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Published online by Cambridge University Press: 02 March 2020
1 Özbel, Kenan, El Sanataları X, Kuşaklar ve Kolanlar, C. H. P. Halkevleri Bürosu, Kılavuz Kitaplar I: xx, 30, II Kanun 1948Google Scholar. He donated his valuable collection to the Alay Köşk in Istanbul.
2 Kosswig, Leonore, “Über Brettchenweberei ins Besondere in Anatolien“, pp. 71–133 in Baessler-Archiv, n.F. Bd. XV, Heft 1, (Berlin, 1967)Google Scholar.
3 “Çarpanacılık ve İstanbul Topkapı Saray Müzesinde bulunan çarpana dokumaları“, in Türk Etnografya Dergisi XII, (Ankara, 1968), pp. 83–109.
4 Collingwood, Peter, The Techniques of Tablet Weaving, (London, 1982)Google Scholar.
5 Digard, Jean-Pierre, Techniques des nomades baxtyȃri d'Iran, (Cambridge, 1982), pp. 120–121Google Scholar., figs.65–66: the terminology is entirely different, with duwȃl for the tablets, capat for the beating-in sword, and veris for the band.
6 See Bayatlı, Osman, Bergama'da Alevi Gelini ve İnançları, Izmir 1957, pp.10, 48Google Scholar; Tansuğ, Sabiha, Türkmen Giyimi/Türkmen Costumes, Akbank, Ak Yayınları Türk Süsleme Sanatları Serisi 9, Istanbul? 1985, pp.34, 37 (the English translation is abbreviated)Google Scholar.
7 Cf. Andrews, Peter Alford, Nomad Tent Types in the Middle East, Pt.I, vol.II, Wiesbaden 1997Google Scholar, Tübinger Atlas des Vorderen Orients, Beiheft B 74/1/2, drawings a1.
8 Foitl, Gerhardt, ed. Steinmann, A., Straps and Bands, Textilien aus der Sammlung Foitl, Vienna, Museum für Völkerkunde, exhibition catalogue 2009Google Scholar, which contains several tablet woven bands, from Algeria to Burma; Isaacson, Richard, Architectural Textiles: Tent Bands of Central Asia, Washington D.C., Textile Museum, exhibition catalogue 2007Google Scholar, which, although it contains no tablet weaving, is useful for comparison of motifs. A book by Fred Mushkat on his own collection, Weavings of Nomads in Iran: Warp-Faced bands and Related Textiles, is shortly forthcoming in London, Hali publlications. Dr Foitl has donated his collection to the Vienna Museum, and Dr Isaacson his to the Arthur M. Sackler Gallery in Washington D.C.