fter some time spent in Istanbul and Western Turkey this spring I have plans to revisit the David Collection in Copenhagen, Denmark. I want another opportunity to study this extraordinary collection of Islamic Art. Housed in a recently renovated space in central Copenhagen the museum is located in two early 19th c buildings thoughtfully conceived with series of intimate spaces to showcase an extensive collection and variety of art of the Islamic world.
Catherine Mortensen Custom Shopper & Tour Operator.
Archive for the ‘Exhibitions’ Category:
hopping for clients in Istanbul for carpets or textiles has meant that over the years many wonderful pieces from Central Asia have passed through my hands. I have a personal attraction to this art. The colours, designs and magnificent workmanship enthrall me and the more I see of this group of carpets and textiles the deeper my appreciation becomes. In our home some of my favorite rugs and textiles trace their roots back to Central Asia. This month I saw a documentary that furthered my understanding of Central Asia. The Desert of Forbidden Art by Tchavdar Georgiev and Amanda Pope is the story of Igor Savitsky, a man of passion and focus who during and after the Russian Revolution amassed a clandestine collection of over 40,000 pieces of avant garde Russian art. These works represent a group of Russian artists working in a style that was a fusion of European modernism overlaid with the influence of images of Central Asia. Some art historians have compared this fusion to the art of
he New Calgary Rug and Textile Club hosted Stefano Ionescu for a lecture in the new Nickle Galleries at the University of Calgary in the recently opened Taylor Family Digital Library Building. Ionescu is a resident of Rome, Italy and an independent scholar in the field of Anatolian carpets in Transylvanian churches. He presented an informative perspective on how these collections of Ottoman (Turkish) carpets dating from the 16th c onwards came to be a part of the Protestant churches décor in Romania. During the Reformation in the 16th c the churches had their traditional art removed. Frescoes, icons and other religious art was either plastered over or in the case of icons removed from the church sanctuaries. This resulted in places of worship with
KASHMIRI SHAWLS – A TEXTILE OF MAGNIFICENCE ow strong must one be to lift a carpet? How much strength to move a kilim? A hand loomed saddle cover? Or perhaps to hold the whisper light heft of a kashmiri shawl? Last week I had wonderful days in Los Angeles and San Francisco visiting with collectors, viewing museum collections, attending a dealers fair and hearing lectures on various related topics. The morning after my arrival in LA I attended a lecture delivered to the Textile Museum of America’s Southern California Associates by Dr David Reisbord on the subject of Kashmiri shawls. It was a time to learn and to be amazed by the technical complexities of this weaving tradition. Both men and women have worn these diaphanous and colorful shawls through the centuries with the oldest known pieces dating to the mid 17th c. A Tibetan ibex was the source for the incredibly fine wool used to weave these textiles. The ‘shatoush’ or the fleece from the underbelly of the animal was so fine
am haunted by textile images which float in my mind. Men on horseback. Throned figures. Phoenixes and Sphinxes. Last month in St Petersburg on a visit to the Hermitage I anticipated seeing the much published Pazyryk carpet – the earliest knotted example dating back to the 4th century BC. What I didn’t anticipate was having my heart and soul invaded by the beauty of a monumental felt (4.5 m x 5 m) from the same archeological find. I had seen images of this felt published in Hali – the quintessential publication for carpets, textiles and Islamic Art but