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HALTTheInternational Magazine of Antique Carpet and Textile Art

I s s u e 9 4

Editor Daniel Shaffer Deputy Editor Jill Tilden Senior Editor Nicholas Purdon Editorial Archivist & Librarian Rachel Evans Assistant Editor (G erman liaison) Jenny Marsh Editorial Assistant Emily Roberts

Consultant Editors Michael Franses, Robert Pinner Contributing Editors Julia Bailey, Alberto Boralevi John Carswell, Steven Cohen Thomas Cole, Rosemary Crill Susan Day, Murray Eiland Jr Herbert Exner, Anthony Hazledine Rina Indictor, Ralph Kaffel Alan Kennedy, Donald King DeWitt Mallary, John Mills Vanessa Moraga, Thomas Murray Penny Oakley, Carlo Maria Suriano Wendel Swan, Parviz Tanavoli John Wertime

Art D irector Liz Dixon Art Editor Anderida Hatch

Publisher Sebastian Ghandchi

Commercial Manager Andy Powell

Advertisement Manager Angharad Britton Deputy Advertisement Manager Conrad Shouldice Senior Advertisement Executive Ralph Emmerson Advertisement Executive Rosario Canade

P ro jects & P romotions Manager Piers Clemett

Subscriptions Manager Ashley Spinks

Publisher’s Assistant & Office Manager Dorisse Akufo-Addo D istribution Assistant Chris Armstrong Database & Circulation Consultant Veronica Purdey Receptionist Zobida Khan

Hali Pubhcations Limited Kingsgate House, Kingsgate Place London NW6 4TA, UK Telephone (44 171) 328 9341 Fax (44 1 7 1 )3 7 2 5924 E-mail hab@ A Member of The Centaur Communications Limited Group


THE COVER Silk samite fragment with confronting stags (detail), Sogdia, 7th century AD. 36.5 x 52.5cm (1'2" x 1'9"). While most Sasanian silk roundels contain a single b ird or beast, the Sogdians preferred confronting pairs, as in this splendid pair of red stags within a circle with vegetal motifs. Finely woven in vivid colours, and in an astonishing state of preservation after untold centuries in storage in Tibet, this silk shares many features with Sasanian silk textiles, including the rosette between the heads of the stags which is reminiscent of the motif that occurs between the roundels of the ‘Pheasant’ samite belonging to the Abbey of Notre Dame de Jouarre, near Paris. Abegg-Stiftung, Riggisberg, 4901.


Anticipating an Indian autumn; a safe home for early silks.


A rallying ciy for the open-minded - James Opie resists the embrace of new orthodoxies; Edmund de Linger remembers May Beattie’s role in a landmark carpet exhibition; Raoul Tschebull and those damn Heriz dates again.


Jacobean interiors at Chastleton and a facelift for Hardwick Hall; the Asian Civilisations Museum opens in Singapore; Tbilisi joins the international symposium circuit.


What do a uniquely famous Turkish prayer rug, found in Venice and linked forever with a German art historian and an Austrian artist, and the Empress Sissi have in common? They may be ensis but are they Saryk? —a closer look at Neil Moran’s 1884 ABC watercolour; para-Mamluk postscript; as DOB AG celebrates its 15th anniversary, HALI joins the party in the weaving villages in western Anatolia.


Carpets o f the Beni Ouarain and Related Moroccan Nomadic Tribes Gebhart Blazek In design and colour this distinctive group of outsize Middle Atlas carpets stands apart from the mainstream of Moroccan weaving. The author sees in their archaic appearance a memory if not a direct link to age-old Zenata Berber weaving traditions. 75 FROM RABAT TO THE ATLAS

Moroccan Carpets at the MAAO, Paris Gerard Boely & Marie-France Vivier Based on two substantial private donations, this collection of Moroccan rugs provides an anthology of types and regions. From the interplay of oriental and Berber elements in Rabat carpets to the virtuoso exuberance of High Atlas weavings, these are rugs that are both primitive and sophisticated, disciplined and free. 80 TEXTILES IN THE STATE

HISTORICAL MUSEUM, MOSCOW Olga Gordeeva During its 125 years the Russian Historical Museum has attracted extensive donations of all kinds, from manuscripts and memorabilia to stamps and weapons. The textile and carpet collection alone numbers some 380,000 items. Many of them reflect the passions of a single collector, Peter Shchukin, who began by collecting Turkish and Persian textiles, went on to chronicle the influence of the East on Russian culture, and finally became absorber! in Russia’s own applied art traditions.


TURKMEN STEPPES Jasper Winn, with photographs by Paul Harris The Turkmen horse, one of the oldest and purest equine breeds, is one of the twin pillars of Turkmen culture. The other of course is rug weaving. Travelling in northern Iran, the author finds that you can’t have one without the other.


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