“We’re running like a fine-tuned machine.” ~Drumpf

ftmYeah, just like these equally fine-tuned machines:

Compiled by YouTube user 4feitDgam3 (Forfeit The Game)

 

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DO Androids Dream of Electric Sheep?

It’s an interesting question, famously posed by the great Philip K Dick. But despite a novel and a movie it is not easily answered. And certainly not with a circle of leather and a web of woven string.

Capturing modern dreams calls for modern thinking and modern designs. To this end I have created an Android’s Dream Catcher shown below.dream-catcher-in-window

Its wireless interface maintains a constant connection between their central processing unit and the SkynetCloud™ during their REM (Resting Electronic Mode) periods.

It is much more advanced than the analogue model upon which it is based:

2-dream-catchers

 

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“I Hate Love!” by Stanley Kubrick, 1950

 

i-hate-love-by-stanley-kubrick-1950

Kubrick’s 1950 still of a young woman, with her back to the camera, holding a lipstick with which she has written “I HATE LOVE” on a white fence.

If captured on the wing, would it be more of a “true” photograph than if, as turns out to be the case, it was wilfully posed by young Stanley?

In fact, it is the reduction of cinema to a single frame: an unmoving movie, which primes and frustrates the viewer’s wish to know more, and so leads us to read the girl’s despair into a moving narrative.

I forgot to add these yesterday but I don’t want to wait for next year so here’s a few hearts:

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Spinal Tap Reunites… To Take Movie Distributor To Court Over $400M – Consumerist

Despite This is Spinal Tap‘s decades of success, Harry Shearer, Christopher Guest, Michael McKean, and Rob Reiner contend in their lawsuit, film distributor Vivendi said the four creators’ share of total worldwide merchandising income between 1984 and 2013 was just $81.00.

And between 1989 and 2013, total income from music sales was purportedly just $98.00.

The complaint makes no mention of seeking any compensation for the estates of late Tap drummers like John “Stumpy” Pepys, Eric “Stumpy Joe” Childs, Peter “James” Bond, Mick Shrimpton, Joe “Mama” Besser, Richard “Ric” Shrimpton, Sammy “Stumpy” Bateman, Scott “Skippy” Scuffleton, or Chris “Poppa” Cadeau.

Source: Spinal Tap Reunites… To Take Movie Distributor To Court Over $400M – Consumerist

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For Sale: Thai Temple Oil Lantern

I bought this beautiful oil lantern in Thailand many years ago and have never used it. I believe it is designed for outside use (inside it would create soot and CO). I’ve used a flickering LED pumpkin light in it a few times.

I’m posting it here before I try putting it on ebay in hopes that I can sell it for local pick up.

I’m asking $200.00 (plus packing and shipping if necessary).

You can see the lamp’s unused wick in this picture:60cm-lantern

It has a tap to drain the oil and a custom-made ladle which I assume is to clean out the reservoir

ladlereservoir

The base below the lamp is a lotus blossom:

lotusbase

The cap is designed to look like a stupa:

stupatop

It stands about 24 inches (60 cm) tall:

thailantern

If you’re interested let me know and we can work out pick up or shipping.

If you’re interested, let me know.
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My 60″ (1.5m) tall cactus

This was 6″ (15cm) tall when l bought it about 15 years ago. I have no idea why it has done so well or how much taller it might get.

Or what I’ll do when it reaches the ceiling.

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What Geology Has to Say About Building a 1,000-Mile Wall on the Mexican Border

Much of the resistance to Drumpf’s edicts comes not from the media, or Democrats, or the millions of people who voted against him, it comes from science. You know, actual facts, not ‘alternative’ (i.e. made up) facts.

Many of the science sites I visit daily, in the US and overseas, are girding for the coming four years of assaults on the truth.

The usually apolitical Smithsonian Magazine interviewed a geophysicist and a hydrologist about Drumpf’s pipe dream border wall and they spell out quite clearly why, if it did happen, it would take years and years to finish. (And wouldn’t keep out  people any more effectively than China’s Great Wall did)

Today’s fence consists of roughly 650 miles of disparate segments, made out of a combination of steel posts and rails, metal sheeting, chain link, concrete vehicle barriers and wire mesh. To replace that fence with what has been described as a 20- to 50-foot concrete structure that will traverse 1,000 of the some 2,000 miles of the U.S.’s border with Mexico will be no easy feat. Besides dealing with a proposed Mexican lawsuit and navigating the private ownership of much of Texas’ lands, there is another concern few have addressed in detail: geology.

Compared to building a marble palace or high-steepled church, erecting a wall may seem relatively straightforward. It isn’t. (Just ask the Chinese, whose Great Wall took 2,000 years to build and failed to keep out invaders.) Though most wall designs are fairly simple, builders must adapt to a wide range of terrains, explains Gary Clendenin, a senior hydrogeologist at ICF International. The southern U.S. border alone contains desert, wetlands, grasslands, rivers, mountains and forests—all of which create vastly different problems for builders.

“You’re going to encounter hundreds, if not thousands, of different types of soils along [such a lengthy] linear pathway,” says Gary Clendenin, a senior hydrogeologist at ICF International. (In fact, there are over 1,300 kinds of soil in Texas alone.) And many of those soils aren’t going to be the right type to build on top of. At that point, would-be wall-builders have two options: Spend more time and money excavating the existing soils and replacing them with better dirt—or avoid the region altogether.

In the case of the border wall, they would have to traverse the entire length of the proposed path, working in segments to evaluate the region, collect data, develop plans. (This necessity makes the process of erecting walls—especially ones spanning thousands of miles—more challenging than building, say, a 95-story skyscraper.)

 “Quite frankly, that would take years to do,” says Clendenin, who specializes in linear projects like railways and roads. geophysicist Mika McKinnon agrees. One project she worked on, a three-mile stretch of pipeline, is now on year five of field surveys.

One thing they can’t always avoid, though, are regions at risk of earthquakes and floods. Rivers run along a sizeable portion of the U.S.-Mexico border, which can create a very real danger of flood. Building adjacent to rivers can also present unexpected legal issues: A 1970 treaty necessitates that the fence be set back from the Rio Grande river, which delineates the Texas-Mexico border. Because of this, the current fence crosscuts Texas landowner’s property and has gaps to allow landowners to pass.

Earthquakes are also relatively common in the western U.S. Depending on the build, some of these tremblors could cause cracks or breaks in the wall, says McKinnon. One example is the magnitude 7.2 quake that struck in 2010 near the California-Mexico Border, according to Austin Elliott, a postdoctoral student at the University of Oxford whose research is focused on the history of earthquakes. “If there had been a wall at El Centinela [a mountain in northern Mexico] it would have been offset.”

Source: What Geology Has to Say About Building a 1,000-Mile Border Wall | Science | Smithsonian

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Wire Cutters (Animated Short)

It took student Jack Anderson about 2000 hours to create this wonderful short science fiction film.

Screen Shot 2017-02-07 at 9.14.15 AM.png

WIRE CUTTERS

STUDENT ACADEMY AWARD NOMINEE

US STUDENT BAFTA NOMINEE

VIMEO BEST OF THE MONTH

SCREENED AT: Santa Barbara International Film Festival, Ottawa Film Festival, Cleveland International Film Festival, River Run International Film Festival, LA Shorts Fest, Rhode Island Film Festival, Traverse City Film Festival, New Hampshire Film Festival, FIRST CUT 2014 @ DGA in Los Angeles & New York, Pune International Film Festival ,Sedona International Film Festival, Independent Film Festival Of Boston, Minneapolis International Film Festival, Newport Beach International Film Festival, Free Range Film Festival, Breckenridge Film Festival

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Awesome .gif’s of Old B&W Photos Transitioned to Color

 

Watching the transition of these vintage images from B&W to color brings them alive.

audrey-hepburn

us-army-1944winston-churchillflippin-burgers-louisiana-1938jfk-mlkmarch-on-washington-1963

Source: Dynamichrome by Jordan Lloyd
“The craft of adding color to black and white photographs has been around as long as the medium of photography. Digital Color Reconstruction is its latest incarnation, combining historical investigation and technology to create an authentic representation of an existing record.”

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Rare Tribal and Asian Art at the 2017 San Francisco Tribal & Textile Art Show

Crouched Rabbit of Granite. Found in a Kyoto Garden, Japan, Circa 1850.

The 2017 San Francisco Tribal & Textile Art Show opens at Fort Mason Center on February 9 with a wondrous assortment of art from a variety of indigenous sources.

Says John Strusinski, who founded Los Angeles-based Primary Source 28 year ago, “The Tribal & Textile Art Show is a must-attend destination for top collectors, museum curators, scholars and design aficionados who seek top-notch material. They know from experience what my gallery has to offer, and this year we’re especially delighted to showcase one-of-kind treasures that the fair-goers are not likely to forget.”

Almohadilla, Mexican Sewing box – Michoacán, Mexico 18th Century, Lacquered veneer 12 x 42 x 13 cm
Probably produced by the Cerda family in Michoacan, Mexico. Inquisition officials found many

 Almohadilla, Mexican Sewing box - Michoacán, Mexico 18th Century, Lacquered veneer 12 x 42 x 13 cm Almohadilla, Mexican Sewing box - Michoacán, Mexico 18th Century, Lacquered veneer 12 x 42 x 13 cm Probably produced by the Cerda family in Michoacan, Mexico. Inquisition officials found many tools associated with sewing, knitting and embroidery, some of the hobbies of high-born colonial women - This Sewing box or “Almohadilla” as known in Spanish countries, is a fine example of the quality expected by high ranking Mexican families. The present Almohadilla depicts various scenes from daily and intimate life, for example buying fruit cultivated on the islands of the lake, being presented with flowers, set in the lush grounds of a castle or villa. Biombo, Peruvian School - 18th Century, Seven Panel folding Viceregal screen, oil on canvas 208 x 504 cm Biombo, Peruvian School - 18th Century, Seven Panel folding Vicer


Biombo, Peruvian School – 18th Century, Seven Panel folding Viceregal screen, oil on canvas 208 x 504 cm 

First appearing in the Americas in the early 17th century after their introduction from Japan and China, the folding screens of New Spain, or biombos, would come to embellish the homes and palaces of the elite. In their various permutations, they reflect the changing tastes and fashions of a world increasingly connected through global economic exchange and the politics of the colonial period. The present screen depicts various couples set in the lush grounds of a castle with a hunting scene in the background. In the centre, a woman stands close to a peacock, perhaps symbolizing marriage, who holds a rose in her hands and turns towards a gentleman on a horse. To their right, another couple are dressed as pilgrims of the Camino de Santiago de Compostela as evident by the scallop shells stitched on their clothes, possibly as a memoir of their pilgrimage to the Galician city. A similar biombo, depicting a scene of early 18th century daily life in Colonial Mexico is at the Denver Art Museum. Provenance: From the Collection of Duque de Sessa’s family Gavito y Jauregui, Barcelona in 18th century.

 Almohadilla, Mexican Sewing box - Michoacán, Mexico 18th Century, Lacquered veneer 12 x 42 x 13 cm Almohadilla, Mexican Sewing box - Michoacán, Mexico 18th Century, Lacquered veneer 12 x 42 x 13 cm Probably produced by the Cerda family in Michoacan, Mexico. Inquisition officials found many tools associated with sewing, knitting and embroidery, some of the hobbies of high-born colonial women - This Sewing box or “Almohadilla” as known in Spanish countries, is a fine example of the quality expected by high ranking Mexican families. The present Almohadilla depicts various scenes from daily and intimate life, for example buying fruit cultivated on the islands of the lake, being presented with flowers, set in the lush grounds of a castle or villa. Biombo, Peruvian School - 18th Century, Seven Panel folding Viceregal screen, oil on canvas 208 x 504 cm Biombo, Peruvian School - 18th Century, Seven Panel folding Viceregal screen, oil on canvas 208 x 504 cm First appearing in the Americas in the early 17th century after their introduction from Japan and China, the folding screens of New Spain, or biombos, would come to embellish the homes and palaces of the elite. In their various permutations, they reflect the changing tastes and fashions of a world increasingly connected through global economic exchange and the politics of the colonial period. The present screen depicts various couples set in the lush grounds of a castle with a hunting scene in the background. In the centre, a woman stands close to a peacock, perhaps symbolizing marriage, who holds a rose in her hands and turns towards a gentleman on a horse. To their right, another couple are dressed as pilgrims of the Camino de Santiago de Compostela as evident by the scallop shells stitched on their clothes, possibly as a memoir of their pilgrimage to the Galician city. A similar biombo, depicting a scene of early 18th century daily life in Colonial Mexico is at the Denver Art Museum. Provenance: From the Collection of Duque de Sessa's family Gavito y Jauregui, Barcelona in 18th century. Allegorical Flotilla of Salvation Perú. Cuzco School 17th Century Oil on canvas 49 7/8 x 99 1/2 inches (127 x 253 cm) Allegorical Flotilla of Salvation Perú. Cuzco School 17th Century Oil on canvas 49 7/8 x 99 1/2 inches (127 x 253 cm)

Allegorical Flotilla of Salvation Perú. Cuzco School 17th Century Oil on canvas 49 7/8 x 99 1/2 inches (127 x 253 cm)

 

Buenaventura José Guiol, Birds of Mexico, ca. 1770-80, oil on canvas, 62.3 x 55.5 cm. Denver Art Museum, Collection of Jan and Frederick Mayer Buenaventura José Guiol, Birds of Mexico, ca. 1770-80, oil on canvas, 62.3 x 55.5 cm. Denver Art Museum, Collection of Jan and Frederick Mayer Formerly in the collection of Jacqueline Goldman, Paris "This set of four paintings

Buenaventura José Guiol, Birds of Mexico, ca. 1770-80, oil on canvas, 62.3 x 55.5 cm. Denver Art Museum, Collection of Jan and Frederick Mayer
Formerly in the collection of Jacqueline Goldman, Paris

“This set of four paintings depicting the fauna of Mexico were painted in the second half of the eighteenth century, by Buenaventura José Guiol who is also known to have painted another set of birds which are now displayed in the Denver art museum and two sets of casta paintings. (…) Buenaventura José Guiol depicted these landscapes elaborately and heavy with colour. The skies are ripe with rain and movement, promising nourishment for the already fertile and abundant vegetation. The categorization of birds and other animals dominate these landscapes. Many of these species, which were native to the landscape of the New World would have been previously unseen by European audiences…”

The Dream of Pharaoh and Joseph's rise to Viceroy of Egypt, 1774, Oil on copper 80 x 65 cm The Dream of Pharaoh and Joseph's rise to Viceroy of Egypt, 1774, Oil on copper 80 x 65 cm Inscribed lower right hand

The Dream of Pharaoh and Joseph’s rise to Viceroy of Egypt, 1774, Oil on copper 80 x 65 cm
Inscribed lower right hand side: ‘Fue tocada a Nra. S.ra de Guadalupe de Mexico en 20 de Abril de 1774 por el Abad de la Colegiata Dr. Dn. Diego Sanchez Pareja.’ Signed lower right on the step: Joans Patris Morlete Ruiz Pingt. This elaborate and impressive copper by Morlete Y Ruiz depicts the rise of Joseph to the role of Viceroy of Egypt following his revelation of Pharoah’s dream represented by the bales of wheat. Its didactic nature was very much a theme of religious painting in 18th century Mexico. As the inscription relates, this particular example was commissioned by the abbot of Santa Maria de Guadalupe, the most important shrine in the Americas, Dr Diego Sanchez Pareja. The various elements of Joseph’s life incorporated into the painting could well be a reference to Dr Pereja’s own career, rising to a position of power within the church at a time when its influence in the secular world was also notable. Indeed the central figure in clerical garb is most probably his portrait. Along with the Trinity and the Virgin, the inclusion of a ship may have had a very personal meaning. In 1766 Dr Pareja was aboard a trading ship called the El Nuevo Constante which was sailing from Veracruz in Mexico to Cadiz. Unfortunately the ship foundered in shallow water off the coast of Louisiana and had to be abandoned, the crew and passengers were all rescued and indeed the majority of the cargo was also saved. The wreck itself was rediscovered in 1979 and an archaeological survey undertaken, its importance being in the fact the original cargo manifests survive. It would seem perfectly reasonably for Dr Pareja, on his return from Spain, to commemorate his own good fortune in a devotional work commissioned for his collegiate church. 

 Buenaventura José Guiol, Birds of Mexico, ca. 1770-80, oil on canvas, 62.3 x 55.5 cm. Denver Art Museum, Collection of Jan and Frederick Mayer Buenaventura José Guiol, Birds of Mexico, ca. 1770-80, oil on canvas, 62.3 x 55.5 cm. Denver Art Museum, Collection of Jan and Frederick Mayer Formerly in the collection of Jacqueline Goldman, Paris "This set of four paintings depicting the fauna of Mexico were painted in the second half of the eighteenth century, by Buenaventura José Guiol who is also known to have painted another set of birds which are now displayed in the Denver art museum and two sets of casta paintings. (...) Buenaventura José Guiol depicted these landscapes elaborately and heavy with colour. The skies are ripe with rain and movement, promising nourishment for the already fertile and abundant vegetation. The categorization of birds and other animals dominate these landscapes. Many of these species, which were native to the landscape of the New World would have been previously unseen by European audiences…" The Dream of Pharaoh and Joseph's rise to Viceroy of Egypt, 1774, Oil on copper 80 x 65 cm The Dream of Pharaoh and Joseph's rise to Viceroy of Egypt, 1774, Oil on copper 80 x 65 cm Inscribed lower right hand side: ‘Fue tocada a Nra. S.ra de Guadalupe de Mexico en 20 de Abril de 1774 por el Abad de la Colegiata Dr. Dn. Diego Sanchez Pareja.’ Signed lower right on the step: Joans Patris Morlete Ruiz Pingt. This elaborate and impressive copper by Morlete Y Ruiz depicts the rise of Joseph to the role of Viceroy of Egypt following his revelation of Pharoah’s dream represented by the bales of wheat. Its didactic nature was very much a theme of religious painting in 18th century Mexico. As the inscription relates, this particular example was commissioned by the abbot of Santa Maria de Guadalupe, the most important shrine in the Americas, Dr Diego Sanchez Pareja. The various elements of Joseph’s life incorporated into the painting could well be a reference to Dr Pereja’s own career, rising to a position of power within the church at a time when its influence in the secular world was also notable. Indeed the central figure in clerical garb is most probably his portrait. Along with the Trinity and the Virgin, the inclusion of a ship may have had a very personal meaning. In 1766 Dr Pareja was aboard a trading ship called the El Nuevo Constante which was sailing from Veracruz in Mexico to Cadiz. Unfortunately the ship foundered in shallow water off the coast of Louisiana and had to be abandoned, the crew and passengers were all rescued and indeed the majority of the cargo was also saved. The wreck itself was rediscovered in 1979 and an archaeological survey undertaken, its importance being in the fact the original cargo manifests survive. It would seem perfectly reasonably for Dr Pareja, on his return from Spain, to commemorate his own good fortune in a devotional work commissioned for his collegiate church.  Tinaja, large Guadalajara earthenware two handled amphora vase, Overall height 112cm., 44 1/8 in., the vessel approximately 86cm., 33 7/8 in. long Tinaja, large Guadalajara earthenware two handled amphora vase, Overall height 112cm., 44 1/8 in., the vessel approximately 86cm., 33 7/8 in. long Of amphora form with a rounded base and flaring


Tinaja, large Guadalajara earthenware two handled amphora vase, Overall height 112cm., 44 1/8 in., the vessel approximately 86cm., 33 7/8 in. long
Of amphora form with a rounded base and flaring neck.

Dancing Threads Dancing Threads HINGGI SUM

Dancing Threads- Indonesian Skirts

Dancing Threads Dancing Threads Woman

Dancing Threads D

Dancing Threads Dancing Threads TAMPAN Original

Dancing Threads Dancing Threads TAPIS Origin: Lampung, South Sumatra, Indonesia These intricate, elaborate skirts are hand dyed and hand woven by women to wear during important ceremonies. First woven and sewn into a large rectangle, the sides were then joined to create a tube for the woman to step into and wear as a sarong. Due to Lampung's position along major maritime routes and their own production of desirable trade goods, such as pepper and gold, the women of Lampung had ready access to a variety of iconography from other cultures and a wide range of trade materials. This wealth is on display here with the imaginative use of silk, cotton, mica and gold. The skills necessary to create these tapis gradually diminished during the early part of the twentieth century and were extinguished completely during World War II. Dancing Threads Dancing Threads HINGGI SUMBA ISLAND, INDONESIA Large, bold designs characterize the hinggi (men’s blankets) from the island of Sumba. The ikat patterns are dyed and woven by hand. Hinggi are usually made in pairs but then separated for reasons of utility, ritual or ceremony. Such pieces would be worn by a Sumbanese man - one around his hips, the other one around his shoulders. The finest hinggi were made as gifts to the nobility in order to be buried with them, with the unfortunate consequence that many of the most beautiful are gone.


TAPIS Origin: Lampung, South Sumatra, Indonesia These intricate, elaborate skirts are hand dyed and hand woven by women to wear during important ceremonies. First woven and sewn into a large rectangle, the sides were then joined to create a tube for the woman to step into and wear as a sarong. Due to Lampung’s position along major maritime routes and their own production of desirable trade goods, such as pepper and gold, the women of Lampung had ready access to a variety of iconography from other cultures and a wide range of trade materials. This wealth is on display here with the imaginative use of silk, cotton, mica and gold. The skills necessary to create these tapis gradually diminished during the early part of the twentieth century and were extinguished completely during World War

Dancing Threads Dancing Threads This extremely rare 19th century double-red ship textile is from Lampung, in south Sumatra and will be part of the exhibit. This area produced the spectacular so-called “ship cloths”, arguably the most famous textiles to come out of Indonesia. Ship cloths were thought to ease the transition from one stage of life to another. The long ship cloths, called palepai, were made and used only by the aristocracy. These were used as ceremonial banners to mark the position of the most important people in the ceremony. Strict sanctions prevented any but the aristocracy from making, possessing, or using palepai.

Dancing Threads
Dancing Threads
This extremely rare 19th century double-red ship textile is from Lampung, in south Sumatra and will be part of the exhibit. This area produced the spectacular so-called “ship cloths”, arguably the most famous textiles to come out of Indonesia. Ship cloths were thought to ease the transition from one stage of life to another. The long ship cloths, called palepai, were made and used only by the aristocracy. These were used as ceremonial banners to mark the position of the most important people in the ceremony. Strict sanctions prevented any but the aristocracy from making, possessing, or using palepai.

Afshar, Southwest Persia, Late 19th C., 4'0" X 5’6" Afshar, Southwest Persia, Late 19th C., 4'0" X 5’6" Afshar, Persia. Mid 19th c. 3' 5" x 4' 4" Afshar, Persia. Mid 19th c. 3' 5" x 4' 4" Published: “Oriental Rugs from Pacific Collections”, Murray L. Eiland, 1990. Page 79, plate #46. During the 19th century, the central medallion format, complete with complimentary corner pieces, was generally a design of large, formal workshop carpets. The nomadic weaver of this Afshar rug was inspired by the classic layout, but transformed it with her native, vibrantly colorful aesthetic. She dispensed with the classical formality, and instead focused on the purity of naturally derived color and added charmingly drawn animals to roam the indigo field. This rug exemplifies the true spirit of Afshar weaving.

Afshar, Southwest Persia, Late 19th C., 4’0″ X 5’6″
 During the 19th century, the central medallion format, complete with complimentary corner pieces, was generally a design of large, formal workshop carpets. The nomadic weaver of this Afshar rug was inspired by the classic layout, but transformed it with her native, vibrantly colorful aesthetic. She dispensed with the classical formality, and instead focused on the purity of naturally derived color and added charmingly drawn animals to roam the indigo field. This rug exemplifies the true spirit of Afshar weaving.

Afshar, Southwest Persia, Late 19th C., 4'0" X 5’6" Afshar, Southwest Persia, Late 19th C., 4'0" X 5’6" Afshar, Persia. Mid 19th c. 3' 5" x 4' 4" Afshar, Persia. Mid 19th c. 3' 5" x 4' 4" Published: “Oriental Rugs from Pacific Collections”, Murray L. Eiland, 1990. Page 79, plate #46. During the 19th century, the central medallion format, complete with complimentary corner pieces, was generally a design of large, formal workshop carpets. The nomadic weaver of this Afshar rug was inspired by the classic layout, but transformed it with her native, vibrantly colorful aesthetic. She dispensed with the classical formality, and instead focused on the purity of naturally derived color and added charmingly drawn animals to roam the indigo field. This rug exemplifies the true spirit of Afshar weaving.

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