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In significant surviving examples of tribal weaving one is likely to encounter the work of a skilled weaver who, with creativity and imagination, employed well established design motifs to create a unique piece of woven art.
In these examples, one sees design execution that is less structured, less formalistic, less traditional than the norm.
A motif is often re-interpreted or modified to satisfy the artistic whim of its creator.
The use of positive-negative space is given a more pragmatic application.
The result is something unique, something singularly tribal.
In this composition, the central medallion, commonly presented as a square, has become a horizontal rectangle, yet the ivory ground remains. This treatment is unusual.
There are four octagonal shapes. Usually, these octagons float freely within the field creating the traditional 2-1-2 format.
Here, the weaver has placed the octagons snuggly into the respective corners of the field, creating an entire different visual construct.
Frequently, the 2-1-2 format has winged creatures on an indigo ground. Interestingly, this treatment is peculiar to Khamseh area weaving. In this piece, these creatures have been transformed into tree-like motifs. Again, one sees something new, something creative.
Condition: There are areas of repair. The sides have been re-wrapped.
Handle: Moderately supple |
