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                  <text>Navajo Rugs</text>
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                <text>Dates: 1940-1949&#13;
Size: 160 x 94.5 cm&#13;
Description: Although there a few examples of pictorial images in Navajo weaving as early as the 1840's(comma) pictorial rugs only became prominent beginning in the 1890's. This example is made of natural and aniline dyed wool to create shades of red(comma) brown(comma) tan(comma) and turquoise. The alternating stripes of the rug include one set of lizards.</text>
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        <name>Navajo Rugs</name>
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        <name>Pictorial Rug</name>
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                <text>Dates: 1974&#13;
Size: 149.6 x 77.1 cm; 5.5 warps(comma) 22 wefts&#13;
Description: During the modern period(comma) Navajo weaving is not only characterized by regional revival varieties(comma) but also geometric and specialty patterns. Such styles vary widely and can incorporate a diversity of images. This example was purchased at the Crown Point Rug Weavers Auction and was woven by Dorothy Perry of natural and vegetal dyed wools. It is an unusual design that creates an optical illusion depending on viewing direction.</text>
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        <name>Barrego Pass</name>
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        <name>Geometric Rug</name>
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        <name>Navajo Rugs</name>
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        <name>NM</name>
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                <text>Dates: 1958-1968&#13;
Size: 167.6 x 106.7 cm&#13;
Description: This rug is likely an example of the Chinle Revival style(comma) a regional variation developed beginning in the 1920's that promoted a return to traditional patterns and natural dyes. Chinle style rugs are borderless and consist of a fairly simple banded pattern that often incorporates blossoms(comma) chevrons(comma) diamonds(comma) and squash designs in pastel or earth-tones. This example uses pastel vegetal dyed wool to create shades of grey(comma) purple(comma) red(comma) and tan.</text>
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        <name>Chinle Revival Rug</name>
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                <text>Dates: 1930-1980&#13;
Description: Although this rug was collected near Crystal(comma) New Mexico(comma) the textile is woven in a Wide Ruins style with no border(comma) simple linear(comma) repeating design elements and pastel colors(comma) probably natural dyes. Wide Ruins is a regional style developed during a revival period in Navajo weaving(comma) starting in the 1940's. After a decline in the Navajo rug market during the Great Depression(comma) a revival period brought back stylized classic designs without borders made with vegetable dyed wools.</text>
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        <name>Crystal</name>
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                <text>Dates: 1961-1966&#13;
Size: 54.5 x 42.5 cm&#13;
Description: Two Grey Hills is a regional style associated with the Toadlena and Two Grey Hills Trading Post established in 1914 by George Bloomfield and Ed Davis. The style was inspired by rugs being created at the Crystal(comma) NM(comma) Trading Post and patterns on local prehistoric ceramics. Two Grey Hills rugs are characterized by the use of natural browns(comma) tan(comma) gray(comma) ivory(comma) white(comma) and black colors. They rarely incorporate reds(comma) oranges(comma) or blues. Typical designs feature terraced diamond centers(comma) corner elements(comma) and full border designs. A unique motif used in Two Grey Hills rugs are the multiple-outlined Z shape. This example is a small fine weave warp in tan(comma) browns(comma) grey(comma) black(comma) and white woven by the famous Navajo weaver Daisy Taugelcheee.</text>
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        <name>Navajo Rugs</name>
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                <text>Dates: 1920-1940&#13;
Size: 161 x 86.5 cm&#13;
Description: The Storm Pattern is a popular design first seen in Old Crystal rugs found in J.B Moore's 1911 catalog(comma) but can now be found in any regional style. The main pattern consists of a central rectangle connected by zigzag lines to smaller corner rectangles. The zigzags represent lightning(comma) while the four corner rectangles are the four sacred Navajo mountains or four directions. This is a classic example created with shades of red(comma) tan(comma) white(comma) and brown.</text>
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        <name>Storm Pattern Rug</name>
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        <name>Unknown</name>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Dates: 1880-1900&#13;
Size: 155.5 x 107.5 cm; 6 warps(comma) 22 wefts&#13;
Description: During the late 19th century Navajo weaving went through a period of transition where the market changed from creating wearing blankets to weaving rugs for Anglo-Americans. This new trade was funneled through trading posts where synthetic dyes and machine produced wool and yarn were made readily available. Rugs from this transitional period (1868 to 1900) are characterized as more coarsely woven with very bright colors. This example consists of a classical meander pattern in orange and purple with lines of green against a red background.</text>
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        <name>Navajo Rugs</name>
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      <tag tagId="58">
        <name>Transitional Blanket</name>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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                <text>Dates: 1880-1885&#13;
Size: 171 x 115.5 cm; 10 warps(comma) 52 wefts&#13;
Description: Eyedazzler designs are known for their unusually bright colors and intricate designs that create an optical effect. The bright colors are a result of Germantown(comma) PA(comma) wool yarns that were traded/supplied to Navajo weavers predominantly during the Transitional Period (1880-1895). Blankets from the Transitional Period are also characterized by banded ends. This example incorporates commercial yarns with a cotton string warp.</text>
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        <name>Eyedazzler</name>
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        <name>Navajo Rugs</name>
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                <text>Dates: 1979&#13;
Size: 171 x 111.5 cm; 11 warps(comma) 40 wefts&#13;
Description: The Storm Pattern is a popular design first seen in Old Crystal rugs found in J.B Moore's 1911 catalog(comma) but can now be found in any regional style. The main pattern consists of a central rectangle connected by zig zag lines to smaller corner rectangles. The zigzags represent lightning(comma) while the four corner rectangles are the four sacred Navajo mountains or four directions. Woven by Rose Keith using the raised-outline technique that incorporates alternating two colors in the weft(comma) this storm pattern won the blue ribbon at the 1979 New Mexico State Fair.</text>
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                <text>Dates: 1978&#13;
Size: 125.5 x 70 cm; 10 warps(comma) 48 wefts&#13;
Description: The Ye'ii Bicheii rug is similar to the Ye'ii design but the figures are portrayed in profile and symbolize human dancers representing deities rather than the deities themselves. These dancers are participants in the Nightway Chant(comma) which is a nine day Navajo healing ceremony. At the lead of the dancers(comma) in a white mask(comma) is the Ye'ii Bicheii(comma) or “Talking God” who appears on the last day of the ceremony. Often the design incorporates a Medicine Man (Hatathli) at the head of the line(comma) facing the lead dance(comma) and a Clown(comma) or Water Sprinkler(comma) at the end of the line of dancers. Sometimes the Medicine Man is accompanied by a dancer holding a ceremonial basket. The Ye'ii Bicheii rug design is not as common as the regular Ye'ii. This version woven by Anna Peshlakai includes the figure of a woman holding a ceremonial basket at the head of the line of dancers and the rainbow guardian around all four sides(comma) which are not typically included in such designs.</text>
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