmers raise sheep and the very best professional weavers are still making many future antiques. Among the producers of kilims in Konya, Ipek Yolu's kilims will be identified with their designs and colors.
I think in the future, maybe two or three centuries from now, there will be only a few who will only weave as a profession, as with painters.
|Subject||:||Re:New Production, Tomorrow's Collectibles|
|Author||:||R. John Howe mailto:%email@example.com|
|Date||:||08-23-2001 on 07:52 p.m.|
|Dear folks -
Muammar Ucar, usefully reminds of that the number of rug weavers who continue to weave between now and 2101 is another factor that will likely affect what rug collectors of that era will collect.
A couple of related observations:
First, this is something that has in the past seemed likely to bring hand-woven oriental rug production to an end. The number of those willing to weave at a price at which the rugs could be marketed fell for awhile. But situations have subsequently been encountered (not all of them sanguine) that have made it economically attractive for producers not only to weave lots of handwoven rugs these days, but to weave 3% of them with hand-spun wools and natural dyes, two usages that had largely disappeared in the past because they became relatively too expensive. Such cycles could occur in the future.
Second, it is remarkable how many people continue to pursue traditional crafts, even when the economic reasons for doing so are largely removed. In many societies, folks continue such crafts in part as a kind of celebration of their heritage. I have some Irish blood. My mother, who is a skilled seamtress, knitter and crocheter, carefully sought out traditional Irish materials, stitches and patterns and made her own permutations of them for at least 30 years, refusing ever to make one for money.
So I suspect that in Central Asia, for example, whose 19th century rugs and textiles I attempt to collect, there will be similar mothers and others who continue to pursue the traditional crafts there, including rug weaving, without much thought of economic gain. There may be much more dross than art in such pieces, but they will be full of feeling.
R. John Howe