Mary Cabot Wheelwright, founder of the Wheelwright Museum in Santa Fe, probably started the “vegetal revival” by providing weavers around Chinle, Arizona with the new dyes and sketches of old weavings. Chinle Revival rugs typically feature bands of repeating geometric motifs alternated with plain or striped bands of contrasting colors. Common colors for Chinle rugs include yellow, gold, brown, tan, terra cotta, soft pink and other earth tones, as well as natural wool colors ranging from white to black. About the time of World War II, Crystal-area weavers developed their own banded revival rugs bearing no resemblance to Moore’s early designs. Generally known as Modern Crystal rugs, these borderless patterns often combine vegetal and aniline colors in shades of brown, yellow, and terra cotta with natural greys and whites.
Regional characteristics of a Native American rug can be useful in identifying it. Navajo rugs don’t have borders and feature horizontal bands, while Two Grey Hills rugs typically have elaborate designs. Navajo rugs are often made with natural vegetable dyes. They may also contain designs and patterns added by other people. Typically, the weaving style is similar to Navajo textiles. The two rugs can be identified by their colors and pattern.
By the 1930s, Ganado area weavers had thoroughly adopted the color scheme, but had moved away from Classic-inspired weavings to new patterns with a large central motif-often a complicated diamond or lozenge shape-with a double or triple geometric border. These rugs frequently had a deep red “ground” or field on which the central motif was superimposed, and are now known as the Ganado regional style. Weavers around the nearby trading post at Klagetoh, Arizona (also owned by Hubbell) often worked in the same colors and patterns, but reversed the color scheme and used a grey ground with red, white and black central motifs.
Many Navajo rugs will have what Indian arts dealers call, "lazy lines." It is an inaccurate and insulting term that I hope will be replaced by the term, "Section Line." The section line line is a diagonal joint or break in the weave where a weaver has worked on a single section of the rug without having to reach all the way across the rug. She weaves one section, then moves over and weaves another section. This creates the diagonal section line. Not all Navajo rugs have section lines.
The Wide Ruins style is the most elaborate and usually themost finely woven of the banded rug styles. It evolved from the Chinle. These rugs will have broad strips of plain color, some with geometric designs and with verynarrow bands with delicate motifs, combined with thin, straight lines ofcontrasting colors. The shapes found within the broader bands are oftenoutlined with a different color. The main colors are browns, olives, maroons, and mustardsaccented with a color such as white, red, or black.
The best way to learn is to look at as many weavings as you can in galleries and museums, and don’t be afraid to ask questions! Soon you’ll be matching the terminology to the weavings and you’ll begin to feel a surge of confidence. When you decide to buy, focus on a reputable dealer who will take time to answer all your questions simply and directly, and make sure they are willing to give you a written guarantee of authenticity. Happy collecting!
They had a deep understanding of beautiful and eye-catching design. Some of them even included their personal touch in the design. Sometimes, the symbol that adds the personal touch to a project is a symbol. You'll find lightning bolts (or sunrays), crosses, triangles, or other designs. Each one of these has a meaning. The meaning tells us about the thoughts and intentions of the weaver when they began weaving the rug. It is the unique thing that makes these rugs special. Navajo rugs are therefore very expensive. The Navajo rugs have a high price due to their excellent craftsmanship, history, weaving technique, materials, as well as other methods.