This page is dedicated to the people of Halabja who on March 16th, 1988 suffered the worst chemical attacks committed by the Iraqi regime. On that day, 5,000 innocent civilians, 75% women and children, immediately perished. This was not the only chemical attack ordered by Saddam, it was just the worst.
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Kurdish rugs are usually woven on a relatively narrow loom of three to four feet long, and they are often twice as long as they are wide. Runners are popular, not for use in hallways but to provide sitting space along the walls in Kurdish village houses. Kurdish rugs often have only one or two borders, rather than the more standard three corders of Persian and Turkish rugs. The flat-wowen Kurdish kelims are also usually produced on narrow looms, sometimes in two matching halves that can be sewn toigether to produce a single design in a more nearly square format.
Kurdish rugs usually have two or more wefts between rows of symmetric knots, althoughh two of the best-knwn Kurdish products on the market , the Sennes and Bijars, have their own special structures. The most authentic Kurdish weave gives pile rugs a flat back on which the design is easily seen, and with each knot showing clearly as two square nodes. Kurdish rugs, whether from Anatolia or Iran, are often distinguished by their multi-cloured side selvedges. In Iran these usually form colour bands, six or more inches in length, while in anatolia different-coloured wools often alternate to form a herringbone side finish. The end finishes of Kurdish tribal and nomadic pieces are easy to distinguish since they consist of a cross braid made up of the excess warp length. From this cross braid extend round or flat plaits. Each plait groups together several inches of warp to lengthen the fringe another six inches or so. This produces the `wild, barbaric' appearance of Kurdish rugs noted in the early rug books.
DESIGN AND COLOUR
The designs of Kurdish tribal and village rugs, like those elsewhere in the Middle East, are often derived from elaborately drawn urban products, even though the connection is initially not at all obvious. It is, of course, the imagination and spontaneity of Kurdish women weavers that over years and centuries have transformed these sophisticated drawings into the crude geometric medallions and other figures found in Kurdish weavings we know today. In addition to this borrowing from the past, there are some designs that appear to be part of a non-urban tradition. On the whole, the flat-woven kelims probably display the most authentic Kurdish designs, since they have normallly been made for local use with few urban influences. For Kurdish designs in rugs, we can cite the eightpointed star and other octagonal forms as being the most typical. Besides these, there are latchhooks and geometric devices, `turtles', birds, and familiar objects such as combs and talismanic-shaped jewellery. There are laso crude animal and human forms, and along the edges reciprocal `running dog' outer borders. Kurdish women weavers like to fill empty spaces in the fields of the rugs using many small flowers and geometric shapes. This produces a cluttered and deconstructed appearance which can be attractive or not, depending on how space and colour are combined, and how they suit the eye. Older Kurdish rugs have strong natural dyes that improve with age. Red and blue are the dominant clours, the former normally coming from the madder root, while in the Malatya and Gaziantep regions in Turkey cochineal dyes from insects were used until the 1920s to produce deep reds with a bluish cast. More recently, however, Kurdish weavers, like others in the Middle East, have taken to the easily applied, cheap and inferior chemical dyes that are often resistent neither to light nor to water. Kurdish women are particularly attracted to the bright pinks and oranges, which they fortunately use in small quantities, and which sometimes fade to more pleasing hues.
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Flickr: jan_Kurdistan pop -jazz-rock-videos, internet -Flickr: KURD PressCard. photos tagged with kurdistan4all.radio Watch music videos kurdish Theatre · Music · Dance One of over 1000 beautiful photos of Kurdistan . Kurdistan Voice of Kurds Landscaps-Flowers-Art-Fantasy-Nature -3DArt ...classical music - romantic kurdistan--Blues CountryDisco Dis Elektroniskt Funk Karaoke Klassis Best Website For Music. Best Website For Kurdish music by aziz s کردستان Kurdistan tê wateyê welatê kurdan. Welatê Kurdistan Kurdistan Artists - Fine Art, Paintings, Photography, Graphic Designers, Animators & Film Makers.
Kurdistán- כורדיסטן - 库尔德斯坦 Κουρδιστάν کوردستان .The Kurds - The Forgotten people. Women of Ararat - New documentary - Opera · Film Comedy · Tragedy · Satire-Television History .DEKOMENT · Radio kurdistan Epic- All images are copyright SAFTI © Kurdish Flickr: jan_Kurdistan document THANKS FOR YOUR VISIT AND YOUR COMMENTS Kurdish Video Clips, Mp3 Mp4 Music and Photo galleries Index Wins a Heart
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The very first mention of the Kurds in history was about 3,000 BC, under the name Gutium, as they fought the Sumerians (Spieser). Later around 800 BC, the Indo-European Median tribes settled in the Zagros mountain region and coalesced with the Gutiums, and thus the modern Kurds speak an Aryan language (Morris). The Kurds are mentioned in the Anabasis by Xenophon, a Greek mercenary, as he retreated from Persia with ten thousand men in 401 BC, he says of the Kurds, "These people, lived in the mountains and were very war-like and not subject to the Persian king. Indeed once a royal army of 120,000 had once invaded their country, and not a man of them came back
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