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当店で販売しているラグはすべて、工房出荷時、入荷時、そして発送前の3度にわたり検査されています。原産地、ノット数をそれぞれ確認し、当社の基準を満たさないものは一切掲載しておりません。
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A wheat-gold field carrying a fine all-over floral of rounded palmettes, rosettes and curled leaves on arching connected stems, worked in cream, tan, russet and small hearts of teal. There is no medallion; the drawing runs edge to edge in courses about 6.7cm apart. A sage green border of large palmettes and arabesques frames it, stepped out through narrow cream and russet guard stripes. Cream fringe at both ends.
Hand-knotted in wool. The field and the borders are almost exactly the same size — the field takes 50.5% of the surface and the frame 49.5%, running close to 39cm deep on each side. At 243×308cm this is a large room rug, suited to a formal living or dining room.
100% wool pile, hand-knotted in the Pakistani double-knot manner. Curvilinear drawing of this kind — arching stems, rounded palmettes, small teal centres — only reads properly at a high knot count and a closely clipped pile, and that is what this construction is for. Cream fringe at both ends.
This is a pale rug and it should be treated as one. The wheat ground is the single largest colour on the surface and it is light, so it will show soiling sooner than any of the dark-ground rugs in this tradition. The compensation is that the field is densely drawn in closely related tones, so ordinary marks tend to disappear into the pattern rather than sit on open ground. The sage border is the more exposed part: a plainer ground, a different hue, and positioned where people step onto the rug.
Bin the field by tone and something unusual shows up. Eleven tonal clusters each account for more than two per cent of the surface, and together they cover about seven-eighths of it — but there are no gaps between them. They run continuously from a pale cream through wheat, tan and dull gold into a mid brown, each step close enough to its neighbours that the palette reads as a ramp rather than as a set of separate colours. The only genuinely cool note anywhere in the field is the teal in the hearts of the palmettes, and that accounts for 0.20% of the rug.
That is a demanding way to draw a floral. With no strong colour contrast available, every stem, leaf and petal has to be separated from what surrounds it by tone alone, and the steps between those tones are small. Get the grading slightly wrong and a field this densely drawn collapses into texture — the pattern stops resolving and the rug just looks busy. Here it holds, which means the wool was sorted finely enough to give the weaver eleven usable values in one hue family. The border does the opposite and is the more conventional half of the rug: it introduces sage, the one real hue change in the whole piece, and uses it to separate the palmettes the easy way.
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丹精込めて作り上げた
お約束!
当店で販売しているラグはすべて、工房出荷時、入荷時、そして発送前の3度にわたり検査されています。原産地、ノット数をそれぞれ確認し、当社の基準を満たさないものは一切掲載しておりません。
