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Plate One

Plate Three & Four

Plate Eight

Plate Ten

Plate Twelve

Plate Fourteen

Plate Sixteen & Seventeen

Plate Nineteen

Plate Twenty-One

Plate Twenty-Three

Plate Twenty-Six

Plate Twenty-Eight

Plate Thirty
Plate Two

Plate Five, Six & Seven

Plate Nine

Plate Eleven

Plate Thirteen

Plate Fifteen

Plate Eighteen

Plate Twenty

Plate Twenty-Two

Plate Twenty-Four

Plate Twenty-Seven

Plate Twenty-Nine

Plate Thirty-One & Thirty-Two

PLATE TWELVE

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The next two Plates, Twelve and Thirteen, are examples from the first group, those with medallions, mentioned in the last Plate description.

A host of wild crane in the central medallion has given Plate Twelve its more common name, "The Getty Crane Carpet". In general the drawing is more naive and robust than Plate Eleven, known as the Paris-Cracow carpet, but “The Getty Crane Carpet” scores heavily with its wonderfully poised central medallion and pendants.

As in the Paris-Cracow carpet, Chinese influences abound in the field of Plate Thirteen with cloudbands and pairs of Dragon and Phoenix looking like they are getting ready for combat. Surprisingly, in the corner-pieces, some have surmised the Angels are dressed in what appears to be Chinese garb.

To be truthful, the animals are not in combat but rather they stalk each other in a mythical, heaven on earth landscape Arthur Upham Pope christened the "Paradise Park".

 

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