1. Dear folks –
A few years ago, Daniel Walker,
speaking as the Director of the Textile Museum, began his presentation at a rug
conference by asking where the next generations of rug and textile collectors, textile
museum supporters and textile conference goers are to come from.
A titter ran through the audience.
Don't laugh," Dan cautioned, "there's hardly anyone in this room under 40."
It got quiet.
And, of course, all of us, rug collectors and enthusiasts, who frequent rug and textile
museums, exhibitions, conferences and clubs, are nearly constantly aware of the relative
absence of younger faces in this world.

2. Various strategies are being employed in efforts to draw the potential future
generations, but many of these seem to me to be predicated on the assumption that
the traditional material, residing in the various collections, institutional and private, is
not an asset, and that this drawing in must be based on contemporary textiles.
This is a post about an effort that attracts my eye because it does not "give up" on
the possibility that younger people might be encouraged to engage with traditional
rugs and textiles, and does so in a way that reserves to them the character of their
response.
The folks who have done this, are members of the Montreal Oriental Rug Society,

3. led, in this effort, by Giuseppe Di Leo.

4. In this post, I am going to present, mostly, a virtual version of the catalog
that was produced as part of this effort and exhibition, but I am also going
to talk to it, as I go along.
I will draw primarily on the catalog materials, but will also use some
others, I have been given on the side. As indicated elsewhere, I will also
sometimes supplement with outside images, to illustrate text points, as
well as to relieve fatigue from extended text reading on a monitor.
My treatment will not follow the catalog sequence, nor does it pretend to
be complete.
It will be long, but I think I can predict it will be interesting. Coffee and
wine breaks are allowed, even encouraged.
I have also, occasionally, indulged in modest editing, but hope not to
have intruded on the fact that these responses were created by members
of the Dawson College community, mostly student, but also some faculty.

5. A Canadian Distinction
It may be useful to provide a description of the college
system in Quebec. This to dispel any confusion between
“university-level” students in both Canada and the US, on one
hand, and “college” ( or pre-university) students in Quebec,
on the other. The latter are generally a year or two younger.
Students in the province of Québec who intend to pursue
post-secondary education must attend a General and
Vocational College before enrolling in a Quebec university.
Dawson College, the school the Montreal Oriental Rug
Society worked with in this project and exhibition, is such a
“pre-university ‘college’.”
Giuseppe Di Leo, who headed this effort, is a member of the
Fine Arts faculty of Dawson College.

6. The “Logic” of the Effort
The basic logic of the Montreal club’s design was familiar (quilter
“challenges” are often based on it, and, as I write, The Textile
Museum has an exhibition hanging that asked noted fiber artists to
look in the TM archives and choose a piece or pieces to serve as an
inspiration for a contemporary textile they would create).
But what attracted my eye, in particular, is the way the Montreal club
used this design to draw a particular group of students into traditional
woven materials, while reserving to them the unencumbered
opportunity to respond to them on their own terms.
To repeat: the Montreal club demonstrated that the traditional
materials in most textile museum collections are not necessarily a
disadvantage in efforts to engage new generations.
Giuseppe says more about how they did this in his catalog forward
which follows.
Note: I have added some images that are not in the catalog both to illustrate and break up the sometimes,
intensive, text only, passages.

7. Forward (this is Giuseppe, writing)
Oriental carpets, among other forms of woven goods, have been part of the
rich, material culture of Central Asia and Western Europe.
They are integral to both secular and religious circles and have become
expressions of social status, aesthetic appeal, and emblematic markers of
tribal clans. Unlike other aesthetic forms of high art expression, however,
these items were functional for everyday use. Indeed, their tactile, but
lustrous, nature made them appropriate to keep the floors underfoot warm,
to rest or to sleep on, and to act as a mat for worshipping. Their makers
cherished these necessary objects of daily use and saw them as worthy of
artistic embellishment.

8. Anatolia’s carpet history is rich and colorful with blends of different cultures, languages
and ethnicities. In itself, this history may have been enough to satisfy a curator’s impetus
to mount an exhibition of antique Anatolian woven products, within the confines of an
equally vibrant college community.
Installation, Warren Flowers Art Gallery Dawson College, Montreal, Canada

9. I felt compelled, however, to add another dimension. Given my experience as a teaching
artist of 25 years at this institution, simply presenting ethnographic material in the
conventional manner for public education could not completely satisfy my desire for
interactive responses. Instead, I wanted to engage students beyond the mere cursory
looking at historical objects not immediately available within their experience.

10. How to temporarily distract them from the pulse of youth culture,
Warcraft III iphone
Relationships
StuDIES
Facebook
Concerts
Athletics
and, more importantly, how to enrich their experience of discovery and connection, through
positive reception of these textiles, were questions I had to address.
Inevitably, the challenge was daunting, but the idea to convene a manageable group of
students of diverse fields of study and ask them to creatively respond to images of rugs,
intended for an exhibition, seemed an innocuous, but effective, approach.

11. The process was as simple as casting a net, though without any guarantee of gathering
participants.

12. Equipped with a slide presentation,
and with guided assistance,
I visited a number of classes and followed up with a talk about the rug making process,
the weavers that made them, dyes, symbols and design, period of manufacture, purpose,
and their relevance then and today.

13. I then invited the students to select one
rug out of many illustrated in the power
point presentation that struck them in
some sense, and to fashion a response to
it and submit it. I pointed out their
response may be informed from within
their discipline of study.
We would “jury” the submitted responses
and select a number of them.
These selected responses would appear
in the exhibition, where that was possible,
next to the rugs to which they responded.
These responses would also appear in
similar ways in the catalog.

14. So why participate?
I explained a number of reasons.
In contributing to this project, a student would, inextricably, become implicated in a
community undertaking and, with their voice, draw the community’s attention.
Their inspiration and intimate responses to these woven objects would also empower
them to convey a message acknowledging the richness of cultural diversity over the
cultural differences that set apart and alienate regions and societies.

15. Sue Elmslie, literature teacher of the Song and Poem
course, was very receptive in introducing this idea as a
springboard for an assignment in her course.
Andrew Katz, of the English department, and a coordinator of the
SPACE initiative, was instrumental, and largely responsible for,
drawing the attention of students and faculty beyond my grasp.

16. Several faculty members, who were significant in attending to students as well, took it
upon themselves to contribute to creating a work.
Several students and faculty availed themselves of the resources offered by members of
the Montreal Oriental Rug Society, who were readily available in answering questions.
The “Anatolian project,” as it was dubbed, became a directed project, with the expressed
hope of inclusion, irrespective of a student’s course or program.
MORS members Bruce Young and Jim Hampton, Pres. Frank Mulvey, Artist and Faculty

17. What is manifested in the exhibition and in this catalogue, through artwork, creative writing,
documentation and science analysis, are students’ desires to contribute beyond the scope of their
studies towards participating in events designed to enrich our community and their own welfare.
Anatolian Rugs; Spirited Reflections
And within such an endeavour, it was my aspiration, after all, to share through both the student’s
language, and that of the rug enthusiast, my passion for beautifully crafted woven items.
Giuseppe Di Leo,
Faculty Fine Arts
Director, Warren Flowers Art Gallery
Dawson College, Montreal

18. The catalog begins with a still by two
Cinema and Communications students
Max Marin and David Allen. Their
contribution was a video presentation of
an interview with Montreal dealer and
MORS member Mourad Ozcanian.
Below is their statement.
Anatolian Carpets: Through the Eyes of Mourad
Our ambition is to present the cultural and traditional values of these carpets in Montreal compared
to those of the Anatolian homeland through a filmed documentary. These pieces of art have, as
some would say, devolved into a corporate endeavor, yet the expressions and symbols of the past
are still present in every carpet. Mourad is a collector and distributor of these antique carpets. His
interpretation and insight of the uses of these masterful carpets, while offering a glimpse of the
Anatolian carpet trade in Istanbul, makes up the bulk of this video project. Whether it’s here in the
heart of the western world or across the globe in the birthplace of these artistic pieces, every carpet
has a story and everybody involved day to day with these works can shed some light on what
Anatolian carpets really mean today.

19. Bruce Young, a member of the Montreal Oriental Rug Society, wrote this catalogue introduction:
Antique Anatolian Carpets and Textiles
Anatolian weaving means many different things to many different people. The region
referred to by rug collectors as Anatolia would, today, cover much of modern Turkey.
Although weaving has undoubtedly taken place in this region for thousands of years, the
oldest surviving examples date back to at least the 13th century. Precise dating of these
fragments is uncertain and is largely based on the age of the mosques where they were
found or on other ancient accounts that are simply inconclusive.
The evolution of Anatolian weaving, since the 13th century, is best understood by
examining the many cultural and political changes that were occurring at that time.
Design and colour in textiles from this period were influenced by many factors, including;
the expansion of the Muslim faith in the region, by
the Seljuk Turks, followed by the Ottomans, the
silk trade with the Far East and, the tribal and
often nomadic nature to the peoples inhabiting
the remote regions of this vast territory.

20. At approximately the same time, the Ottomans were capturing Constantinople and
establishing an empire that would last until the end of the First World War, Anatolian
weavers were producing carpets that were fervently sought out by the rich and powerful
Europeans of that time.
A testament to the great value that was placed on these carpets is the manner in which
Anatolian carpets were portrayed in Renaissance paintings by such artists as Hans
Holbein (1498-1543), Lorenzo Lotto (1480-1556) and Hans Memling (1430-1494).
Magnificent Anatolian carpets were displayed on the tables and floors of the wealthy and
on the altars of cathedrals. Descriptions of Anatolian carpets still refer today to the
“Holbein pattern” or the “Memling gull” and have a direct link back to the design elements
found in the carpets displayed in these 600 year-old paintings.

21. The design, dyes, weave and tradition of Anatolian pieces from this period provided a
basis for the development of Anatolian rugs through the 18th and 19th centuries. During
this period, the complexity, the bright and vibrant dye colours, the predominantly wool
construction and the use of the symmetrical knot are where the similarities between
Anatolian weaving ends.
The stylized flowers and curvilinear designs, found in some Western and Central
Anatolian carpets, are in contrast to the dominant geometric and rectilinear designs of
Eastern Anatolian weaving.
The coarse weave of the Konya rugs and tribal Yöruks have a much different look and
feel when compared to the denser weave of the Gördes prayer rug or Kula.
The classic sejjadeh or prayer rug size was frequent, but so, too, were the heybe, or
small bags, and yastik, or “cushion” rug.

22. Anatolian rugs and textiles from the Ottoman period were not woven by machines or
mass produced, but were hand-woven by men and women for use in grand Ottoman
palaces and mosques, to decorate the floors and walls of tents, or carry grain and salt to
markets.
The art of Anatolian weaving evolved through this period, apprentices learning from
master weavers, daughters learning from mothers. Weavers were guided by and
borrowed from traditional design, but added new elements, reflecting changing cultural
influences, a nomadic way of life or simply artistic licence. In nomadic tribes, women
were the weavers, proudly passing on traditions, patterns and colours through natural
dyes, from grandmother to daughter to granddaughter.
This is how Anatolian weaving developed from the time of Holbein to the First World War.

23. Nineteenth century Central Anatolian Mucur, Kirşehir and Ladik prayer rugs, early 19th
century Western Anatolian Demerci rugs, the tribal Yöruk rugs of Eastern Anatolia, 19th
century Western Anatolian Monastir rugs, Malatya and Gaziantep Anatolian Kurdish rugs,
Transylvanian designs and antique tribal kilims are part of a collection of Anatolian
weaving that is as much art as utilitarian, as much a representation of diversity of culture
as it is commerce.

24. Zoe Worsnip, a Liberal Arts student respondent, chose the catalog cover rug for her focus. She wrote
about the “Holbein” gol that decorates its field.
Yoruk Rug
First half 19th century
Malayta, Kurdish, Eastern Anatolia
112/124 x 249 cm
This piece, even with some condition issues, illustrates the lustrous wool and beautiful dye colours
employed by Kurdish weavers in the mountainous Malatya region of Central/Eastern Anatolia.
Of particular interest is the use of the Holbein motifs in the three remaining “Sandikli” guls.

25. Here is what Zoe wrote:
Holbein Motif
The earliest known creations of Turkish rugs date back to the 14th century. In fact, most surviving
copies were designed for commercial purposes and traded throughout the Orient, reaching the far
corners of Europe by the 16th century. Given the distance to which these creations were distributed,
only a careful analysis of a rug’s intricate pattern, colour and weaving could shed light on their
origins.
In order to understand the origins of early Turkish rugs, researchers began separating abstract
patterns into classes of distinctive geometric repetitions. These patterns were oftentimes depicted in
Renaissance paintings and, as a result came to be designated by the name of their painter.

26. One of the most important instances of this phenomenon
is the Holbein motif, depicted in The Ambassadors (1533)
by Hans Holbein the Younger.
The Holbein motif is one of the earliest Turkish rug designs, used from prior to the 15th century up
until the second part of the 19th century. This design typically takes two different forms: the small
patterned Holbein and the large patterned Holbein. Both types are made up of an octagon paired
with a gol motif. A gol motif is considered to be a tribal emblem of such nomadic people as the
Slaghur or Salor Turkoman, who were central weavers of the time. The larger design,
present in this Yoruk from the Malatya region and dating to 1800, depicts the larger Holbein, which
contains greater Islamic strapwork detailing its interior forms. The Holbein design’s long-standing use
even permeated into rug motifs made by Islamic and post-Islamic Spain, as well as Egypt.
Nevertheless, its depiction in western paintings remains one of the most popular and recognized
representations of early Turkish rug creations.

27. Holbein’s Ambassadors depicts two men, Jean de Dinteville and George de Selve, on opposite sides
of a table, symbolizing the secular and religious powers in fifteenth century Europe.
While both men appear to rival each other, they are overshadowed by the series of objects strewn
across the large Turkish rug covering the table. These objects portray the recent advances in
science and other technologies. Innovations such as these greatly affected the efficiency of
exploration, eventually giving rise to the Age of Discovery.

28. The Turkish rug, found underneath various tokens of the Renaissance, presents the basis of all other
fourteenth and fifteenth century innovations: capital.
As trade increased, materialist desires did too, prompting a desire for luxurious and exotic things such
as the Turkish rug. Creations such as these came to be traded through the increasingly numerous
Oriental trade routes. Increase in trade meant economic security, which fuelled all other sectors,
such as arts and sciences.
Thus, the presence of a Turkish creation in western European art bears witness to the rise in
economic power of the European states, which could be seen as a building block toward all other
Renaissance achievements.

29. Erin Lacelle, a Graphics Design student, with a background in science, chose the rug on the left
below for her response. Her response is the image on the right.
Double–Niche Demirci Kula Electron Mircrogaph of Plant and Animal
Tissues
(magnified 10 million times actual size)

30. Here is the gallery label on the Demirci Kula rug.
Double–Niche Demirci Kula
Late 19th century
Western Anatolia
121 x 171 cm
The design of this rug is based on the variant of a double-niche “Transylvanian” rug with design
similarities notable with a Transylvanian rug fragment you will see later in the exhibition. An
almost exact replica of this rug is found on the cover of the book “Carpets of the Orient,” by Ladmilla
Kyborla and Dominique Darbois.

31. And here is the catalog description
of Ms. Lacelle’’s micrograph response image.
With this project, the designer aims to expose the public to the beauty of the shapes and
structures traditionally exhibited exclusively to the scientific community. The response to
the Kemirci Kula was produced using electron micrographs, which were used with permission
from Dartmouth University’s database. The images are samples of a walnut stem, mamallian
lung tissue and mamallian pancreatic tissue, magnified up to 10 million times their actual size.

32. And here is a one-quarter detail of the complete image to let you better see the detail in this
imaginative response.

33. The Demirci Kula rug inspired two other student responses.
First, it inspired the poem below by Marie-Claude Gill-Lacroix.
Demerci Kula
Feeling of the knees that once were pressed
White marks where the weave is distressed
Those prayers, they weighed
Flowered skirts: prone are the followers
Blue petals flirt with legs of bobbers
Blooms for an hour
Prayer rug for a ancient Turk
Flowers bloom for a young girl’s work
Tremendous worth
Demerci Kula on the wall
Raised at last, no prayer, no fall
Poised and stretched tall

34. The Demirci Kula rug also drew a response from
Armen Keuchguerian, a Fine Arts student. This is
how he described his graphic submission.
I chose the Demirci Kula 19th century rug as
my source of inspiration due to its very captivating
intricate designs, patterns and colors.
The deep blue and the red ornate center enclosed
within a light frame of flowers, evokes a narrative
I try to grasp within my piece.

35. A late 19th century
Mucur rug, with a niche
format, also drew several
responses.
Mucur Prayer Rug
Last quarter, 19th century
Mucur (Mudjur), Central Anatolia
118 x 178 cm
A prayer rug from the Central
Anatolian region. Although best
described as a Mucur, the rug
shows many design elements
associated with the Kaysehir
weaving area. Classic use of red
wefts, combined with red mihrab,
outlined in light blue and set of a
green field. Of particular interest
are he design elements in the
center of the mihrab.

36. First, Michael Oberman, a student in history and economics, wrote the essay
below, focused on this rug.
Beyond the Prayer Rug : Window Into the Culture of Time
The history of the later Ottoman Empire is rife with intense paradoxes.
Having survived immense decline throughout the 18th century, the Ottoman
Empire would experience a resurgence which would allow it to survive
another century, finally ending with the First World War. Even stranger than
the empire’s unexpected revival ,is the fact that these economic, social and
political advancements were, for the most part, diffused from generations of
prolonged conflict and social interactions with Christian Europe. However,
this is not to say that the Ottoman Empire was under-developed, in fact, the
traditional view of the backwards and savage Islamic world has been
revisited in recent years to acknowledge the “advanced and cosmopolitan”
(Philliou, 1) qualities the empire exhibited as a whole. This is not to say that
the Ottoman Empire existed in a perpetual utopian existence. The decline
throughout the 18th century had created numerous social conflicts and
Ottoman art like this Anatolian rug reflected the anomalies which existed in
modern-day Turkey throughout the 19th century.

37. The first event of interest to us when examining this Mucur rug was the
growing industrialization of the Anatolian rugs during the 19th century. The
rich of Europe saw no problem with fighting a theological war with Turkey,
while simultaneously consuming their luxury goods, and as a result
“European demand for ‘oriental carpets’ mounted rapidly” (Quataert, 2). As to
why this demand suddenly appeared, it is possible to cite the increase in
wealth caused by the Industrial Revolution happening in Europe at the time.
To compensate for this increased demand Christian workers began to be
allowed in the rug industry. Also of note is the rise in power of the Phanariots
experienced about the same time period (Philliou, 10). The Phanariots were
a network of Christian elite “intimately bound up with the Ottoman
government (Philliou, 13). Considering the plethora of influences, at the time,
it is no surprise then that there was a possible theocratic exchange that took
place, undetected by both parties involved. This phenomenon serves to
explain the presence of anchors, traditional Christian symbols, on an Islamic
prayer rug.

38. The anchor, drawing off its literal use, is seen in Christian theology as a sign
of Christ, as he is the permanent weight the devout use to situate themselves
in the physical world (Hassertt). Due to the monotheistic nature of the Islamic
religion, there should be little difficulty in expropriating the symbol of the
anchor and applying it to Allah: which is exactly what happened. Similarly,
the flower and garden imagery one sees on the rug almost assuredly
originate in the Garden of Eden motif present in Judeo-Christian works.

39. However, it is important to understand that the rug was created in a culture
ruled predominantly by Turkish and Islamic values. The geometric patterns
which repeat all over the rug are unique to Anatolian art work and were
heavily favored by the Ottoman elite. (Miccuci). It is also possible that the
recurring patterns emphasize the orderly pattern of nature of a divinely-
created world, but, an analysis such as this can only be considered an
educated guess (Miccuci).
The shape in the center of the carpet is indubitably a mosque, and the type of
the building is meant to point toward Mecca.
The mosque also serves as an indicator of where the worshiper is to sit on
the prayer rug, but done so in a particularly symbolic manner.

40. Lastly, there is a possible color symbolism which takes place on the rug.
Generally, in Anatolian artwork, red and white respectively represent
innocence and purity (Halici).
The almost sole use of these two colors inside the mosque , perhaps,
emphasized the importance of these qualities in the Islamic religion.
As we have seen through an analysis of many of the aspects of the Mudjur
prayer rug, all levels of art can be used as a window into the culture of the
time. The fusion between Islamic and Christian symbolism which takes place
on the rug is representative of the strange social atmosphere which
characterized the Ottoman Empire at the time.

41. Frank Mulvey, a faculty member,
also chose the Mucur “prayer” rug
for his submission.
Here, first, is the image he
produced. I’m presenting it here ,
initially, without any explanation,
excepting to say that he describes it
as a “charcoal drawing,“ not as a
“photograph,” and that he entitles it
“Temple for Humanity, 2011.”

42. I had asked Giuseppe whether we have any images of contributors, working on their
submisons, and Mr. Mulvey had documented his creative process carefully.
So, here is a little side-trip to observe that.
This is Mr. Mulvey writing:”
…I was struck by the prayer niche
architectural motif.
I decided to make a drawing of the rug in
an architectural setting.”

50. Here’s Frank Mulvey’s Thoughts
catalog description of his
piece and the process he The motifs in Anatolian rugs are derived from a variety of sources that traverse cultural and
used to create it. geographic
divides. Artistic traditions from across the Mediterranean can be appreciated in Anatolian rug designs
through the centuries where the faiths of Islam, Judaism and Christianity intertwine. The complexity
and beauty of these rugs reflects the interwoven nature of humanity itself.
While conceiving of the drawing Temple for Humanity (which features an Anatolian prayer rug), my
desire was to speak of spirituality without exclusive reference to any one religion. After a series of
helpful discussions with people more informed than I on questions of religion, history and rugs, and
in the process of constructing the drawing, I felt that the best way to pay tribute to a multiplicity of
faiths and traditions would be to focus on very simple and universal elements.
Noteworthy in the drawing are a rug, sandals, a bowl, soft light, and a mountain seen through an
arched window. Although people can bring their own meaning to these elements, the bowl could be
seen as containing water for physical/spiritual cleansing, or a vessel for sustenance. The sandals,
having been removed as a sign of respect, are placed beside the rug. On a more subtle level, the light
that enters into this quiet space from an unseen source can be interpreted as coming from a divine
place. The pattern on the wall echoes the structure of the drawing, which itself is a tall shape that
could connote the architectural forms associated with spiritual themes. The stains around the drawing
and within its composition speak of surfaces humbled by age.
Originally it was my intent to draw a puzzle of architectural styles (based on elements from mosques,
synagogues and churches) as seen through the portal, with mountains visible in the background. I
realized in the process of drawing this idea that the specificity of these buildings bothered me, and
moreover I didn’t want palatial connotations here. Since mountains are universally associated with
transcendent experience, I decide to focus on this and eliminate the buildings. Ultimately, the Temple
TEMPLE FOR HUMANITY for Humanity can be interpreted as the inner sanctum of the room with its rug, and simultaneously as
2011 the austere and unknowable mountains beyond.
Charcoal on paper
52” X 20” Frank Mulvey

51. A third response to
the Mucur “prayer” rug
was created by
Madeleine Sibthorpe,
a Fine Arts student.

52. Although, the Mucur is
her inspiriation
reference, Ms.
Sibthorpe has shaped
her response to it
distinctively. She has
retained its “niche”
design character, but
has changed its colors
and design specifics.
Her creation is open to
different readings. It
could be a covering
with holes through
which parts of an
underlying carpet can
be seen.
But there are shadows
around the “shoe”
prints and some sole
designs can be seen.
What is going on here?

53. Here is Ms. Sibthorpe’s
description of her intent.
My piece is a reflection of
how we leave marks
everywhere we walk. This is
especially noticeable on
carpets.
I wanted to show the beautiful
patterns of tapestries on the
bottoms of the shoes,
imprinting not only the
ground, but the shoe.
This piece also shows how
little people think about what
we are experiencing.

54. There were four Yastiks in the exhibition. Here they are, one at a time with, their gallery
labels.
Eastern Anatolia, last quarter 19th century
100 x 65 cm
A village weaving attributed to a transitional zone of design influence
that lies between central and eastern Anatolia. Wonderful medallion
with a superb cochineal (insect) dye.

55. Eastern Anatolia, last quarter 19th century
The whimsical nature of the drawing in this Yastik, possibly woven by
Kurds, suggests a tribal product of Eastern Anatolia. A rich indigo dye
in the field generates a contrasting effect where three hooked medallions
outlined in the classic cochineal ( insect) dye appear to twist in
space. In addition, the complimentary and dazzling effect of three
borders each with a distinct motif is not unusual for this region.

56. Dazkiri region Western Anatolia, 19th century
97 x 50 cm
Interesting yastiks (cushion covers) are becoming harder to find, many
not surviving their usage. Most were discarded before their time, perhaps
because they were used at eye-level and not on the floor. This example
graphically focuses the eye towards the centre, and then teases the viewer
with little arrow features that then redirect your gaze outward. This piece
presents big graphic ideas in a small package.

57. Bergama, Western Anatolia. Late 19th century
79 x 46 cm
Rich in polychrome, this Yastik is imbued with contrasting colour changes throughout
the 3 repeating tiles. This is probably due to the weaver running out of green yarn in
the
center compartment and light blue yarn in the right motif. The motifs appear to be
a metamorphosis of a geometric variant possibly of a small pattern Holbein derivative.
The shift of balance from what was initially a positive design element into a negative
dominant motif has over many generations transformed the original meaning of the
design.

58. Cristina Negrean, a student in Health Sciences, selected this fourth yastik for a very
definite purpose.
Here is her response to it as it appears in her
catalog entry.
Analysis of the Dyes of an Antique Anatolian Yastik
(conducted on the Bergama Yastik from the previous page)
Abstract
Oriental rugs have been an important part of the Central Asian and European culture for long decades.
People were fascinated not only by it’s complex design, but also by it’s fabrication and the quality
of its composition. This experiment will focus on the composition quality of a late 19th century
yastik (a pillow cover) and especially on the properties of the fibers.
Threads of four colours were taken and were put in three different solutions: hydrochloric acid, acetone
and cyclohexane. The results showed that the dye used for the red wool fiber is a polar dye. The
blue and the yellow dye reacted with hydrochloric acid resulting in formation of a precipitate. Thus
the blue and yellow dye have an ionic basis.

59. Introduction
The dye composition found in Anatolian woven goods in the 19th century is a characteristic evident
in the rich cultural material of Central Asia and Europe.
This experiment was designed especially to determine the composition of one material, the dye of the
yastik. So, in order to determine the composition of the dye four different coloured wool fibers from
the warps and pile were taken: red, blue, yellow and natural wool. Those fibers were placed in test
tubes with hydrochloric acid (HCl), acetone (C3H6O) and cyclohexane (C6H12).
Each of the solutions above were selected in order to determine some of the possible properties of the
dye: presence of a dipole in the dye’s molecule or possibility of the complexation due to ions.
If the reaction occurs between the dye and acetone that will prove the polar properties of the dye. In
order to see if the dye mixture has an ionic basis, hydrochloric acid with a concentration of 3 molar
was chosen.
The possible reaction between them is a complexation reaction. Complexation is a chemical reaction
between a metal ion and a molecule that has at least one atom with an unshared pair of electrons (polar
atom). Another possibility is the reaction between cyclohexane and the dye. This reaction would show
the presence of non-polar properties in the dye.

61. Results
After 24 hours, the test tubes were taken from the fume hood. It was clearly observed the presence of
a viscous white liquid in the test tube number 2. The colour of the solution changed also, from colourless
to a slight blue nuance. This blue nuance is characteristic for copper. So the change in colour
shows a possibility of copper presence in the red-dye composition.

63. Conclusion
The presence of the white viscous solution in the second test tube shows that the red dye reacted with
the acetone (C3H6O). This viscous solution and the blue nuance present in this test tube proves that the
red dye’s molecule has a dipole. This is because only a polar dye could react with a polar solvent. “Like
dissolves like”.
The slightly blue nuance in test tube number 3 with hydrochloric acid (HCl) and in test tube number 2
with acetone C3H6O) shows the presence of copper in the dye composition. The formation of a precipitate
in test tubes number 3 and 6 can be explained by complexation phenomena that is characteristic
to ionic solvents. So, the blue dye has some copper ions in its composition. Moreover, the change in
colour of the solution, makes it possible to explain the fading (slight colour change) observed on the
rug. The presence of some acidic substance in the surroundings where the rug was kept, might be the
cause of the fading.
It is possible to presume that the yellow dye also has an ionic basis because of the precipitate formation
in the test tube.
It is necessary to state that if the sample wool fibers were taken from another part of the rug, the results
might have changed. Moreover, with a bigger variety of solvents it might be possible to deduce even
more properties of the dye.
Finally, it is possible to affirm that because the red dye exhibited some polar properties, the dye’s molecule
has a dipole. The red and the blue dye have copper in their composition because of the slightly
blue nuance of the solution after 24 hours. Moreover, it is possible to conclude that in the blue and

64. yellow dye there is a presence of ions because of the formation of a precipitate in the solution. The precipitate
found in the solution after 24 hours was not present in the solutions neither in the test tubes
at the beginning of the experiment.
Two conclusions could be drawn from this experiment: the material content found in the yastik was a
natural fiber and the dyes used were natural and colourfast.
The first conclusion could be made from the fact that the fibers had spread out in the test tubes. Only
natural fibers such as, in this case, wool (a fibrous protein) spread out, as opposed to artificial fibers like
nylon or polyester, that never spread out during a chemical reaction.
The second conclusion could be drawn from the fact that even though the fibers were placed in test
tubes with a very strong acid and strong acetone, the fibers didn’t lose their colour. This is explained by
the strength of the binding of the natural dyes to the wool fibers, with the aid of a mordant.
The slight blue nuance present in those test tubes could also indicate the presence of an abrash (slight
shift in the colour contrast) observed on the yastik.
Although the Anatolian yastik is over a century old, it is impressive to only see some abrash, rather than
colour fading.
It’s quite obvious, in short, that the dyes used for the yastik are natural dyes, considered to be colourfast.

65. And this is Cristina’s statement.
There are several reasons why I became involved with this project. Rugs have been a part of my culture
and back home in my native country, Moldova, we had rugs similar to those exhibited here. So naturally,
I was very curious to learn more about them especially about the quality of their composition.
While my life goal is to become a scientist, this represented a perfect opportunity to design and conduct
an experiment by myself and a chance to test my abilities.
Furthermore, it was stimulating to explore other interests beyond my field of study in the Health Sciences
at Dawson College and it offered a great opportunity to enrich my knowledge in general education.
Sources;
Chemistry, Zumdahl / Zumdahl, 8th edition Brooks, chap. 11, pages 400-450.
Cristina Negrean
Daniel Bariel, chemistry instructor, NYB.

66. Vanessa Fleising, a student in Fine Arts, says:
For the Anatolian Rug Project, I chose to present my sketchbook, as it contains unconscious
drawings. I was inspired by the patterns within the rugs as well as the magical element that
came to my mind when I saw the rugs of this exhibit: I imagine flying on these rugs and
believe that my unconscious doodles reflect this magical element.

67. The seeming, primary, reference rug looks like this:
Konya Prayer Rug
Central Anatolia, late19th century
79 x 145 cm
An interesting prayer rug with a soft yellow field and rust
coloured mihrab. Two design elements of particular interest
are the notched mihrab that is more associated with a
Milas style of weaving and the use of the blue Holbein motif
in the central field of the mihrab.

68. Lucas Ferguson Sharp, a Fine Arts student, also chose the yellow ground
Konya “prayer” rug for his response.
I chose the Konya prayer rug because of the original use of complementary colors which
create a sense of tranquility and harmony. These two qualities remind me of my
grandmother.
As she nears the end of her life, her connection with death becomes clearer, her own
legacy and gift to the world is questioned. What will she leave behind for us in this world
and how will she be viewed in her afterlife? These Anatolian rugs represent more then
just their formal qualities, they begin to speak of a past life, of culture and tradition.

69. Azin Mohammadi, a student, created the poem on the right, in response to the exhibition.
He did not reference this specific rug, but could have been thinking of a similar one.
Colorful Confusion
With the help of your hands
a colourful rug was woven.
Perhaps there is a story
hidden behind it,
as with a grandmother’s
hand-made quilt.
With the help of your hands,
beauty was carefully created,
although I’m not sure that many
notice it.
They walk on it
with careless feet
and it’s always the same
confusing beat.
Maybe you feel your
beautiful creation has been
left unappreciated.
Karakecili Rug Doesn’t that make
19th century you aggravated?
Western Anatolia
138 x 82 cm Azin Mohammadi
Karakecili (“black goat”)
Wefts are black goat hair

70. There were three Konya “prayer” rugs in the exhibition. This contribution by Emilie
Cassini, a student, was placed opposite the second one in the catalog.
What Makes a Home
Walk on me; I cannot see the
Dust that clings to me so freely
Step up on me
Kneel on me, I'm here and will keep
Silent as you pray, never weep
Kneel still on me
Colors weave through my many knots
Let them soothe your tension-filled thoughts
Fears you forgot
Let me stay within your warm home
Treasure me; I'm all you have known
You're not alone
Emilie Cassini

71. And here is the
second Konya “prayer
rug”, again, with its
gallery label.
Konya Prayer Rug
19th century
Central Anatolia
100 X 147cm

72. The third Konya “prayer”
rug, did not draw a
specific response. My
own is that I’d take it
home in a minute.

73. Here it is, again, with a gallery label you can read.
Konya Prayer Rug
18th Century
Central Anatolia
142 x 104 cm
This specimen illustrating twin columns,
triple arches and flower petal motif in its
border is a derivative example of early
Greco-Armenian altar/prayer rugs of the
17th century, the likes of which can be
found in the Vakiflar Museum in Turkey.
Those earlier examples held predominant
Christian motifs such as, crosses,
elongated columns and quatrefoil petals in
the main border. Over time, these features
were eventually transgressed; making their
way into this prayer rug and in later prayer
rugs namely of the Tulip-Ladik type.

74. And a couple of closer detail images.
Gauche, but nice.

75. Jonathon Plesko, a student, responded to a
Manastir rug with a “niche” format.
Manistir
Lie on me, lie on me
Begin to conduct your worship
Kneeling down on my soft threads,
Your voice will be heard.
Speak of sin and hope,
For what you may love.
Your mind focuses on your words,
Saying thanks to the skies.
Bliss is now upon you,
For you have apologized.
Thank the heavens for what you have
But your knees are on my threads, and
Without me, pain strikes your knees.
You should thank the one who puts them at ease.
Lie on me, lie on me
Once you've come to your senses,
And prayed for forgiveness
For your hand-made offenses.
Jonathan Plesko
Manastir prayer rug
19th century
Balkans/West Anatolia
98 x 175 cm

76. Roy Hartling, who heads the
Professional Photography program
at Dawson College responded to
this rug.
I cannot show, adequately, the
details in his photo of a wall in
Istanbul, but let me try on the next
page

77. Roy Hartling
Wall Detail, Hagia-Sophia, Istanbul, 2003
Film based Panoramic image, output to Ink Jet.
From an on-going series documenting the most fascinating city in the world, Istanbul.

78. And here, again, is the
inspiring Karapinar rug,
this time with its gallery
label.
Karapinar Rug
Mid 19th Century
Central Anatolia, Konya region
117 x 157 cm
I like the square format incorporating rich colours, particularly the stand-out white carnation blooms
against the dark chocolate ground within the saturated orange-red serrated-leaf lattice. The lattice
format, to my knowledge, is not seen that frequently in the Anatolian design vocabulary, being more
reminiscent of older Ottoman rugs and textiles and very common in Persian weavings.

79. Elissa Brock, a Health Sciences student, asked three questions of the rugs in the
exhibition:
Why Are the Colours of Rugs, Made in Eastern Anatolia vs Western Anatolia, Different?
How Does the Dye Bond to Wool?
How Do Different Chemicals Create Different Colours?
I’ve repeated her questions ,on the next three pages, together with her answers, and
associated them with rugs from the exhibition.

80. Yoruk, Double-Niche “Transylvanian” Rug
19th century Last quarter 18th century
South Eastern Anatolia Western Anatolia
200 X 114 cm 155/162 X 150cm
Why Are the Colors of Rugs made in Eastern vs. Western Anatolia Different?
The difference in color between rugs made in Eastern Anatolia and those made in Western Anatolia
is due to the geographic area. In Eastern Anatolia there was an abundance of walnut trees, and the
rind of the walnuts was used to create a brown dye. In Western Anatolia there grew many chamomile
flowers which were crushed to create a different, yellow dye.

81. How Does the Dye Bind to Wool?
Wool is made from a fibrous protein that is linear in shape–that is to say, all the strands of protein are Kula, Prayer Rug
packed very tightly one on top of the other. A dye with a similar, linear molecular structure (e.g. the Late 18th century
brown dye) will bind to the wool more easily. A dye with a dissimilar, non-linear molecular structure 185 X 129cm
(e.g. the yellow dye) will have more difficulty binding.
To understand this chemical principle more concretely, think of Velcro. Two long, straight pieces
of Velcro stick together very easily and are hard to rip apart. This strong binding can be seen with
the brown dye, which has a linear molecular geometry similar to that of the wool. However, what if
one of the pieces of Velcro were squished up into the shape of a ball? It would have a much harder
time sticking to the other. This weak binding can be seen with the yellow dye, which has a different
molecular structure, and which requires the addition of what is called an aluminum “mordant” to help
it bind to the fibrous wool.

82. Kurdish Rug,
19th century Eastern Anatolia
93 X 195 cm
How Do Different Chemicals Create Different Colours?
There is a debate as to whether the colour of the dye is due to the pigment of the dye itself or due to
the refraction of light off the dye. Refraction is the process whereby white light, as it passes through
a substance (see illustration), becomes divided into its component wavelengths. We perceive these
wavelengths as distinct colors.
Each atomic element refracts light a little differently. (Because of this fact, we are able to analyze the
colours refracting off other planets, such as Mars, and, working backwards, determine the elements
on that planet.) Because our perception of color is based on the visible wavelengths refracting off
different chemicals, it is possible that our perception of the different colors of the rugs is due to the
refraction of light off their dyes, and not due to our perception of the pigment itself.
Sources;
Reece, Jane B., and Neil A. Campbell. "The Structure and Function of Macromolecules." Biology. 7th ed. San Francisco: Pearson Education. Print.
Holden, Dr. Steven. Dawson College, department of Chemistry. 2 March 2011.“Velcro Example.” Verbal Communication
Kalyoncu, Tayfun. "Dyes Used For Rug Yarns Their Characteristics and History." About Turkey. 28 Feb. 1997. Web. 09 Mar. 2011.
<http://www.about-turkey.com/carpet/dye.htm>. http://www.bautforum.com

83. Andrew Katz, a faculty
member in the English
and Lit., chose a rug,
originally, likely, woven for
tourists, but now old
enough to collect as an
oddity.
Turkish Kayseri Rug
Circa 1910
86 x 146 cm
This is an accurate depiction of a stamp designed by Charles-Olivier Merson. Stamps of
this type were issued for use in the Ottoman Empire by France between 1902 and 1907.
Weavers also wove rugs with images of cigar bands, cigarette boxes and portraits.

84. Rugs like this were also woven in
accurate reproductions of
Turkish paper currency.
Mr. Katz juxtaposed this rug with
a quotation attributed to Seth
Lerer, who does historical
analysis of the English language.
**

85. Alfred Hitchcock, famously, found ways to insert himself into his movies,
Well, the next rug provides me the chance to do that, too.
I first heard about this Montreal exhibition and project when Giuseppe Di Leo, sent me an
email, asking whether a participant in this project could draw on my postings on my
Textiles and Text web site. I said “of course,” and eventually Giuseppe sent me a copy of
the catalog.
I had given a Textile Museum “rug morning” on the “Memling gul” motif and had
subsequently posted a virtual version of it on Textiles and Text.

86. I got nearly through the catalog before
discovering that Susan Elmslie, a faculty
member, and one of the real forces
behind this exhibition and project, had
picked this rug as the focus for her
response.
You may remember in Moliere’s play of
that name, his Bourgeois Gentilhome,
informed by his teacher that literature is
divided into poetry and prose, and that
every word his speaks is prose, goes
out, proudly, bragging about that.
Ms. Elmslie, had done Moliere one
better: she had used some of my
description of the Memling gul in my
post, to fashion a “found” poem about it.

87. This is the rug with Memling guls,
in the Montreal exhibition, that
Ms. Elmslie chose, together with
its gallery label.
Konya / Yoruk Memling Gul Rug
Late 19th Century
Konya, Central Anatolia
132 x 211 cm
A rug displaying two columns of the distinctive Memling gul motif set in a white background.
Of interest are the two borders, rust and apricot coloured. It is possible that this rug may
have a more Yoruk nomadic origin based on the thick wool pile and tribal border design.

88. Here is Ms. Elmslie’s poem. Memling Gul Pantoum: A Found Poem
R. John Howe lectures on the Memling Gul motif in Anatolian rugs
Let’s talk about what might be called “the anatomy of the Memling gul.”
Let’s begin with the earliest examples we seem to have.
They all contain one or more stepped medallions or lozenges.
If there are multiple stepped medallions, they are nested inside one another.
Begin with the earliest examples we seem to have:
there are hook devices on the outside corners of the outermost stepped medallion.
If there are multiple stepped medallions, they are nested inside one another.
These hooks move outwards before curling back.
There are hook devices on the outside corners of the outermost stepped medallion.
The medallion(s) and hooks are, usually, encompassed by an octagon.
Hooks move outwards before curling back.
Walter Denny calls attention to the fact that the Memling gul is two-dimensional.
Medallions and hooks are, usually, encompassed by an octagon.
There is no hint of one design element passing over or under one another;
Denny calls the Memling gul two-dimensional.
In some versions of other designs like the “small pattern Holbein gul,” below, there is
one design element passing over or under.
This Holbein device shows clear three-dimensionality with its “interlacing” effects.
In some versions of other designs like the “small pattern Holbein gul,” that does occur.
All the elements of any Memling gul are arrayed in a single plane.
This Holbein device shows clear three-dimensionality with its “interlacing” effects.
All contain one or more stepped medallions or lozenges.
The elements of any Memling gul are arrayed in a single plane.
Talk about the anatomy of the Memling gul.
Susan Elmslie

89. There’s a little more to notice about Ms. Elmslie’s contribution.
Look, again, at her title.
Memling Gul Pantoum: A Found Poem
Poets, and lit majors may know perfectly well what “pantoum” means, but folks like me likely have to
look it up.
When you do, one discovers that a “pantoum” is a specific poetic “verse form, composed of quatrains
in which the second and fourth lines are repeated as the first and third lines of the following quatrain.
So much for “finding.”
Ms. Elmslie’s “findings” and construction of her poem are not serendipitous. She is a skilled poet, at
work in her craft.
Now read it, again, on the next page, with new eyes.

90. Memling Gul Pantoum: A Found Poem
R. John Howe lectures on the Memling Gul motif in Anatolian rugs
Let’s talk about what might be called “the anatomy of the Memling gul.”
Let’s begin with the earliest examples we seem to have.
They all contain one or more stepped medallions or lozenges.
If there are multiple stepped medallions, they are nested inside one another.
Begin with the earliest examples we seem to have:
there are hook devices on the outside corners of the outermost stepped medallion.
If there are multiple stepped medallions, they are nested inside one another.
These hooks move outwards before curling back.
There are hook devices on the outside corners of the outermost stepped medallion.
The medallion(s) and hooks are, usually, encompassed by an octagon.
Hooks move outwards before curling back.
Walter Denny calls attention to the fact that the Memling gul is two-dimensional.
Medallions and hooks are, usually, encompassed by an octagon.
There is no hint of one design element passing over or under one another;
Denny calls the Memling gul two-dimensional.
In some versions of other designs like the “small pattern Holbein gul,” below, there is
one design element passing over or under.
This Holbein device shows clear three-dimensionality with its “interlacing” effects.
In some versions of other designs like the “small pattern Holbein gul,” that does occur.
All the elements of any Memling gul are arrayed in a single plane.
This Holbein device shows clear three-dimensionality with its “interlacing” effects.
All contain one or more stepped medallions or lozenges.
The elements of any Memling gul are arrayed in a single plane.
Talk about the anatomy of the Memling gul.
Susan Elmslie

91. OK. I started with an issue and a question and I don’t want to lose it.
I said that the Montreal “Anatolian Project” attracted my eye because it was an effort that
did “not "give up" on the possibility that younger people might be encouraged to
engage with traditional rugs and textiles.”
So how did they do? What were the apparent results?
Well, first, I think we have to say that their “engagement” objective was achieved. The
contributor area on the credits page of the catalog, lists the names of 25 students and
four faculty members.
More, many of the accepted and published responses to the rugs in the collection were
imaginative and creative, and some, it seems to me, were quite remarkable.
I would hold that the Montreal Oriental Rug Society has demonstrated that it is quite
within our reach to engage the “next generations” with the kind of traditional material that
populates most of the collections of most museums with a significant rugs and textiles
collection.
There is no need to assume that traditional materials are not an asset in appealing to the
folks that follow us. We just have to be creative about engaging them.

92. Yes, there were instances of seeming less than gifted poetry (although we should probably be
cautious about that judgment, unless we are competent in that field).
Experienced collectors might complain that some rugs of real merit were not selected for response
and should have been.
But it seems to me that the basic design “worked” very well.
More, I would argue, that the real engagement of the Dawson College community is not fully indicated
by the favorable results in the exhibition and catalog.
It cannot be but that an exhibition in which student peers successfully, visibly, participated would not
draw a wide audience of Dawson College students and their friends and families.
I hope that other groups and museums will notice the Montreal Oriental Rug Society effort at Dawson
College, and be encouraged to mount efforts to draw the next generations into the traditional material
that dominate their collections. There is no reason to give up.

93. Let me end with the following acknowledgements from the catalog’s last page. I’m sure this is
Giuseppe Di Leo writing. Thanks to him and his group for making this virtual version possible.
R. John Howe
Acknowledgements
The exhibition Anatolian Rugs; Spirited Reflections at the Warren G. Flowers Gallery, as well as this
catalogue would not have been possible without the enthusiasm and support of a good number of individuals.
First, I wish to thank the participating members of the Montreal Oriental Rug Society for their help and
loan of their beautiful specimen, and for sharing their enthusiasm with the Dawson College community.
I owe a debt of gratitude to the following individuals for their assistance: Barbara Freedman, Dean of
Instructional Development, Tina Romeo, SSAP Coordinator, Frank Mulvey, Lois Valliant, Julianna
Joos, Gilles Morissette, Andres Manniste, Roy Hartling, Donna Varica (Office of Director General),
and Helen Wawrzetz secretary, Visual Arts sector all members of Dawson college
To Hombeline Dumas, Photographer and Terence Boisvert Graphic Designer for their expertise and patience.
A very special thank you to Kayla Zigayer, and to Kassandra Pinsonneault for her generosity and
diligent attention to details. A heartfelt thank you to Andrew Katz who remained loyal and was a motivating
energy in relentlessly helping students achieve their objectives and to Sue Elmslie for weaving
the concept into her course.
Thank you to MORS members Jim Hampton for his encouragement, and Jacques Martignole and Bruce Young for their
articles.
Thank you to Mr. Gerard Emin Battika, Consulate General of Montreal, SPACE, and Dawson College for their support.
And finally, but not least of all, a great thank you to the students for their commitment and effort in
making this exhibition all the more extraordinary.

94. The next several slides are pictures of the
Vernissage and gallery installation
Giuseppe Di Leo welcomes and addresses the public at the
Vernissage at the Warren Flowers Art Gallery at Dawson
College, Montreal, April 6, 2011

95. An attentive audience with students,
faculty, and MORS members

96. The evening was
celebrated with fine wine
and Turkish music

97. Members, friends, professors,
and family were all fascinated by
the outcome
Rose Carpet by Kassandra Pinsonneault

101. The Team
Students assisting with the installation.
It was important (and fun) to have them engaged in
carefully handling these fine handmade specimens
while collaborating in making judicious decisions
about placing according to region.
(MORS members felt students had more fun!!!)