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Among the Turkish pieces one finds variety in the bold tribal weavings and those less vigorous village pieces that in turn convey a sense of refinement. This contrast is well illustrated in two yastiks -- one an elegant Mucur, complete with back, in deep, rich colors of cochineal red, green and yellow; the other a rustic Karapinar with its simple blue design on a bright madder red field. Other, larger pieces also illustrate this contrast.
A centerpiece of the exhibition is an outstanding Sivrihisar, circa 1850, which perhaps is superior to a similar piece illustrated on the dust jacket of that vade mecum of Turkish rugs authored by Brüggemann and Böhmer. The disciplined design of the Sivrihisar interacts with a Melas rug, circa 1870, woven in a range of shades of aubergine setting off a striking bold red design, that hung nearby. More examples of exuberant designs and colors were to be found in several late l9th century rugs from the Konya region.
Few kilims are included in the exhibition, no doubt because the Moores had featured kilims in an exhibition mounted last year. Of those shown, this reviewer was most impressed by the colors and drawing of an old (c. 1860) Hotamis weaving.
Afshar weavings predominated among the pieces from southwest Iran. An outstanding example is a small rug, illustrated here, with good drawing and excellent use of color. Palette and design combine to create a strong sense of motion, yet this dynamic piece could also be viewed as a panel from a stained glass window. The strong and varied impressions conveyed indeed confirm this weaving's status as a work of art.
On the floor of the second room of the gallery is a large Bakhtiari carpet of 20th century origin that would be an Art Deco enthusiast's dream. The carpet is immediately appealing for its fresh representation of over-lifesize songbirds in a large tree, located off-center on a dark blue field. Wide white borders contain more birds, each faithfully drawn. What a perfect conversation piece for a large room!
Among the several small bags on display in the second room, a most appealing piece is a Qashqa'i saddle bag face woven in a wide range of natural dyes not commonly found in pieces of this type. Aubergine and shades of green are combined with the usual blues, yellow and madder reds in the typical tribal design.
This exhibition is the first for the Moores in their recently expanded gallery. The space for displaying carpets and smaller weavings has been increased 50%. The extra area is certainly put to good use in this interesting exhibition.
