From Anvār-i Suhaylī (1847).

Source: The Walters Art Museum

https://pdimagearchive.org/images/add09bc7-52c1-4182-a4a6-2f38e60576df

#panchatantra #baskets #persia #dogs #animals #mountains #iran #birds #trees #landscapes #fables #art #publicdomain

Baskets Bonn sind schon voll im Playoff-Fieber

https://www.lindweiler.de/baskets-bonn-sind-schon-voll-im-playoff-fieber/

#Indigenous #art #baskets

'Woven Legacies is a new digital collection of historical and contemporary baskets made by Indigenous artists and currently in the care of the University Art Collections (UAC).'

https://www.uvic.ca/library/about-us/news-stories/news/exhibits/active/woven-legacies.php

University of Victoria: Digital pathways into the University Art Collections – a new Vault collection. “Woven Legacies is a new digital collection of historical and contemporary baskets made by Indigenous artists and currently in the care of the University Art Collections (UAC).”

T.A.E.’s (The Adaptable Educator) Book Review – The Ultimate Basket Book: A Cornucopia of Popular Designs to Make by Lyn Siler

The Ultimate Basket Book: A Cornucopia of Popular Designs to Make (2006) presents itself as an expansive, practical craft volume: it combines The Basket Book and Handmade Baskets, adds ten extra projects, and includes new colour photography. The edition is listed as a 192-page book published by Lark Books in New York, and the available descriptions emphasize that Lyn Siler covers tools, materials, and foundational basket-making techniques. 

What makes the book interesting, even from its catalog description, is the rhetoric of abundance embedded in the title itself. “Cornucopia” is not a decorative flourish but a governing metaphor: this is a book about plenitude, variation, and the pleasure of making. Its technical vocabulary—“weaving, plaiting, coiling, twining, and wailing”—has an almost incantatory rhythm, turning instruction into something close to a verbal loom. That cadence matters because it suggests a craft manual that does not merely explain how baskets are made; it dramatizes the grammar of making itself. 

The book’s strongest promise is its balance between utility and artistry. It aims to help readers create “functional everyday baskets,” including forms such as the “Twill Weave Market” and “Double Lidded Picnic” baskets, while also making room for decorative work and a “beautiful brand-new colour photography” gallery. That dual emphasis gives the volume a quietly persuasive aesthetic philosophy: a basket is never just a container, but a visible record of patience, skill, and design intelligence. In that sense, Siler’s book belongs to the finest tradition of craft writing, where instruction becomes a way of honouring ordinary objects as made things, and made things as forms of cultural memory. 

Overall, this appears to be a generous, reader-friendly manual that treats basketry as both accessible technique and artful inheritance. Its lasting appeal seems to lie in that combination: practical enough to teach, rich enough to admire, and structured enough to invite both beginners and experienced makers into the same creative conversation.

Fesgar & Taete at The Northlight Gallery

https://fed.brid.gy/r/https://theorkneynews.scot/2026/04/22/fesgar-taete-at-the-northlight-gallery/