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A paratrooper with the 173rd Airborne Brigade shows various target reference points and explains the concepts of zeroing a weapon to soldiers with the Ukrainian Army Nov. 25, 2015, during a preliminary marksmanship training as part of Fearless Guardian II at the International Peacekeeping and Security Center near Yavoriv, Ukraine. The Ukrainian Land Forces begin the first week of training where soldiers from the Joint Multinational Training Group-Ukraine will instruct on how to conduct infantry-based, defensive-focused training at the individual and collective levels including medical training in combat lifesaver and casualty evacuation. (U.S. Army photo by Capt. Russell M. Gordon, 10th Press Camp Headquarters)
Drumsticks were on sale...
Marinade chicken in buttermilk, poultry seasoning, garlic powder, salt, pepper for 4 hours.
Dredge in Self-rising flour with pepper and paprika.
Fry in dutch oven at 300F for 8 min. Turn once. Another 5-7 minutes until done.
More than 700 Airmen assigned to the 326th Training Squadron graduated from Basic Military Training at Joint Base San Antonio-Lackland, Texas, Oct. 19-20, 2022. Col. Jason Schramm, Commander of Space Delta 1, Vandenberg Space Force Base, Calif., reviewed the ceremony. (U.S. Air Force Photo by C Arce)
love...
love...
some more love...
add a little tiny bit more of it...
aaaaand there you have it!
Enjoy : )
....just kidding....ingredients and making of over at my humple blog ; )
...here:
1950 and cars are starting to turn into tanks!
Westmont IL / Downtown
Cruisin’ Nights & Street Fair
1950 Packard
From right to left, North Dakota Recruit Training Battalion members Pvt. Nina Santiago, Pvt. Daniel Bettin and Pvt. Kurt Altenburg apply camouflage face paint during a "stripes-for-skills" event at the Armed Forces Reserve Center in Fargo, N.D., April 10, 2010. The North Dakota Army National Guard event is part of a program to offer new soldiers a chance to be promoted based on their basic Army knowledge and skills. (U.S. Air Force photo by Senior Master Sgt. David Lipp)
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Fiat G.91 was an Italian jet fighter aircraft designed and built by Fiat Aviazione, which later merged into Aeritalia. The G.91 had its origins in the NATO-organized NBMR-1 competition in 1953, which sought a light fighter-bomber "Light Weight Strike Fighter" to be adopted as standard equipment across the air forces of the various NATO nations. The competition was intended to produce an aircraft that was light, small, expendable, equipped with basic weapons and avionics and capable of operating with minimal ground support. These specifications were developed for two reasons: the first was the nuclear threat to large air bases, many cheaper aircraft could be better dispersed, and the other was to counter the trend towards larger and more expensive aircraft. After reviewing multiple submissions, the G.91 was picked as the winning design of the NBMR-1 competition.
The G.91 entered into operational service with the Italian Air Force in 1961, and with the West German Luftwaffe in the following year. Various other nations adopted it, such as the Portuguese Air Force, who made extensive use of the type during the Portuguese Colonial War in Africa. The G.91 remained in production for 19 years, during which a total of 756 aircraft were completed, including the prototypes and pre-production models. The assembly lines were finally closed in 1977, and the original G.91 enjoyed a long service life that extended over 35 years.
The G.91 was also used as a basis for a two-seat trainer variant with a stretched fuselage and further developments, based on this bigger airframe: the twin-engine development G.91Y, which was originally ordered by the Italian Air Force and Switzerland (as G.91YS) and later also operated by Poland, as well as the simpler, single-engine G-91X, a dedicated export alternative.
Like the G.91Y, the G.91X was an increased-performance version of the nimble baseline Fiat G.91, but unlike the G.91Y it was not funded by the Italian government but rather a private venture of Fiat. Like the G.91Y, it was based on the G.91T two-seat trainer variant. Structural modifications to reduce airframe weight increased performance and an additional fuel tank occupying the space of the G.91T's rear seat provided extra range. Combat manoeuvrability was improved with the addition of automatic leading-edge slats. While the G.91Y and X had a very similar appearance, their internal structure behind the cockpit section differed considerably and their tail section was visibly different, while the aerodynamic surfaces as well as the nose section (including the radar-less nose housing three cameras) were identical.
Instead of being powered by the G.91Y’s pair of small afterburning General Electric J85 turbojets, the G.91X only carried a single Pratt & Whitney J52 axial-flow dual-spool turbojet engine without reheat, a proven engine that was used in a number of successful aircraft, most of all the late Douglas A-4 Skyhawk versions. The bigger engine increased thrust by 60% over the original, earlier Orpheus-powered single-engine variants, and made the light G.91 a very agile aircraft. However, the J52 was considerably heavier than the small J85s, and despite less complex auxiliary installations, the G.91X weighed roughly 1.000 lb more than the G.91Y.
Performance-wise, the G.91X was, despite its conservative and heavier J52 powerplant, on par with the G.91Y, even though range, acceleration and rate of climb were not as good, the G.91Y’s afterburners gave the “Yankee Gina” a significant extra punch. On the other side, the G.91X was more robust, technically simpler and therefore easier to maintain and even better suited to operations from unprepared frontline airfields with minimal infrastructure.
Basically, the G.91X was designed to carry the same sophisticated avionics equipment as the G.91Y, which had been considerably upgraded with many of the American, British and Canadian systems being license-manufactured in Italy, but for the intended export customers in small countries with a limited budget, only a rather basic avionics package was offered, making the G.91X a simple daylight attack aircraft without any smart weapon or guided AAM capability (which the G.91Y lacked, too, only the YS for Switzerland could deploy weapons like the AIM-9 or the AGM-65).
Flight testing of two prototypes aircraft ran in July 1968 in parallel to the G.91Y program and was successful, with one aircraft reaching a maximum speed of Mach 0.95 in level flight, slightly less than its two-engine sibling. Airframe buffeting was noted and was rectified in production aircraft by raising the position of the tailplane slightly, and canted fins - similar to the G.91Y, but smaller - were added under the lower rear fuselage to improve directional stability. Unlike the G.91Y, which had been designed to NATO specifications, the G.91X did not feature an arrester hook, just a tail bumper.
The initial order of 55 G.91Y aircraft for the Italian Air Force was completed by Fiat in March 1971, by which time the company had changed its name to Aeritalia (from 1969, when Fiat Aviazione joined the Aerfer). The order was increased to 75 aircraft with 67 eventually being delivered.
In contrast to this success, the G.91X did not find immediate takers, though, because the potential market of Western-oriented countries was in the Seventies largely dominated by US American military support programs, which aggressively marketed the supersonic Northrop F-5 as a counterpart to MiG-17 and MiG-21 fighters, which had been provided to many countries by the USSR.
One large potential customer had been Israel, but the G.91X was declined in favor of the bigger and more sophisticated A-4N Skyhawk. Turkey and Greece also showed interest, but both eventually procured F-5 variants, heavily promoted by the USA. In the end, only a small number of the G.91X were built and sold to rather small and obscure air forces.
One of these few G.91X operators became Honduras. After the so-called Football War with El Salvador in 1969, the Honduran Air Force (HAF) entered the jet era in 1971 and started a re-organization and modernization program. This included the procurement of 10 old, ex-Yugoslav Canadair CL-13 Mk.4 Sabre. Later, in 1974 and as a result of an institutional growth of the Honduran Air Force, the "Coronel Hernán Acosta Mejía" Air Base, the "Coronel Armando Escalón Espinal" Base as well as the General Command of the Air Force and General Air Force General Staff were created.
Between 1976 and 1978 sixteen other Israeli aircraft were acquired, of the IAI \ Dassault Super-Mystere B.2 \ J-52 S'aar type, six new Cessna A-37 Dragonfly COIN aircraft and fifty UH-1 Iroquois helicopters. By then, the Sabres were in such a poor condition and deteriorated quickly under the harsh local climate, that a replacement was soon needed. The choice fell on the G.91X, not only because of the aircraft’s simplicity and ruggedness, but also because of its (though limited) reconnaissance capability as well as the engine and ammunition commonality with the ex-Israeli Sa’ars. A total of twelve G.91X were procured in 1977 and delivered until late 1979, and they were immediately put into action during the 1980s confrontation with the Sandinista government of Nicaragua, with heavy involvements in bombing raids and COIN missions. The Honduran G.91Xs flew frequent attack and reconnaissance missions, and even though they were no fighters the Ginas downed several Sandinista helicopters, including a Mil Mi-24 Hind (rather accidently shot down, though, through a salvo of unguided 5” FFARs which crossed the helicopter's flight path).
After the hostilities with Nicaragua had ended in 1990, the Honduran G.91Xs became actively involved in fighting drug trafficking and flew frequent reconnaissance and attack missions over home soil. By that time, the Honduran aircraft fleet was augmented or replaced (three G.91Xs had been lost through accidents or enemy fire by 1991) with 11 ex-USAF OA/A-37B Dragonflies, 12 ex-USAF Northrop F-5E/F Tiger II interceptors, 12 new Embraer T-27 Tucano armed trainers and four new CASA 101BB-02 attack airplanes.
By 1996, all eight remaining Honduran G.91Xs were, together with the Super Mystères, retired. The surviving aircraft were put up for sale as surplus, and one, already grounded G.91X airframe has been preserved at the Honduras Air Museum.
General characteristics:
Crew: one
Length: 11.67 m (38 ft 3.5 in)
Wingspan: 9.01 m (29 ft 6.5 in)
Height: 4.43 m (14 ft 6.3 in)
Wing area: 18.13 m² (195.149 ft²)
Empty weight: 4,400 kg (9,692 lb)
Loaded weight: 8,100 kg (17,842 lb)
Max. takeoff weight: 9,000 kg (19,823 lb)
Powerplant:
1× Pratt & Whitney J52-P6A turbojet with 8,500 lbf (38,000 N) of thrust
Performance:
Maximum speed: 1,110 km/h (600 kn, 690 mph, Mach 0.95) at 10,000 m (33,000 ft)
Range: 1,100 km (594 nmi, 683 mi)
Max. ferry range with drop tanks: 3,200 km (1,988 mls)
Service ceiling: 12,500 m (41,000 ft)
Rate of climb: 58 m/s (11.400 ft/min)
Wing loading: max. 480 kg/m² (98.3 lb/ft²)
Thrust/weight: 0.47 at maximum loading
Armament:
2× 30 mm (1.18 in) DEFA cannons with 120 RPG
4× under-wing pylon stations with a capacity of 1,814 kg (4,000 lb)
The kit and its assembly:
This build is my submission the 2020 "One week” group build at whatifmodellers.com. I had originally earmarked my Thai Navy A-4 for this event, but already built it for the “In the navy” GB that ran a couple of weeks earlier, since it was a perfect thematic match.
While searching for an alternative I found a Matchbox G.91Y in the stash and wondered about a single engine alternative, a simpler aircraft in the spirit of the original G.91R variants. Since I had some surplus fuselages from G.91R Revell kits in the donor bank, the G.91X was born.
The basis is the Matchbox G.91Y kit, a basic affair with mediocre fit and only few details. It was mostly built OOB, except for lowered flaps (easy to realize on this kit) and a completely new lower rear fuselage from a smaller G.91R section with only a single exhaust. This feat was a little more challenging than it seems, since the G.91R is considerably smaller and shorter than the G.91Y – a lot of improvisation and PSR went into this cosmetic stunt. For instance, the seams between the parts had to be reinforced from the inside, bridging the different fuselage shapes, and a 2-3mm gap between the fuselage halves had to be filled. In order to emphasize the new engine arrangement, the G.91Y’s dorsal air scoops were sanded away and a new jet exhaust had to be found for the new, rather oval tail orifice. I eventually settled upon a protective cap from y syringe needle.
Furthermore, the cast-on guns were replaced with hollow steel needles, and some blade antennae (styrene sheet) as well as gun nozzle protectors (thin wire) were added. The cockpit was also slightly pimped with styrene profiles and some wire (on the ejection seat and for some side consoles), the pilot figure – even though the Matchbox figures are among the best I know – was replaced by a pilot from an Airfix A-4 Skyhawk (left over from the recent Thai Navy A-4LT build). However, the canopy remained closed, since opening it would require more fuselage cutting.
The ordnance was kept simple, reflecting the attack/COIN role of this aircraft: a pair of LAU-19 unguided missile pods and two Mk. 82 bombs; these came from an Italeri NATO weapon set and an Airfix A-4 kit, respectively.
Painting and markings:
Another inspiration for this build were pictures from a PC-7 trainer of the Guatemala Air Force, which carried a livery in three murky shades of green. I found this paint scheme pretty interesting, esp. as an alternative to the ubiquitous SEA scheme (that Honduran A-37s carried). For the G.91X I adapted the scheme with slightly more contrasty tones of two shades of green and a more brownish hue: Faded Olive Drab (Modelmaster #2051), Olive Drab (Humbrol 155) and Dark Green (Humbrol 30). The undersides were painted in a light grey (Humbrol 166). I initially considered a wrap-around scheme, but eventually found it to look too boring – also with a look at the potential markings, because aircraft of the Honduran Air Force typically only carried and carry minimal markings. Instead of the Guatemalan PC-7’s apparently symmetrical scheme I rather went for a more disruptive pattern, though.
The model was seriously weathered with a black ink washing and post panel shading, simulating constant use and the influence of tropical climate conditions. The decals were puzzled together from various sources and improvised. Most stencils come from the OOB sheet, the roundels on the fuselage and the flags on the fin were printed at home on clear sheet, with a white decal base added underneath. Quite complicated, but the alternative white decal paper as printing base would not yield sufficiently opaque markings. In order to add some eye-catchers I gave the Gina roundels on the fuselage and on the wings, too – these are rather modern markings, but just with the flags on the fin I found the model to look quite murky and boring. Artistic freedom… The “FAH” abbreviations were created with single USAF 45° letters.
Finally, after some soot stains around the guns and the exhaust with grinded graphite, the aircraft was sealed with matt Italeri acrylic varnish.
A relatively simple project – chosen with the perspective of just a week (well, eight days, to be honest) to tackle and finish it, despite the major fuselage surgery and the photo shooting and editing on top.
Wisconsin Central GP40 3010 sits at Homewood in recent CN paint on a warm weekend evening staring at the current reason for its existence. CN's new training center is a beautiful, glassed-in facility that I encourage anyone to drive by at night and take a peak at from the adjacent roadway.
endlesslyintooblivion.wordpress.com/2013/11/28/basic-a-bi...
Sorry that I haven't posted in quite a while! It's the holidays and you know, you gotta spend some time with family :D but anyways, enjoy my new look!
Skin : The Body Co. Hunter
Shape : My own (not for sale)
Ears : [MANDALA] Stretched Ears – OMIMI
Eyes : IKON Ascension Eyes
Hair : [BURLEY] Dimitri
Jacket : DOZZE Leather Jacket *NEW*
Pants : .:Villena:. Tucked Up Jeans
Shoes : [GOS] Triumph Boots
Necklace : .Pekka. Dog Tag Cross Necklace
Piercings : Sinners Piercing
Tattoos : -UtopiaH- Around The Hell
Cigarette : .:Hermony:. Ultimate Cigarette
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
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