Prayer Rugs Research Articles

The Competitive ability in the design of printed upholstery fabrics as a small scale enterprise for the enhancement the Egyptian economy

Prayer known as prayer rugs, are considered one of the types of printed furnishings that invaded the Egyptian market and are produced in several places in the world with the lack of the product in the Arab Republic of Egypt, although this product is suitable as a small industry based on low-cost raw materials and economic implementation possibilities This, in addition to the small size of the capital, and the ease of training young workers on it. The research problem stems from the need for small projects for printed products that are able to compete in the local market to confront importers, in addition to the lack of standards by which to achieve excellence for small projects in the field of designing printed furniture. The research aims to set standards for designing a pocket prayer rug so that it achieves functional and aesthetic goals through a model for a small project that is competitive and based on local raw materials and economic implementation possibilities and has not been discussed in the Arab Republic of Egypt before. This goal is based on the assumption that providing standards for pocket prayer rugs designs can achieve functional and aesthetic goals to produce a distinct product that is competitive through a small project based on local materials and using simple technology. The study used the descriptive analytical method, through which a descriptive study of both small industries and competitiveness, and an analytical technical study of prayer rugs in the Islamic era and pocket prayer rugs printed in the local market. A number of design experiments were also conducted, inspired by the aesthetic features of Islamic prayer which are suitable for pocket prayer rugs. The study concluded that the economic feasibility of the pocket prayer rug is determined according to the criteria of economic efficiency of the product on two main factors which are design excellence, which depends on organizing relationships between formal vocabulary on the design surface using multiple methods in the distribution of design elements to achieve diversity and unity in design in addition to the efficiency of the material that depends The material must be matched to achieve the most cost-effective method

The Vengeance of Vertigo: Aphasia and Abjection in the Political Trials of Black Insurgents

The guerilla war that the Black Liberation Army waged against the United States in the late 1960s, 1970s, and early 1980s was part of a multifaceted struggle to redress Black dispossession which has been waged since the first Africans landed in the “New” World.ii But the political trials of BLA soldiers marked an unprecedented moment in the history of that struggle; a moment when it became de rigueur for revolutionaries to refuse the role of defendant and assume (while still in custody and often handcuffed) the role of prosecutor and judge—with the public gallery as jury. This shift comprised an unparalleled inversion of jurisprudential casting in which the court itself (and by extension the U.S. government) became defendants. Assata Shakur recalls how brothers and sisters came to her trial every day to “watch the circus.” Her narrative paints a vibrant picture of an intra-mural conversation between Black folks from all walks of life, for whom the court and the trials functioned much like backwoods churches did during slavery. A courtroom of people who joined the defendants in their refusal to rise when the judge came in; folks giving each other the Black Power salute in full view of the U.S. Marshals; Black Muslim men and women spreading their prayer rugs in the corridors of the court and praying to Allah; Black parents explaining the underlying racism of the American legal system to their children. As the judge entered the courtroom, one such well-educated child looked up and said, “Mommy, is that the fascist pig?” to the laughter and applause of the gallery (Assata 212).

The Significance of Yellow Dyed Warps in Cairene Rugs and a Group of Ottoman Court Prayer Rugs

Seljuk, Holbein ve Osmanli Usak halilari gibi Turk halilarinda gorunen cozguler, genelde dogal rengi olan beyaz ya da kirmizi boyalidir. Fakat "S" bukumlu ve asimetrik dugumlu olan Kahire halilari ve altin, gumus telleriyle suslenmis Osmanli Saray seccade grubunda, sariya boyali cozguler kullanilmaktadir. Sariya boyali cozgu kullanilmis olan baska halilar ise, ayni teknik ozelliklerini tasiyan Memluk halilaridir. Cozgulerinde kullanilan sari boya maddelerinin mensesini inceledigimizde, Memluklerin, Akdeniz'de kolayca bulunabilen boyaci sumagi bitkilerinden cikan Fisetin boya maddesinin disinda, Iran, Afganistan ve Kuzey Pakistan, Hindistan bolgelerinden elde edilen Iran Larkuspur bitkilerinden cikan Ouercetin, Isorfiamnetin ve Kempferol boya maddesi ile ozel boyanmis yunleri, ya da boya bitkilerini ozel olarak Misir'a getirdiklerini anliyoruz. Kahire ve Osmanli Saray Seccadelerindeki sari cozgulerin ise, Dogu Akdeniz ve Guneybati Asya'da yetisen mese agacindan cikan Tannin boya maddesi ile boyandigi ortaya cikmistir. Bununla birlikte, tarihsel kaynaklari inceledigimizde, dokuma cozgulerini sariya boyamanin nedeni olarak, halinin degerini arttirmak amaciyla, cok degerli olan altin ve gumus telleri yerine, cozguyu sari rengine boyatarak haliya kullanmis olduklari dusunulmektedir. Dogu'daki altin telleri kullanma geleneginden kaynaklanmis olan bu kultur, Turkler ve Mogollarin Islam ulkelerine yayilmalari ile birlikte Memluklere gectigini ve Sultan I. Selim'in Misir'i zapt ettikten sonra, bu gelenegin Osmanlilar tarafindan da devam ettirildigini soyleyebiliriz.

Editors’ Page

editors’ page R eflecting the season, a thread of heat runs coincidentally through the stories and essays in these pages. In a new, beautifully Forsterian story from Robin Black, “The History of the World,” the hot summer countryside of Italy provides the backdrop against which a woman traveling with her twin brother begins to reconcile the muddle of her feelings —frustration, guilt, and love—for him. Benjamin Arda Doty’s heartbreaking “Minute of Angle” takes us through the searing temperatures of Hilla, Mosul, and An Najaf, where a young army sniper contemplates distance, silence, sanity, and love. And amid the fire season of southwestern Colorado, a woman at last finds a way to articulate the reason for leaving her long-troubled marriage in “The Fires We Can’t Control,” by Jill Patterson. In nonfiction, we have “Stories from the Lost Nation,” in which Brendan Wolfe recalls that quintessentially Midwestern summer job, detasseling in hundred-degree weather , while weaving an essay on maps, stories, and, ultimately, trying to know his father. The heat in Marybeth Holleman’s “Thin Line Between” is that of global warming; in this sobering essay, Holleman mourns the fate of polar bears, whose habitat is melting and for whom it is perhaps already too late. Though welcome in May, after a long winter and often unpredictable spring, the heat inevitably becomes by late July— when the summer issue of Colorado Review appears—the guest whose stay has grown a little long, a little tiresome. Find a shady spot somewhere and enjoy the fresh new writing here. —SG —— CRSUM09 fiction.indd 1 5/22/2009 12:33:17 PM colorado review G reen expanses populate the poems in this summer issue. They are keenly described in Peter Gizzi’s “On Prayer Rugs and a Small History of Portraiture”: I awake to like to light on grass, the ungovernable green of grass lit out this window the day is gorgeous. Where there are green expanses, inevitably there are children playing, and many of these poems explore the pleasures and pains of childhood. A strain of dark playfulness runs through this issue, as exemplified in Andrew Joron’s stunning abecedarium and Joshua Marie Wilkinson’s fabulistic “A Saint among the Stragglers’ Beds.” Perhaps these works signal our entrance into a cautiously hopeful space, one in which wars might end and economies might begin to recover. But poetry does not merely aspire to a previous status quo; it transforms the world through constant questioning. “Amidst the miracle, poetry went on scrutinizing itself,” writes Ange Mlinko. In order to thrive, we need the inquisitive joy found in many of these poems. Welcome , long awaited summer! —sasha steensen CRSUM09 fiction.indd 2 5/22/2009 12:33:17 PM ...

On Prayer Rugs and a Small History of Portraiture

On Prayer Rugs and a Small History of Portraiture

"We Never Forget Barkley"

"We Never Forget Barkley" Betty Barger Pace Dr. Barkley Moore 1941 - 1994 The people ofthe small town of Oneida awoke to the splatter ofrain on their rooftops and a fog-filled day on January 25, 1994. It was a day like no other in that community. A stillness hovered over the entire community as the South Fork River meandered around the bends of the road. The cool winds whipped at the students as they began their day on the Oneida campus. But the coolness of the wind did not compare to the chill ofthe news the students were hearing: Glenn Barkley Moore had died during the night. Barkley was fifty-two years old and had been president of Oneida Baptist Institute for almost twenty-two years. Betty Barger Pace, an educator and free-lance writer from Leslie County, Kentucky , is agraduate ofOneida Baptist Institute and was a classmate ofDr. Glenn Barkley Moore. 18 I will never again be able to think of Oneida without thinking of Barkley Moore. He was a classmate of mine and more studious than all of us. Just about any time you saw him he had a book in his hand, and he always managed to look after his classmates. He was always ready to help those of us who needed it. "Betty, you didn't study hard enough," he complained, when I flunked Mr. Jackson's math test. "Meet me at the library after class and we'll see what's causing you all the trouble." Oneida Institute, at that time, was a small settlement school far back in the hills of Southern Appalachia. There were approximately one hundred students, forty teachers, and little money to run the school. Barkley Moore graduated from the Oneida Baptist Institute high school in 1958, and entered the University of Kentucky, where he studied political science and history. After graduating, he continued studying law at the university. But when he had just one year of law school to complete in 1964, he left and joined the Peace Corps. He was sent to Gonbad Kavus, a small city in northern Iran, for what he thought would be a term of two years. But in 1966, when his first tour ended, he asked to stay on for another full term. When this second term was up in 1968 the Iranians begged him to stay a while longer. Barkley Moore became a legend in Iran, not only with the Peace Corps, but among the Iranians in that part of the country. He was responsible for starting one good-sized library and thirty-one smaller ones. He inspired villagers who had no school to build one themselves, bringing education to them for the first time. As part of his Peace Corps responsibilities Barkley taught English fifty hours a week for four years. He spent all of his salary on "his" boys, buying them food and clothing. For six years he worked eighteen to twenty hours a day, seven days a week. The night before he left, the townspeople held a farewell party for him. The town hall was packed with seven hundred grateful people. To his astonishment it turned out that the women had been weaving especially for him for months. He was presented with carpet bags, saddlebags, prayer rugs, big rugs— thirty-two pieces in all! Many had his name blended into the design. One woman wove in "We never forget Barkley." Moore left the Peace Corps in 1970 and returned to the United States. The New York Times interviewed him about his future plans. "I want to do something similar to what I did over there, perhaps up in Appalachia somewhere. Or join the Peace Corps again." In the early 1970s Barkley returned home to his beloved Oneida, in Clay County, Kentucky. Many changes had taken place while Barkley 19 was away. The Reverend Chester Sparks was no longer president of the school. In fact, one of Barkley's former teachers, the Reverend David C. Jackson, had taken over that role. After several months Barkley joined the staff as Jackson's assistant. Then, on August 1, 1972, Barkley Moore became Oneida's ninth president. Barkley Moore devoted his whole heart and...

Inside the Jewish Terrorist Underground

Above the parched hills of Hebron, on the West Bank of the Jordan River, Kiryat Arba's stone-hewn apartment towers rise into the clear desert air. fortress-like quality they create is appropriate. Kiryat Arba is ringed by barbed wire. Israeli soldiers man the checkpoints and prowl the yard at night. For several years now, militant bands of Orthodox Jews have moved down the slope from Kiryat Arba into Hebron's squalid, fly-blown Casbah, where they have carved out a Jewish foothold in the heart of this fiercely nationalist town of 75,000 Arabs. settlers have journeyed to seeking a messianic kingdom on land that was once part of ancient land they claim was given to them by God and to which their return is divinely ordained. Hebron-the site of King David's first throne and Abraham's tomb-is to the settlers the essence of Zion resurrected. Today there are three Jewish enclaves in with some two hundred settlers; about 65 percent are of American origin. Most are fervent supporters of the major right-wing religious-nationalist organizations that dominate life on the West Bank-Gush Emunim (Bloc of the Faithful) and Rabbi Meir Kahane's avowedly anti-Arab Kach party. Leaders of both groups have vowed to secure and defend the West Bank at any cost, even threatening to take up arms against the Israeli government if it tries to trade territory for peace with the Arabs. Yona and Malka Khaykin came to from Boston. With their five children, they live in the Casbah next to the Abraham Synagogue inside a heavily fortified compound, surrounded by wroughtiron gates and guarded by teenage yeshiva students who tote Uzi submachine guns as unself-consciously as they wear yarmulkes and prayer shawls. Twenty-eight families live in the compound, most in restored houses wrested from Arabs. Hebron is the first place Jews bought property in ancient Israel, says 35-yearold Yona Khaykin, a thin, intense computer programmer with a master's in physics from MIT. The house where Abraham lived is nearby. may say the fact that Jews lived here 2,000 years ago is no reason for Jews to live here now-that it's an Arab city and it's not ethical to force them out. Well, I say Western European values are bullshit. Messiah will come. There will be a Jewish kingdom. Jews will be the spiritual bosses of the world. . . . can't create a messianic Jewish state with 1.9 million Arabs! Khaykin boasts that he and his friends deliberately provoke Arabs into violence, hoping that the army will respond by driving them off the West Bank. Several months ago, Khaykin told me, he and fifty armed settlers broke into a mosque in nearby Halhoul during Friday afternoon prayers to give his three-year-old son a ritual haircut. set up a table on prayer rugs. A rabbi cut the child's hair; then the settlers brought in watermelon from a truck. offered the Arabs some melon, Malka Khaykin, Yona's 31-yearold-wife said, recalling the shock on the Arabs' faces. They refused. We spit the seeds all over the floor. Malka, a small, severe-looking woman, told me that it's not enough to merely live in the land of Israel: You have to live in the realm of perfect faith, a world in which God, the Torah, the land, and the

Collections of the Museum of Islamic Art I. Turkish Prayer Rugs

Collections of the Museum of Islamic Art I. Turkish Prayer Rugs

Old Turkish Towels—II

Turkish embroideries are embroideries made within the territory that was a part of the Ottoman Empire. They were worked by Turks or by other persons, members of one or another resident minority population, for Turks or in the Turkish mode.2 All such embroideries fall into one of two large groups: first, those made for the decoration of houses, palaces, religious edifices, or military quarters; and, secondly, those made to be worn by people. The objects which comprise the first group are wall hangings, curtains, prayer rugs, screens, sheets, embroidered carpets and covers for pillows, divans, braziers and other household furnishings. The objects which make up the second group are articles for personal use such as abbas, trouser legs, handkerchiefs, napkins, sashes, kerchiefs, towels and ceremonial towels.3 Each of these objects last named is identified in the Near East, regardless of the use to which it is put, as a trouser leg, a square, or a towel.4 In this monograph I wish to limit my discussion to towels.