Citations:kylym

English citations of kylym

						1912 1953 1963 1982 1988	2001 2007
ME «	15th c.	16th c.	17th c.	18th c.	19th c.	20th c.	21st c.

• 1912, N. Bilachevsky, transl. V. Stepankowsky “The Peasant Art of Little Russia (The Ukraine),” in Charles Holme ed., Peasant Art in Russia, London: The Studio, p 29:

  As is clearly seen from the very name of the rug, which is in Ukrainian “kylym” (carpet), the industry has been introduced from the East.

• 1954, “The 300th Anniversary of the Ukrainian Mistake” (editorial), The Ukrainian Quarterly, v 10, n 1 (winter), New York: Ukrainian Congress Committee of America, p 5:

  The display windows of the shops in Kiev, Lviv, Kharkiv, and the other cities of Ukraine are full of vases, tea services, kylyms, and textiles with portraits of Bohdan Khmelnytsky, the Muscovite envoy Buturlin and the Rada of Pereyaslav.

• 1963, D. Horniatkevych, “Kylym-making,” in Volodymyr Kubiĭovych ed., Ukraine: A Concise Encyclopedia, v 1, University of Toronto Press, p 390:

  Kylym-making. The oldest reference to kylyms in the Chronicles of Ukraine dates back to 997 in the description of the death and funeral in Ovruch of Prince Oleh of the Derevlianians. [. . .] We can relate the beginnings of the Ukrainian kylym-making to the constant settling in Ukraine of nomadic peoples, the Pechenegs, Cumans, and others, who, as pastoral tribes, raised sheep and probably made fabrics form the wool.

• 1982, The Ukrainian Quarterly, New York: Ukrainian Congress Committee of America, v 38, n 2 (summer), p 208:

  The four display cases in the library were filled with pysanky, dolls dressed in Ukrainian costumes from different regions of Ukraine, embroidered pillow cases, ceramics, handiwork and kylyms (Ukrainian divans).

• 1988, Tkanyna: An Exhibit of Ukrainian Weaving, University of Toronto Press, pp 10–11:

  Many people, therefore, identify any runner or carpet-type of weaving as a kylym. ¶ Actually, the Ukrainian kylym was a distinctive, smooth-faced weaving prepared with a tapestry weave technique. It was used extensively in furnishing village dwellings, especially in Bukovyna: There were three main types of kylym: narodni (folk), panski (upper class), and tserkovni (ecclesiastical). Narodni kylymy were the most prevalent. In addition to hanging on walls, some types of kylymy functioned as bench covers.

• 2001, Sandra Flood, Canadian Craft and Museum Practice, 1900–1950, Ottawa, Canadian Museum of Civilization:

  [p 111] They made shopping bags, small blankets, bench covers, and kylyms which were used as wall hangings and furniture coverings but not as mats.

  [p 126] The work handled was primarily textiles and included Doukhobor drawn thread work, homemade linens and woven rugs (described as tapestry) and “Ghileem” (kylym) of Doukhobor and Ukrainian origin, Ukrainian cross-stitch and other embroidery, loomed, hooked, and braided rag rugs, hooked wool rugs, needle weaving, petit point, Hungarian and Polish embroidery, smocking, beadwork (Austrian), Hebdebo, Filet lace, and Swedish drawn work.

• 2007, Janice Kulyk Keefer, The Ladies’ Lending Library, Toronto: HarperCollins, p 67:

  It’s this last refrain that troubles Laura most: the law, verging on commandment, that life—everyone’s life, from Chucha Marta’s to Baby Alix’s—is fixed in a pattern rigid as the wool of Baba Motria’s kylym, the black rug woven by Baba Motria herself, a treasure, a monstrosity like the statue of the boy and girl beneath the umbrella.