DIE FARBEN MEINER TRÄUME
Das Buch zeigt auf 264 Seiten 101 bisher unveröffentlichte Kelims mit vielen Details.
Format: 340 x 240 mm Hardcover
Fotos: Udo Hirsch
Verfasser: Harry Koll
The book in your hands shows selected Anatolian kilims from different private collections. Until now, they have not be published. They are illustrated here with descriptions and further information. A significant and in itself complete collection, the result of fifteen years effort, forms the basis of what is presented. Pieces from three other collectors complete the spectrum of 101 kilims to provide the greatest possible insight into the variety and quality of Anatolian kilims that are of interest to collectors. This book has been written from the viewpoint of a collector in an effort to give joy and pleasure to laypersons and other enthusiasts of textile art, but also to provide factual information for those with a deeper interest in Anatolian kilims.
For an outsider, it is always fascinating to learn by which criteria a spectrum of kilims such as these has been selected. A few individual items have been included for comparison or to expand or complete a sub-group, but for all the kilims shown and discussed here, the primary criterion has been the elitist standard: quality. In order to apply this abstract principle, practical definitions are required that make this expression
meaningful: quality of color and form. Since their interpretation is ideologically influenced, we have had to provide additional criteria. It goes without saying, that we have only considered aesthetic and not material quality, whereby it cannot be denied that a judgment of quality is not free of personal preference. In: Koll, H.: Kelim, Textile Kunst aus Anatolien, Aachen 2002 pages 6 and 7 exemplary criteria for a selection of kilims are listed. These also apply to this book. The quality of the colors is given more importance here, however, without neglecting aspects of the design. The assessment of the color quality of the natural dyes is not based on chemical analysis, but rather on long years of experience inspecting and comparing many early pieces. This resulted in subjective preferences and sympathies for certain colors and their combinations. The
appreciation of the color harmony on early Anatolian kilims is now so generally recognized, that chemical analysis of the dyes and dyeplants has largely retreated into the background.
The large number of Cappadocian kilims in this selection is very apparent. The fine quality of the colors of
these pieces has a bearing, but also the collectors‘ preference for this special spectrum of colors. Another
factor is the exceptionally large number of interesting Cappadocian kilims that have come on the market in the last ten to fifteen years.
It is also noteworthy that a large number of striped kilims is presented in this book. This is also due primarily to the situation in the market. To the same extent that the number of good quality, large patterned kilims in the market has declined, due to lack of material, the mosques have let the dealers have what was left in their depots. These were pieces that previously were considered almost unsellable; the striped kilims. Some
collectors accepted the challenge and had almost free choice. Suddenly rarer and apparently very early pieces appeared, leading to a new appreciation for this neglected type of kilim. From once being a stepchild in the kilim family, the striped kilim has changed to become a possible forefather. Thus it is appropriate to develop here some further thoughts on the theme of striped kilims (see page 104 ff).
he above mentioned “clearance sales” by the mosques reduced their holdings to the supposed “dregs.” At this point, however, even further pieces turned up: fragmentary pieces that the market would not have previously accepted. A few early examples that are without equal came on the market (see plates 55, 57 and 62). A few unusual, complete kilims also turned up at this time, ones which apparently were not previously considered desirable. Open minded and creative collectors joyfully purchased them, however (see plates 42, 46, 86 and 87).
The significant number of fragments illustrated in this book reflects the market situation in recent years; even badly damaged and dirty fragments received considerably more attention. These fragments required both the development of new washing techniques and new thoughts about the subsequent conservation and presentation. Similarly, the sewing them on backing material called for development of subtler, new techniques. The early tendency to repair (restore) pieces is now viewed with skepticism, since every such repair removes some of the original material.
It can generally be remarked, that from this changed situation, today a new attitude can be recognized among some collectors. The treasure hunter, who once only sought pieces similar to the highlights in the literature, is now interested much more in the origin of the pieces, in the nomadic or settled groups that wove them and in the lifestyle of the weavers and their families. He is also prepared to acquire comparable and less spectacular kilims that provide, however, important additional knowledge and new a perception.
A milestone in this new development was the third “Nienburger Teppich- und Textilsymposium” in 1995 with the theme “Flatweaves from the southern Taurus.” Almost 100 flatweaves from that area were displayed,
compared and discussed. The insight gained by kilim enthusiasts was enormous, and less specialized
participants also profited from the experience by learning about a region of Anatolia. The results and
illustrations of the kilims subsequently were made available in a comprehensive publication. (1)
Our book is intended to further this interest and provide additional information about Anatolian kilims, as well as to encourage reflection and discussion.
1) Publisher: Textil-Symposium Nienburg, Nienburg 2006