журнал ARTCARPET ArtCarpet #6 2021 ENG - Page 25

of the carpet is supplemented with images of stylized flowers ( RME , col . 10887-1 ).
The collections of the peoples of Northern Europe include carpets of Latvian , Lithuanian , Estonian and Finnish production of both pile and lint-free weaving . The main item of the Finnish collection is Ryjy carpets from the late XVIII-30s XIX century from the Tavastgus province ( RME , col . 3028-34.35 ; 3199-1-9 ; 3200-1 ). Such carpets were woven entirely of woolen threads , high pile ( 2.0-3.5 cm ) and numerous weft runs ( 26-25 runs ). The number of knots ranged from 120 to 196 per dm2 . Craftswomen , choosing wool for work , preferred calm colours , such as brown , blue and pink . In the central field of the carpet , one can see flower rosettes and star-shaped figures , but they only complement the main semantic and visual
Smooth Carpet . Eastern Europe . Ukrainians . End of XVIII century RME , col . 3408-1

The Caucasian collections fully reflect a rich carpet weaving culture for more than two hundred years .

centre of Ryjy , which is the image of human couples and a large heart ( often with a date inside ). Such a rug was usually woven by a bride or one of her relatives to commemorate the wedding . Ryjy was an important decorative element of a Finnish rural house . Later , at the beginning of the XX century , Ryjy became a real cultural and political symbol of the “ northern modernity ”. Carpet collections of the peoples of the Baltic countries were actively formed in the second half of XX century from various sources , including the Art Fund of the USSR .
The Caucasian collections fully reflect a rich carpet weaving culture for more than two hundred years . The collection includes lintfree and pile carpets and carpet items from centres in Dagestan and the South Caucasus . The items fully reflect a variety of ornamental compositions and technological techniques . The most valuable is a pile carpet dating from the end of the XVIII century ( RME 6883-1 ). The warp and weft were made of wool and cotton with a low cut of 3 mm . The number of knots is 1564 per dm2 . The colour scheme is based on the contrast of soft ocher shades and deep indigo blue . This is an excellent example of the Baku items of the early period . Its composition is both strict and elegant . Three large polygonal medallions , located along the axis of the central field , are its semantic centre . There are grouped geometrized motifs of plant and ornithomorphic nature ( the plot of the “ bird in the crown ”). The composition is supplemented by a number of large bots ( from the Persian “ almond ”), with a vegetable filling inside . The richness of the decoration is complemented by a wide strip of kufic border . Kufi is a handwriting which is used to write the sura ’ s titles of Holy Quran . It was an early handwriting which was rectilinear , geometrically verified forms of letters , which prevailed in Muslim calligraphy until the XII century . Later , this handwriting was adapted to the ornamental style of each epoch and was used as a decorative element in works of architecture , in the design of books and in carpet patterns . On a narrow border , there is a popular decorative element in the region , an image of an apricot branch . A special technical variety in the collections is demonstrated by samples of smooth items of end of XIX – early XX century , made in the complex looping technique Soumak ( sumac ) and
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