1 Manastir Kilims And the Balkan Weaving Context Tim and Penny Hays September 2011 The Textile...
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Transcript of 1 Manastir Kilims And the Balkan Weaving Context Tim and Penny Hays September 2011 The Textile...
1
Manastir Kilims And the
Balkan Weaving Context
Tim and Penny HaysSeptember 2011The Textile Museum
Tim and Penny HaysSeptember 2011The Textile Museum
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Manastir Kilims And The Balkan Weaving ContextWeaving Took Place Across the Balkans
Manastir Kilims And The Balkan Weaving ContextWeaving Took Place Across the Balkans
Serbia
Romania
Bulgaria
Macedonia
Bosnia-Herzegovina
Dalmatia (Croatia)Bessarabia
3EASTERN EUROPEEASTERN EUROPE
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Kilim Weaving CentersWestern Balkans and Western Bulgaria: Urban and Organized
Kilim Weaving CentersWestern Balkans and Western Bulgaria: Urban and Organized Pirot (Serbia) Vojvodina (Serbia but more rural than Pirot) Chiprovtsy (Bulgaria) Macedonia The above are collectively known as Sarkoy in the trade and
among collectors Romania (Oltenia and Moldavia) Romania (Maramures,Banat, Hunedora: these Areas more
Rural) Bessarabia (Moldova and Ukraine) Bosnia-Herzegovia (especially after 1878)
Pirot (Serbia) Vojvodina (Serbia but more rural than Pirot) Chiprovtsy (Bulgaria) Macedonia The above are collectively known as Sarkoy in the trade and
among collectors Romania (Oltenia and Moldavia) Romania (Maramures,Banat, Hunedora: these Areas more
Rural) Bessarabia (Moldova and Ukraine) Bosnia-Herzegovia (especially after 1878)
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Production Types Eastern Bulgarian Weaving
Production Types Eastern Bulgarian Weaving
Manastir (Bulgaria) Rural, individual weavers
Pomaks (Bulgaria/Turkey) Rural, individual weavers
Kotel (Bulgaria) Urban and organized Weaving design, technique, and motifs
have more Anatolian influences
Manastir (Bulgaria) Rural, individual weavers
Pomaks (Bulgaria/Turkey) Rural, individual weavers
Kotel (Bulgaria) Urban and organized Weaving design, technique, and motifs
have more Anatolian influences
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ROMANIAWalachia - Moldavia - Transylvania
ROMANIAWalachia - Moldavia - Transylvania
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BulgariaBulgaria
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BulgariaBulgaria
Religious Background Of The WeaversReligious Background Of The Weavers
Orthodox and Roman Catholic in Romania, Bessarabia, Western Bulgaria and Serbia
Areas of mixed religious practice and ethnicity in the Balkans
Muslim in Eastern Bulgaria, Macedonia, and Bosnia Mostly Sunni In Eastern Bulgaria a significant number were
Bektashi and Alevi
Orthodox and Roman Catholic in Romania, Bessarabia, Western Bulgaria and Serbia
Areas of mixed religious practice and ethnicity in the Balkans
Muslim in Eastern Bulgaria, Macedonia, and Bosnia Mostly Sunni In Eastern Bulgaria a significant number were
Bektashi and Alevi
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THE MANASTIR WEAVING CULTURETHE MANASTIR WEAVING CULTURE
The Manastir Heartland was Eastern Bulgaria The weavers were descendants of Yoruk and
Turkman (Kizyl Bash) immigrants from Anatolia, resettled to this area by the Ottomans
Many Bektashi and Alevi Re-immigration to Western and Central Anatolia
probably began in the late 1870’s May have begun as early as the mid-1850’s
(Russo-Turkish war)
The Manastir Heartland was Eastern Bulgaria The weavers were descendants of Yoruk and
Turkman (Kizyl Bash) immigrants from Anatolia, resettled to this area by the Ottomans
Many Bektashi and Alevi Re-immigration to Western and Central Anatolia
probably began in the late 1870’s May have begun as early as the mid-1850’s
(Russo-Turkish war)
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THE MANASTIR WEAVING CULTURETHE MANASTIR WEAVING CULTURE Manastir weaving occurred in both Bulgaria and in several areas in
Anatolia In Bulgaria, production of flatweaves was the norm:
Prayer kilims Geometric ‘eye-dazzler’ and striped kilims Blanket-weave covers (striped) Non-directional kilims (various sizes) Kilim yastiks in prayer and non-directional formats Bags and trappings not known Earliest West Bulgarian kilims were geometric. Sarkoy group began
late 17th and 18th century Earliest Manastir weavings known are early- to mid-19th Century
(per Velev and Stankov)
Manastir weaving occurred in both Bulgaria and in several areas in Anatolia
In Bulgaria, production of flatweaves was the norm: Prayer kilims Geometric ‘eye-dazzler’ and striped kilims Blanket-weave covers (striped) Non-directional kilims (various sizes) Kilim yastiks in prayer and non-directional formats Bags and trappings not known Earliest West Bulgarian kilims were geometric. Sarkoy group began
late 17th and 18th century Earliest Manastir weavings known are early- to mid-19th Century
(per Velev and Stankov)
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MANASTIR WEAVING TECHNIQUEMANASTIR WEAVING TECHNIQUE Blanket weave Plain weave Tapestry Slit tapestry Brocading Only occasional use of eccentric wefting which was much more common
elsewhere in the Balkans Wefts sometimes of different diameters in a single piece Warp threads are wool or cotton but always very tightly spun. Goat hair
known in Sarkoy weavings Weft threads always wool, some cotton after turn of the 20th Century. Vertical looms Eastern Bulgarian weaving is distinctive. Differs from that of western
Bulgaria and the urban weaving centers
Blanket weave Plain weave Tapestry Slit tapestry Brocading Only occasional use of eccentric wefting which was much more common
elsewhere in the Balkans Wefts sometimes of different diameters in a single piece Warp threads are wool or cotton but always very tightly spun. Goat hair
known in Sarkoy weavings Weft threads always wool, some cotton after turn of the 20th Century. Vertical looms Eastern Bulgarian weaving is distinctive. Differs from that of western
Bulgaria and the urban weaving centers
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MANASTIR WEAVING MOTIFS AND DESIGNSMANASTIR WEAVING MOTIFS AND DESIGNS
Stripes Prayer arches (often floating) Protective amulets Hands of Fatima Multiple compartments Generally sparsely filled open fields of solid colors Designs are often austere and somewhat archaic Pre-1925 kilims were not the product of organized weaving
Stripes Prayer arches (often floating) Protective amulets Hands of Fatima Multiple compartments Generally sparsely filled open fields of solid colors Designs are often austere and somewhat archaic Pre-1925 kilims were not the product of organized weaving
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Manastir Weaving Color SchemesManastir Weaving Color Schemes Manastir weavings from Bulgaria and Anatolia have similar
colors, but probably have different dyestuffs Bulgarian production may feature:
Red from Balkan kermes or cochineal Woad blue Yellow (weld or fustic)
Anatolian production seems to utilize colors typical of the areas to which the weavers relocated: Red from madder Blue from indigo Yellows from one of several yellow dyestuffs
More contemporary weavings from this group are synthetic versions of the original color scheme
Manastir weavings from Bulgaria and Anatolia have similar colors, but probably have different dyestuffs
Bulgarian production may feature: Red from Balkan kermes or cochineal Woad blue Yellow (weld or fustic)
Anatolian production seems to utilize colors typical of the areas to which the weavers relocated: Red from madder Blue from indigo Yellows from one of several yellow dyestuffs
More contemporary weavings from this group are synthetic versions of the original color scheme
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Manastir Weaving Color SchemesManastir Weaving Color Schemes Generally fields in Manastir kilims are yellow, red, or blue Manastir kilims made in Balkans use woad rather than indigo. The
actual dye chemical indigotin is the same Greens are woad blue overdyed onto yellow Many shades of red ranging from pale pinks, purple reds, to brick
red. Possible use of beet root, rose root, cherry skins Yellows are mustard through wheat Yellow not used in weaving by Slavic Bulgarians Light sensitivity and color fastness vary considerably Wefts are white wool, or cotton and warps are white and brown
wool and cotton (or a mix) – cotton generally indicates later production
Goat hair Warps? Sometimes in Sarkoy pieces from West Bulgaria
Generally fields in Manastir kilims are yellow, red, or blue Manastir kilims made in Balkans use woad rather than indigo. The
actual dye chemical indigotin is the same Greens are woad blue overdyed onto yellow Many shades of red ranging from pale pinks, purple reds, to brick
red. Possible use of beet root, rose root, cherry skins Yellows are mustard through wheat Yellow not used in weaving by Slavic Bulgarians Light sensitivity and color fastness vary considerably Wefts are white wool, or cotton and warps are white and brown
wool and cotton (or a mix) – cotton generally indicates later production
Goat hair Warps? Sometimes in Sarkoy pieces from West Bulgaria
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Mosques in the Manastir HeartlandMosques in the Manastir Heartland
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Ali Pasha Mosque in Razgrad Tombul Mosque in Shumen In Razgrad small Manastir
prayer kilims were observed in use in the Women’s Gallery
These are two of the three largest mosques in the Balkans
Area is known to be populated by non-orthodox Muslims even today
Ali Pasha Mosque in Razgrad Tombul Mosque in Shumen In Razgrad small Manastir
prayer kilims were observed in use in the Women’s Gallery
These are two of the three largest mosques in the Balkans
Area is known to be populated by non-orthodox Muslims even today
The two slides that follow are of the images of the Bulgarian countryside in the Balkan mountains north of Pirot, Serbia and Chiprovsty, Bulgaria.
This is the landscape which supported the original Yoruk and Kizlbash Turkmen during the period of Ottoman dominance (pre-1878).
The two slides that follow are of the images of the Bulgarian countryside in the Balkan mountains north of Pirot, Serbia and Chiprovsty, Bulgaria.
This is the landscape which supported the original Yoruk and Kizlbash Turkmen during the period of Ottoman dominance (pre-1878).
Stari PlaninaStari Planina
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Stari PlaninaStari Planina
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The image that follows is of the town of Chiprovsty, Bulgaria, one of the main weaving towns in contemporary Bulgaria.
Kilims made here are a contemporary version of the Sarkoy type.
The image that follows is of the town of Chiprovsty, Bulgaria, one of the main weaving towns in contemporary Bulgaria.
Kilims made here are a contemporary version of the Sarkoy type.
ChiprovskiChiprovski
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We hope to obtain photos of the Manastir production areas of northeast and east central Bulgaria during a Fall, 2012 research trip.
We hope to obtain photos of the Manastir production areas of northeast and east central Bulgaria during a Fall, 2012 research trip.
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This is the end of the lecture.
Now we’ll look at the examples in the room.Now we’ll look at the
examples in the room.