The hand-knotted carpet, according to Helfgott, reveals an intricate record of Iranian society - its economic development, gender relations, and art history. Beginning with the rugs' early uses among settled peoples, nomadic pastoralists, and the Iranian court elites, Helfgott traces the changes in carpet manufacture and Iranian society that ensued when the West began importing carpets as luxury items in the nineteenth century. He follows the expansion of Mediter-ranean trade in carpets into a global market, linking it to the local patterns of production in nomadic, village, and urban settings. He also describes the debilitating conditions in which women and children knotted the carpets and discusses the European fascination with Iranian culture and, in a case study, the creation of the Iranian art collection at London's Victoria and Albert MuseumHerbert, Travels in Persia, 202. 82. ... Most scholars accept Kashan, Isfahan, and Kirman as the sources for silk-animal carpets, polonaise carpets, and the vase- design carpets, ... Quoted in Ronald Ferrier, aquot;The First English Guide Book 208.
|Title||:||TIES THAT BIND|
|Author||:||Leonard Michael Helfgott|
|Publisher||:||Smithsonian Inst Press - 1994|