The Memling gol is a prominent member of the design vocabulary of village and tribal weavers of Anatolia, Persia and Central Asia.

The design and its variations appear in both flatweave and pile work. 

Unfortunately, the Memling gol in composition is frequently static, overly structured and aesthetically boring.

All too often, the gol is ‘corralled’ within a lattice device of some type.

Visually, the lattice, in effect, anchors the gol to the field thus contributing to the static quality of the rendering.

There are several techniques a weaver may employ to address this problem.

First and most significantly, the weaver can eliminate the lattice.  With no lattice or enclosure around the gols, these motifs become free floating.  A sense of movement, a fluid quality is infused into the field composition.

In this mafrash side panel that technique is utilized very effectively.

Here, the sense of fluidity is enhanced when the weaver introduces an element of asymmetry by manipulating her use of color and design.

This work also exhibits considerable attention to detail.  For example, the quincunx motifs are not only multi-colored but also carefully outlined.

The dyes are all natural and include a wonderful old aubergine.

The patina is consistent with a functional tribal weaving of some age.

Condition:       It is nearly perfect.  There are no repairs, no areas of wear, and no wear creases.

Frauenknecht, Bertram, Best of Bach, A German Collection.
(Previous published at plate # 18.  The color reproduction is not very accurate)