Bath buying Mat,Faded Turkish Small Vintage Doormat,Low Pile Wool Welcome Mat,Boho Entrway Rug,Hand Knotted Little Sink Rug 3' 1'' x 1' 8'' 623

Bath Mat,Faded Distressed Turkish Small Vintage Doormat,Low Pile Wool Welcome Mat,Boho Entrway Rug,Hand Knotted Little Sink Rug 3' 1'' x 1' 8'' 623


Door mat

entrance rug

bathroom rug


Low pile is clean and ready for using.

Floor Rug is hand made and vintage

100% wool, very durable and easy to clean

These rugs are great for entryways, bedsides, kitchen sinks and bathrooms



All of our rugs are old, antique or vintage. They are all professionally cleaned and if needed repaired.

One of a kind, Genuine Rug

Due to its vintage nature, there will be signs of aging, which isn't considered flaw but character

These rugs are vintage so some rugs may show slight imperfections but I do my best to picture the quality and color scheme of all my rugs.

Please note that images may be displayed differently on different monitors.

We Ship Our Rugs Directly From Turkey !!!

You Will Receive Same Rug In The Pictures !!!

Rug Comes From Smoke Free and Pet Free Area



SIZE IN FEET: 3' 1'' X 1' 8''


SIZE IN CENTIMETERS: 96 X 52


SIZE IN INCHES: 38 X 20



I Will Ship Your Rug By Fedex Express Air Cargo And Your

Rug will arrive you within 5 business days with tracking information.

I have taken all the pictures of the rug outdoors,in daylight ,without flash !!!


Feel free for any question,you may have,I will respond you as soon as possible !

I accept returns,in case of dissatisfaction !!!


I AM GRATEFUL FOR YOUR SUPPORT THE HANDCRAFT AND MY SMALL BUSINESS,BELINDA !!



Turkish Anatolian Rug

This article is about pile-woven Anatolian rugs. For flat-woven rugs

Anatolian rug is a term of convenience, commonly used today to denote rugs and carpets woven in Anatolia (or Asia minor) and its adjacent regions.
Geographically, its area of production can be compared to the territories which were historically dominated by the Ottoman Empire.
It denotes a knotted, pile-woven floor or wall covering which is produced for home use, local sale, and export. Together with the flat-woven kilim,
Anatolian rugs represent an essential part of the regional culture, which is officially understood as the Culture of Turkey today,[1]
and derives from the ethnic, religious and cultural pluralism of one of the most ancient centres of human civilisation.

Rug weaving represents a traditional craft dating back to prehistoric times. Rugs were woven much earlier than even the oldest
surviving rugs like the Pazyryk rug would suggest. During its long history, the art and craft of the woven carpet has absorbed
and integrated different cultural traditions. Traces of Byzantine design can be observed in Anatolian rugs; Turkic peoples migrating from Central Asia,
as well as Armenian people, Caucasian and Kurdic tribes either living in, or migrating to Anatolia at different times in history contributed
their traditional motifs and ornaments. The arrival of Islam and the development of the Islamic art has profoundly influenced the
Anatolian rug design. Its ornaments and patterns thus reflect the political history and social diversity of the area. However,
scientific research was unable, as yet, to attribute any particular design feature to any specific ethnic or regional tradition,
or even to differentiate between nomadic and village design patterns.[2]

Within the group of oriental carpets, the Anatolian rug is distinguished by particular characteristics of its dyes and
colours, motifs, textures and techniques. Examples range in size from small pillows (yastik) to large, room-sized carpets.
The earliest surviving examples of Anatolian rugs known today date from the thirteenth century. Distinct types of rugs have
been woven ever since in court manufactures and provincial workshops, village homes, tribal settlements, or in the nomad's tent.
Rugs were simultaneously produced at all different levels of society, mainly using sheep wool, cotton and natural dyes.
Anatolian rugs are most often tied with symmetrical knots, which were so widely used in the area that Western rug dealers
in the early 20th century adopted the term "Turkish" or "Ghiordes" knot for the technique. From the 1870s onwards,
the Ottoman court manufactures also produced silk-piled rugs, sometimes with inwoven threads of gold or silver,
but the traditional material of the majority of Anatolian rugs was hand-spun, naturally-dyed wool.

In Europe, Anatolian rugs were frequently depicted in Renaissance paintings, often in a context of dignity, prestige and luxury.
Political contacts and trade intensified between Western Europe and the Islamic world after the 13th century AD. When direct trade
was established with the Ottoman Empire during the 14th century, all kinds of carpets were at first indiscriminately given the
trade name of "Turkish" carpets, regardless of their actual place of manufacture. Since the late nineteenth century, oriental
rugs have been subject to art historic and scientific interest in the Western world.[3][4][5] The richness and cultural diversity
of rug weaving were gradually better understood. More recently, also flat woven carpets (Kilim, Soumak, Cicim, Zili) have
attracted the interest of collectors and scientists.

The art and craft of the Anatolian rug underwent serious changes by the introduction of synthetic dyes from the last third
of the 19th century onwards.
The mass production of cheap rugs designed for commercial success had brought the ancient tradition close to extinction.
In the late twentieth century, projects like the DOBAG Carpet Initiative have successfully revived the tradition of Anatolian
rug weaving using hand-spun, naturally-dyed wool and traditional designs

History

The origin of carpet weaving remains unknown, as carpets are subject to use, wear, and destruction by insects and rodents.
Controversy arose over the accuracy of the claim[7] that the oldest records of flat woven kilims come from the Çatalhöyük
excavations, dated to circa 7000 BC.[8] The excavators' report[9] remained unconfirmed, as it states that the wall paintings
depicting kilim motifs had disintegrated shortly after their exposure.

The history of rug weaving in Anatolia must be understood in the context of the country's political and social history.
Anatolia was home to ancient civilizations, such as the Hittites, the Phrygians, the Assyrians, the Ancient Persians, the Armenians,
the Ancient Greeks, and the Byzantine Empire. The city of Byzantium was founded in the seventh century BC by the Greek, and rebuilt as a
Roman city in 303 AD by the Roman emperor Constantine I. Rug weaving was probably known already in Anatolia during this time,
but no carpets are known today which can be dated back to this time. In 1071 AD, the Seljuq Alp Arslan defeated the Roman
Emperor Romanos IV Diogenes at Manzikert. This is regarded as the beginning of the ascendancy of the Seljuq Turks.

Seljuq rugs: Travelers' reports and the Konya fragments


In the early fourteenth century, Marco Polo wrote in the account of his travels:

...et ibi fiunt soriani et tapeti pulchriores de mundo et pulchrioris coloris.
"...and here they make the most beautiful silks and carpets in the world, and with the most beautiful colours."[10]

Coming from Persia, Polo travelled from Sivas to Kayseri. Abu'l-Fida, citing Ibn Sa'id al-Maghribi refers to rug export
from Anatolian cities in the late 13th century: "That's where Turkoman carpets are made, which are exported to all other countries".
He and the Moroccan merchant Ibn Battuta mention Aksaray as a major rug weaving center in the early-to-mid-14th century.

The earliest surviving woven rugs were found in Konya, Beyşehir and Fostat, and were dated to the 13th century. These carpets
from the Anatolian Seljuq Period (1243–1302) are regarded as the first group of Anatolian rugs. Eight fragments were found in
1905 by F.R. Martin[11] in the Alaeddin Mosque in Konya, four in the Eşrefoğlu Mosque in Beyşehir in Konya province by R.M.
Riefstahl in 1925.[12] More fragments were found in Fostat, today a suburb of the city of Cairo.[13]

Judging by their original size (Riefstahl reports a carpet up to 6 m long), the Konya carpets must have been produced in town manufactories,
as looms of this size can hardly have been set up in a nomadic or village home. Where exactly these carpets were woven is unknown.
The field patterns of the Konya rugs are mostly geometric, and small in relation to the carpet size. Similar patterns are arranged
in diagonal rows: Hexagons with plain, or hooked outlines; squares filled with stars, with interposed kufic-like ornaments;
hexagons in diamonds composed of rhomboids filled with stylized flowers and leaves. Their main borders often contain kufic ornaments.
The corners are not "resolved", which means that the border design is cut off, and does not continue diagonally around the corners.
The colours (blue, red, green, to a lesser extent also white, brown, yellow) are subdued, frequently two shades of the same colour are
opposed to each other. Nearly all carpet fragments show different patterns and ornaments.


The Beyşehir rugs are closely related to the Konya specimen in design and colour.[3] In contrast to the "animal carpets" of the following
period, depictions of animals are rarely seen in the Seljuq fragments. Rows of horned quadrupeds placed opposite to each other, or birds
beside a tree can be recognized on some fragments.

The style of the Seljuq rugs has parallels amongst the architectural decoration of contemporaneous mosques such as those at Divriği, Sivas,
and Erzurum, and may be related to Byzantine art.[14] Today, the rugs are kept at the Mevlana Museum in Konya, and at the Turkish and
Islamic Arts Museum in Istanbul.

Rugs of the Anatolian Beyliks
Early in the thirteenth century, the territory of Anatolia was invaded by Mongols. The weakening of Seljuq rule allowed Turkmen tribes
known as the Oghuz Turks to organize themselves into independent sovereignties, the Beyliks. These were later integrated into the Ottoman
Empire by the sultans Bayezid I (1389-1402), Murad II (1421-1481), Mehmed the Conqueror (1451-1481), and Selim I (1512-1520).

Literary sources like the Book of Dede Korkut confirm that the Turkoman tribes produced carpets in Anatolia. What types of carpets were woven
by the Turkoman Beyliks remains unknown, since we are unable to identify them. One of the Turkoman tribes of the Beylik group, the Tekke
settled in South-western Anatolia in the eleventh century, and moved back to the Caspian sea later. The Tekke tribes of Turkmenistan,
living around Merv and the Amu Darya during the 19th century and earlier, wove a distinct type of carpet characterized by stylized floral
motifs called guls in repeating rows.

Ottoman carpets
Around 1300 AD, a group of Turkmen tribes under Suleiman and Ertugrul moved westward. Under Osman I, they founded the Ottoman Empire in
northwestern Anatolia; in 1326, the Ottomans conquered Bursa, which became the first capital of the Ottoman state. By the late 15th century,
the Ottoman state had become a major power. In 1517, the Egyptian Sultanate of the Mamluks was overthrown in the Ottoman–Mamluk war.

Suleiman the Magnificent, the tenth Sultan (1520-1566), invaded Persia and forced the Persian Shah Tahmasp (1524–1576) to move his capital
from Tabriz to Qazvin, until the Peace of Amasya was agreed upon in 1555.

As the political and economical influence grew of the Ottoman Empire, Istanbul became a meeting point of diplomats, merchants and artists.
During Suleiman I.'s reign, artists and artisans of different specialities worked together in court manufactures (Ehl-i Hiref). Calligraphy
and miniature painting were performed in the calligraphy workshops, or nakkaşhane, and influenced carpet weaving. Besides Istanbul, Bursa,
Iznik, Kütahya and Ushak were homes to manufactories of different specializations. Bursa became known for its silk cloths and brocades,
Iznik and Kütahya were famous for ceramics and tiles, Uşak, Gördes, and Ladik for their carpets. The Ushak region, one of the centers of Ottoman
"court" production, produced some of the finest carpets of the sixteenth century. Holbein and Lotto carpets were woven here. Gold-brocaded
silk velvet carpets known as Çatma are associated with the old Ottoman capital of Bursa, in Western Anatolia near the Sea of Marmara


15th century "animal" rugs

Very few carpets still exist today which represent the transition between the late Seljuq and early Ottoman period. A traditional Chinese motif,
the fight between phoenix and dragon, is seen in an Anatolian rug, today at the Pergamon Museum, Berlin. Radiocarbon dating confirmed that the
"Dragon and Phoenix" carpet was woven in the mid 15th century, during the early Ottoman Empire. It is knotted with symmetric knots. The Chinese
motif was probably introduced into Islamic art by the Mongols during the thirteenth century.[17] Another carpet showing two medallions with two
birds besides a tree was found in the Swedish church of Marby. More fragments were found in Fostat, today a suburb of the city of Cairo.[13]
A carpet with serial bird-and-tree medallions is shown in Sano di Pietro's painting "Marriage of the Virgin" (1448–52).

The "Dragon and Phoenix" and the "Marby" rugs were the only existing examples of Anatolian animal carpets known until 1988. Since then, seven
more carpets of this type have been found. They survived in Tibetan monasteries and were removed by monks fleeing to Nepal during the Chinese
cultural revolution. One of these carpets was acquired by the Metropolitan Museum of Art[18] which parallels a painting by the Sienese artist
Gregorio di Cecco: "The Marriage of the Virgin", 1423.[19] It shows large confronted animals, each with a smaller animal inside.

More animal carpets were depicted in Italian paintings of the 14th and 15th century, and thus represent the earliest Oriental carpets shown in
Renaissance paintings. Although only few examples for early Anatolian carpets have survived, European paintings inform the knowledge about late
Seljuk and early Ottoman carpets. By the end of the 15th century, geometrical ornaments became more frequent.

Holbein and Lotto carpets
Based on the distribution and size of their geometric medallions, a distinction is made between "large" and "small" Holbein carpets. The small
Holbein type is characterized by small octagons, frequently including a star, which are distributed over the field in a regular pattern, surrounded by
arabesques. The large Holbein type show two or three large medallions, often including eight-pointed stars. Their field is often covered in minute
floral ornaments. The MAK in Vienna, the Louvre in Paris, and the Metropolitan Museum of Art keep particularly beautiful Ushak carpets.

Lotto carpets show a yellow grid of geometric arabesques, with interchanging cruciform, octagonal, or diamond shaped elements. The oldest examples
have "kufic" borders. The field is always red, and is covered with bright yellow leaves on an underlying rapport of octagonal or rhombiform elements.
Carpets of various sizes up to 6 meters square are known. Ellis distinguishes three principal design groups for Lotto carpets: the Anatolian-style,
kilim-style, and ornamental style.[20]

Holbein and Lotto carpets have little in common with decorations and ornaments seen on Ottoman art objects other than carpets.[21] Briggs demonstrated
similarities between both types of carpets, and Timurid carpets depicted in miniature paintings. The Holbein and Lotto carpets may represent a design
tradition dating back to the Timurid period

Ushak carpets
Star Ushak carpets were woven in large formats. They are characterized by large dark blue star shaped primary medallions in infinite repeat on a red
ground field containing a secondary floral scroll. The design was likely influenced by northwest Persian book design, or by Persian carpet medallions.
[23] As compared to the medallion Ushak carpets, the concept of the infinite repeat in star Ushak carpets is more accentuated and in keeping with the
early Turkish design tradition.[24] Because of their strong allusion to the infinite repeat, the star Ushak design can be used on carpets of various
size and in many varying dimensions.


Medallion Ushak carpets usually have a red or blue field decorated with a floral trellis or leaf tendrils, ovoid primary medallions alternating with
smaller eight-lobed stars, or lobed medallions, intertwined with floral tracery. Their border frequently contains palmettes on a floral and leaf scroll,
and pseudo-kufic characters.[25]

Medallion Ushak carpets with their curvilinear patterns significantly depart from the designs of earlier Turkish carpets. Their emergence in the
sixteenth century hints at a potential impact of Persian designs. Since the Ottoman Turks occupied the former Persian capital of Tabriz in the first
half of the sixteenth century, they would have knowledge of, and access to Persian medallion carpets. Several examples are known to have been in Turkey
at an early date, such as the carpet that Erdmann found in the Topkapı Palace.[26] The Ushak carpet medallion, however, conceived as part of an endless repeat,
represents a specific Turkish idea, and is different from the Persian understanding of a self-contained central medallion.[27]

Star and medallion Ushaks represent an important innovation, as in them, floral ornaments appear in Turkish carpets for the first time. The replacement of
floral and foliate ornaments by geometrical designs, and the substitution of the infinite repeat by large, centered compositions of ornaments,
was termed by Kurt Erdmann the "pattern revolution".[28]

Another small group of Ushak carpets is called Double-niche Ushaks. In their design, the corner medallions have been moved closely together,
so that they form a niche on both ends of the carpet. This has been understood as a prayer rug design, because a pendant resembling a mosque
lamp is suspended from one of the niches. The resulting design scheme resembles the classical Persian medallion design.
Counterintuitive to the prayer rug design, some of the double niche Ushaks have central medallions as well. Double niche Ushaks thus may
provide an example for the integration of Persian patterns into an older Anatolian design tradition.

Examples are also known of rugs woven in the Ushak area whose fields are covered by ornaments like the Cintamani motif, made of three coloured
orbs arranged in triangles, often with two wavy bands positioned under each triangle. This motiv usually appears on a white ground. Together
with the bird and a very small group of so-called scorpion rugs, they form a group of known as "white ground rugs". Bird rugs have an allover
geometrical field design of repeating quatrefoils enclosing a rosette. Although geometric in design, the pattern has similarities to birds.
The rugs of the white ground group have been attributed to the nearby town of Selendi, based on an Ottoman official price list (narh defter)
of 1640 which mentions a "white carpet with leopard design".[30]

Ottoman Cairene rugs
After the 1517 Ottoman conquest of the Mamluk Sultanate in Egypt, two different cultures merged, as is seen on Mamluk carpets woven after this date.
The earlier tradition of the Mamluk carpet used "S" (clockwise) spun and "Z" (anti-clockwise)-plied wool, and a limited palette of colours and shades.
After the conquest, the Cairene weavers adopted an Ottoman Turkish design.[31] The production of these carpets continued in Egypt, and probably also
in Anatolia, into the early 17th century.



Transylvanian" rugs


Transylvania, in present-day Romania was part of the Ottoman Empire from 1526-1699. It was an important center for the carpet trade with Europe.
Carpets were also valued in Transylvania, and Turkish carpets were used as decorative wall furnishings in Christian Protestant churches. Amongst
others, the Brașov Black Church still shelters a variety of Anatolian carpets, called by convenience "Transylvanian carpets".[33] By their preservation
in Christian churches, unusual as the setting may be, the carpets were protected from wear and the changes of history, and often remained in excellent
condition. Amongst these carpets are well-preserved Holbein, Lotto, and Bird Ushak carpets.[34]

The carpets termed "Transsylvanian carpets" by convenience today are of Ottoman origin, and were woven in Anatolia.[34][35] Usually their format is small,
with borders of oblong, angular cartouches whose centers are filled with stylized, counterchanging vegetal motifs, sometimes interspersed with shorter
stellated rosettes or cartouches. Their field often has a prayer niche design, with two pairs of vases with flowering branches symmetrically arranged
towards the horizontal axis. In other examples, the field decor is condensed into medallions of concentric lozenges and rows of flowers. The spandrels
of the prayer niche contain stiff arabesques or geometrical rosettes and leaves. The ground colour is yellow, red, or dark blue. The Transylvanian church
records, as well as Netherlandish paintings from the seventeenth century which depict in detail carpets with this design, allow for precise dating

By the time "Transylvanian" carpets appear in Western paintings for the first time, royal and aristocratic subjects had mostly progressed to sit for
portraits which depict Persian carpets.[38] Less wealthy sitters are still shown with the Turkish types: The 1620 Portrait of Abraham Grapheus
by Cornelis de Vos, and Thomas de Keyser's "Portrait of an unknown man" (1626) and "Portrait of Constantijn Huyghens and his clerk" (1627) are amongst
the earliest paintings depicting the "Transylvanian" types of Ottoman Turkish manufactory carpets. Transylvanian vigesimal accounts, customs bills, and
other archived documents provide evidence that these carpets were exported to Europe in large quantities. Probably the increase in production reflects
the increasing demand by an upper middle class who now could afford to buy these carpets.[39] Pieter de Hoochs 1663 painting "Portrait of a family making music"
depicts an Ottoman prayer rug of the "Transylvanian" type.[39]

Anatolian carpets of the "Transylvanian" type were also kept in other European churches in Hungary, Poland, Italy and Germany, whence they were sold, and
reached European and American museums and private collections. Aside from the Transylvanian churches, the Brukenthal National Museum in Sibiu,
Romania,[40] the Museum of Fine Arts (Budapest), the Metropolitan Museum of Art, and the Skokloster Castle near Stockholm in Sweden keep important
collections of "Transylvanian" carpets.


Carpets are rarely found in Anatolia itself from the transitional period between the classical Ottoman era and the nineteenth century. The reason
for this remains unclear. Carpets which can be reliably dated to the eighteenth century are of a small format. At the same time, western European
residences were more sparely equipped with Oriental carpets. It seems likely that carpets were not exported in large scale during this time.[41]

19th century: "Mecidi" style, and the Hereke court manufacture


By the end of the eighteenth century, the "turkish baroque" or "mecidi" style developed out of French baroque designs. Carpets were woven after
the patterns of French Savonnerie and Aubusson tapestry. Sultan Abdülmecid I (1839–1861) built the Dolmabahçe Palace, modelled after the Palace
of Versailles.

A weaving workshop was established in 1843 in Hereke, a coastal town 60 kilometers from Istanbul on the bay of Izmit.[42] It also supplied the
royal palaces with silk brocades and other textiles. The Hereke Imperial Factory initially included looms producing cotton fabric. Silk brocades
and velvets for drapes and upholstery were manufactured at a workshop known as the "kamhane". In 1850 the cotton looms were moved to a factory in
Bakirköy, west of Istanbul, and jacquard looms were installed in Hereke. Although in the early years the factory produced exclusively for the
Ottoman palaces, as production increased the woven products were available in the Kapalıçarşı or Grand Bazaar, in the second half of the 19th century.
In 1878 a fire in the factory caused extensive damage, and it was not reopened until 1882. Carpet production began in Hereke in 1891 and expert carpet
weavers were brought in from the carpet weaving centers of Sivas, Manisa and Ladik. The carpets were all hand woven, and in the early years they were
either made for the Ottoman palaces or as gifts for visiting statesmen. Later, they were also woven for export.


Hereke carpets are known primarily for their fine weave. Silk thread or fine wool yarn and occasionally gold, silver and cotton thread are used in
their production. Wool carpets produced for the palace had 60–65 knots per square centimeter, while silk carpets had 80–100 knots.

The oldest Hereke carpets, now exhibited in Topkapı and other palaces in Istanbul, contain a wide variety of colours and designs. The typical
"palace carpet" features intricate floral designs, including the tulip, daisy, carnation, crocus, rose, lilac, and hyacinth. It often has quarter
medallions in the corners. The medallion designs of earlier Ushak carpets was widely used at the Hereke factory. These medallions are curved on the
horizontal axis and taper to points on the vertical axis. Hereke prayer rugs feature patterns of geometric motifs, tendrils and lamps as background
designs within the representation of a mihrab (prayer niche). Once referring solely to carpets woven at Hereke, the term "Hereke carpet" now refers
to any high quality carpet woven using similar techniques. Hereke carpets remain among the finest and most valuable examples of woven carpets in the world.


Modern history: Decline and revival


The modern history of carpets and rugs began in the nineteenth century when increasing demand for handmade carpets arose on the international market.
However, the traditional, hand-woven, naturally dyed Turkish carpet is a very labour-intense product, as each step in its manufacture requires
considerable time, from the preparation, spinning, dyeing of the wool to setting up the loom, knotting each knot by hand, and finishing the carpet
before it goes to market. In an attempt to save on resources and cost, and maximise on profit in a competitive market environment, synthetic dyes,
non-traditional weaving tools like the power loom, and standardized designs were introduced. This led to a rapid breakdown of the tradition,
resulting in the degeneration of an art which had been cultivated for centuries. The process was recognized by art historians as early as in 1902.[44]
It is hitherto unknown when exactly this process of degeneration started, but it is observed mainly since the large-scale introduction of synthetic colours
took place.[45]

In the late twentieth century, the loss of cultural heritage was recognized, and efforts started to revive the tradition. Initiatives were started aiming
at re-establishing the ancient tradition of carpet weaving from handspun, naturally dyed wool.[46] The return to traditional dyeing and weaving by the
producers, and the renewed customer interest in these carpets was termed by Eilland as the "Carpet Renaissance".[47] Thus, Anatolian rugs remain
distinguishable from rugs woven in other regions.


Carpet weaving: Materials, technique, processes


In traditional households, women and girls take up carpet and kilim weaving as a hobby as well as a means of earning money. Women learn their weaving
skills at an early age, taking months or even years to complete the pile rugs and flat woven kilims that were created for their use in daily life.
As is true in most weaving cultures, traditionally it is women and girls who are both artisan and weaver


Materials
Makers of handmade rugs use only natural fibres. The most common materials used for the pile are wool, silk and cotton. Nomadic and village weavers
sometimes also use goat- and camel-hair. Traditionally, spinning is done by hand. Several strands of yarn are then plied together so that the resulting
yarn is strong enough to be used for weaving.


Sheeps wool is the most frequently used pile material in a Turkish rug because it is soft, durable, easy to work with and not too expensive. It is less
susceptible to dirt than cotton, does not react electrostatically, and insulates against both heat and cold. This combination of characteristics is
not found in other natural fibers. Wool comes from the coats of sheep. Natural wool comes in colors of white, brown, fawn, yellow and gray, which are
sometimes used directly without going through a dyeing process. Sheeps wool also takes dyes well. Traditionally, wool used for Turkish carpets is spun
by hand. Before the yarn can be used for weaving, several strands have to be twisted together for additional strength.

Cotton is used primarily in the foundation, the warps and wefts of rugs. Cotton is stronger than wool, and, when used for the foundation, makes a carpet
lie flat on the ground, as it is not as easily distorted as woolen strings. Some weavers, such as Turkomans, also use cotton for weaving small white
details into the rug in order to create contrast.

Wool-on-wool (wool pile on wool warp and weft): This is the most traditional type of Anatolian rug. Wool-on-wool carpet weaving dates back further and
utilizes more traditional design-motifs than its counterparts. Because wool cannot be spun extra finely, the knot count is often not as high as seen in a
"wool-on-cotton" or "silk-on-silk" rug. Wool-on-wool carpets are more frequently attributed to tribal or nomadic production.

Wool-on-cotton (wool pile on cotton warp and weft): This particular combination facilitates a more intricate design-pattern than a "wool-on-wool carpet",
as cotton can be finely spun which allows for a higher knot-count. A "wool-on-cotton" rug is often indicative of a town weaver. Due to their higher pile
density, wool-on-cotton carpets are heavier than wool-on-wool rugs.

Silk-on-silk (silk pile on silk warp and weft): This is the most intricate type of carpet, featuring a very fine weave. Knot counts on some superior-quality
"silk-on-silk" rugs can be as high as 28×28 knots/cm2. Knot counts for silk carpets intended for floor coverings should[citation needed] be no greater
than 100 knots per square cm, or 10×10 knots/cm2. Carpets woven with a knot count greater than 10×10 knots/cm2 are intended to be used as a wall or
pillow tapestry, because their fabric is less resistant to mechanical stress. These very fine, intricately-woven rugs and carpets are usually no larger than 3×3 m.


Dyes and dyeing


Traditional dyes used for Anatolian carpets are obtained from plants, insects and minerals. In 1856, the English chemist William Henry Perkin invented
the first aniline dye, mauveine. A variety of other synthetic dyes were invented thereafter. Cheap, readily prepared and easy to use as they were
compared to natural dyes, their use is documented in Ushak carpets already by the mid 1860s. The tradition of natural dyeing was recently revived,
based on chemical analyses of natural dyes from antique wool samples, and experimental re-creation of dyeing recipes and processes, in the early 1980s

According to these analyses, natural dyes used in Anatolian rugs include:

Red from Madder (Rubia tinctorum) roots,
Yellow from plants, including onion (Allium cepa), several chamomile species (Anthemis, Matricaria chamomilla), and Euphorbia,
Black: Oak apples, Oak acorns, Tanner's sumach,
Green by double dyeing with Indigo and yellow dye,
Orange by double dyeing with madder red and yellow dye,
Blue: Indigo gained from Indigofera tinctoria.
The dyeing process involves the preparation of the yarn in order to make it susceptible for the proper dyes by immersion in a mordant,
immersing the yarn in the dyeing solution, and leaving it to dry exposed to air and sunlight. Some colours, especially dark brown, require
iron mordants, which can damage or fade the fabric. This often results in faster pile wear in areas dyed in dark brown colours, and may create
a relief effect in antique Turkish carpets.

With modern synthetic dyes, nearly every colour and shade can be obtained so that it is nearly impossible to identify, in a finished carpet,
whether natural or artificial dyes were used. Modern carpets can be woven with carefully selected synthetic colours, and provide artistic and
utilitarian value.[52]

The Anatolian rug is distinct from carpets of other provenience in that it makes more pronounced use of primary colours. Western Anatolian carpets
prefer red and blue colours, whereas Central Anatolian use more red and yellow, with sharp contrasts set in white.[


Weaving and finishing



A variety of tools are needed in the construction of a handmade rug. A loom, a horizontal or upright framework, is needed to mount the vertical
warps into which the pile nodes are knotted, and one or more shoots of horizontal wefts are woven ("shot") in after each row of knots in order
to further stabilize the fabric. Wefts can be either undyed or dyed, mostly in red and blue.

The pile knots are usually knotted by hand. Most rugs from Anatolia utilize the symmetrical Turkish double knot. Each knot is made on two warps.
With this form of knotting, each end of the pile thread is twisted around two warp threads at regular intervals, so that both ends of the knot
come up between two strands on one side of the carpet. The thread is then pulled downwards and cut with a knife.

After a row of knots has been inserted, one or two, sometimes more, rows of wefts are woven in, and the fabric is compacted by beating with a
heavy comb. Once the carpet is finished, it is cut from the loom. The sides or selvages are usually overcast in wool. The selvages consist of up
to ten warp threads. Especially village and nomadic rugs have flat-woven kilim ends, sometimes including pile-woven tribal signs or village crests.
The pile of the carpet is shorn with special knives in order to obtain an equal surface. In some carpets, a relief effect is obtained by clipping
the pile unevenly. Finally, the carpet is washed before it is used, or goes to the market.

The upright pile of Turkish rugs usually falls in one direction, as knots are always pulled down before the string of pile yarn is cut off and
work resumes on the next knot, piling row after row of knots on top of each other. When touching a carpet, this creates a feeling similar to stroking
an animal's fur. This can be used to determine where the weaver has started knotting the pile. The pile in Turkish carpets is usually between 2 and 4 mm thick.
Coarse nomadic rugs like the Yürük rugs, can be as thick as 12 mm. A special bedding carpet called yatak may reach a pile thickness of 20 to 25 mm.


Origins and traditions of Anatolian rug design

Anatolian rug design integrates different strands of traditions. Specific elements are closely related to the history of Turkic peoples and
their interaction with surrounding cultures, in their central Asian origin as well as during their migration, and in Anatolia itself. The
most important cultural influences came from the Chinese culture, and from Islam. Carpets from the Bergama and Konya areas are considered
as most closely related to earlier Anatolian rugs, and their significance in the history of the art is now better understood

Central Asian traditions


he early history of the Turkic peoples in Central Asia is closely related to China. Contacts between Turks and China are documented since
the early Han dynasty.

In his essay on centralized designs, Thompson[55] relates the central medallion pattern, frequently found in Anatolian rugs to the
"lotus pedestal" and "cloud collar (yun chien)" motifs, used in the art of Buddhist Asia, which he dated back to Yuan dynasty China. Recently,
Brüggemann further elaborated on the relationship between Chinese and Turkic motifs like the "cloud band" ornament, the origin of which he
relates to the Han dynasty.[56] The early Anatolian "Phoenix and Dragon rug" depicts another traditional motif of Chinese mythology, the fight
between the phoenix (Fenghuang) and the dragon


Romano-Hellenistic traditions


There are documentary records of carpets being used by the ancient Greeks. Homer writes in Ilias XVII,350 that the body of Patroklos is covered
with a "splendid carpet". In Odyssey Book VII and X "carpets" are mentioned. Pliny the Elder wrote (nat. VIII, 48) that carpets ("polymita")
were invented in Alexandria. It is unknown whether these were flatweaves or pile weaves, as no detailed technical information can be gained from the texts.

Athenaeus of Naucratis describes luxurious carpets in his Deipnosophists, written about 230 AD.

"And under these there were strewed purple carpets of the finest wool, with the carpet pattern on both sides. And there were handsomely embroidered
rugs very beautifully elaborated on them." (Book V, p. 314)
"[...] to lie on a couch with silver feet, with a smooth Sardian carpet spread under it of the most expensive description." (Book VI, p. 401)[58]

A carpet "with the pattern on both sides" could either be a flat-woven, or pile-woven carpet. Whether "purple" refers to the colour of the fabric
or to the dyestuff (either Tyrian purple or madder red could have been used) remains unknown. The town of Sardis lies in Western Anatolia, thus,
this may be the earliest reference to carpet production in the region of Asia minor.

Anatolia was ruled by the Roman Empire since 133 BCE. The East Roman (Byzantine) and Sasanian Empires have coexisted for more than 400 years.
Artistically, both empires have developed similar styles and decorative vocabulary, as exemplified by mosaics and architecture of Roman Antioch.[59]
buying A Turkish carpet pattern depicted on Jan van Eyck's "Paele Madonna" painting was traced back to late Roman origins and related to early Islamic
floor mosaics found in the Umayyad palace of Khirbat al-Mafjar.[60] The architectural elements seen in the Khirbat al-Mafjar complex are considered
exemplary for the continuation of pre-Islamic, Roman designs in early Islamic art.

CLEANING AND DAILY CARE OF HANDMADE TURKISH CARPETS


Cleanliness is the first and major step towards the preservation of a handmade carpet and it is the best defense against damage.
There are no hard fast rules to stipulate when and how often to clean a carpet since every handmade carpet is different and every household
exposes a carpet to different amounts of wear and dirt. There are many professional cleaning.However, the following advice and information
are the basic general instruction that the average homeowner may exercise in the care and cleaning of Oriental carpets.
The best recommendation is regular brushing with an old-fashioned hand room with natural bristles or the use of an electric carpet sweeper.
Remember that is just an important to brush the underlay of the carpet and the floor beneath. One caution, the regular use of vacuum cleaner
will eventually start to loosen the knots and pull the fibers out of the pile also never use the revolving brush attachment on a carpet for
it will actually pull the fibers apart. The nozzle attachment is the best and may be used once a month.

An old-fashioned carpet beater used every few weeks or alternatively a good shaking outdoors is invaluable for removing the harmful dust and
grit that becomes lodged in the carpet. Always beat the back of the carpet to allow the dirt to fall out from both the back and front of the carpet.
Never beat a handmade carpet violently and never beat antique or silk carpets.

Washing or Cleaning

How often one needs to clean a carpet, depends on the amount of traffic and the type of carpet such cleaning
may vary from every six months to once every two years. A carpet with a light colored ground may be sent out to be cleaned more often,
but it may be less obvious if the carpet is dark and intricately patterned. The first indication that a carpet needs
cleaning will be from the feel of the pile, which may feel coarse or harsh to the touch instead of velvety and smooth
as it should be. Another useful test is to fold up one corner and tap the back of the carpet over the palm of the hand.
If a fine powder of dust, grit and lose fibers falls into your hand it is certainly the time to clean the carpet.

Hand Cleaning at Home
You may be daunted by the idea of cleaning your carpet home. It is a time-consuming process requiring care and patience but it is actually a simple
job which can be successfully carried out by any carpet owner who follows these simple instructions. Hand cleaning has multiple rewards, apart
from the obvious benefit of saving money. It will give personal satisfaction to see every fiber fresh and revived. It will also give the owner
a closer affinity to and understand of the carpet. Every previously unnoticed subtlety of color and motif will come into view with the close
attention that hand cleaning requires.
Nearly all types of carpets can be cleaned at home with the exception of antique carpets is in need of repair, silk carpets, and noncolorfast carpet.
These should receive the attention of a professional.

Preparation
Preparation is as important as the washing process itself. Test the carpet for colorfastness by rubbing a brightly colored area gently with a damp white cloth.
Then examine the carpet carefully to make sure it is not in need of repair. Since the carpet becomes more fragile when it is wet.
It is advisable to carry out most repairs before washing. The only repelling is better done after washing since the color can be matched more accurately.
After the carpet is clean brush and beat the carpet thoroughly to remove so much loose dust as possible because dust and dirt are more damaging when wet
than dry. Finally, find a flat clean hard surface on which to clean the carpet. For small carpets, it is better to clean them on the large table.

Equipment
Most of the necessary equipment can be found already at home.A soft brush with natural bristles about one inch long (The type used grooming horses is ideal),
white natural vinegar, carpet shampoo. The type which dries to a fine powder and a bucket of warm water is all that is needed.
Prepare a mixture of the following proportions, half a cup of carpet shampoo to the poor and a half cups of warm and add one tablespoon of vinegar
to prevent color from running…

Method
Lay the carpet on the site upon a hard flat surface. Dip the brush in the liquid and apply it in gentle even vertical strokes. Vigorous brushing or
scrubbing will not clean thoroughly and is likely to damage the carpet in its wet vulnerable state. Start in a corner, brushing up and down with and
against the pile with even overlapping movements. The amount of shampoo applied and the pressure of the brush should be as constant as possible over
the entire carpet surface. Once the carpet is brushed vertically (lengthwise ) then brush horizontally or from the side of side across the pile with
the same gentle overlapping strokes. The pile should be thoroughly cleaned by now Finally brush gently in the direction of the pile as the carpet dries
so that the pile is lying in the right direction.

Try to apply the cleaning solution sparingly, so that the base does not become wet. It is very difficult to dry it thoroughly since it is firmly encased
in the million of tight little knots. If the carpet is returned to the floor while the months the base will be extremely brittle. During the entire cleaning
process handle the carpet as carefully as possible, since while is wet, it is extremely fragile, so it is extremely fragile, so it is very easy to cause damage.

Drying
Small light carpets, can be pegged by the kilim end on a clothesline. Larg carpets are more easily dried flat on a hard, clean surface. Paving stones or
concrete are ideal.Do not dry on a lawn since the base will absorb the moisture of the grass.If it is impossible to use such an area or the weather does
not permit outdoor drying, then an area of the house can be prepared. Preferably use a room where there is a warm air current heating system.Do not drape
the carpet, it must be allowed to dry falt and don't walk or place anything on it until it is completely dry. The warp weft and pile of a completely dried
carpet should feel soft and pliable. Remove the dried dirt and shampoo powder by gently brushing with a soft dry brush, or by gently using the vacuum cleaner.
An alternative method used in Scandinavia and Turkey is to place the carpet pile downward on virgin snow and pat the back gently all over. This patting should
be just firm enough to press the pile to the snow. But quickly and gently so it won't make the carpet too damp. As the carpet is lifted away, all the dust and
grime is left imprinted in the snow. This method is only suitable for small carpets since it may be inconvenient and difficult to dry large one during the winter.

Things To Avoid
Washing machines and dryers should never be used any delicate handmade item. With carpets, the vibration, water temperature, and harsh detergents will
cause irreparable damage, possible color run from the hot water and harsh detergents and a cementlike wool once dry. It may even reduce the carpet to
shreds. Many films and books show scenes of Eastern weavers washing their carpets in streams and rivers. This has led many owners to wrongly believe that
a complete soaking is good. This process is only used for fairly new carpets.They are washed very quickly then laid out to dry immediately in the baking
sun Antique and silk carpets are never washed in this way. In fact, usually, this river washing is used only as the first washing before the carpet is put
into use or sold mainly o remove the millions or may wool fibers that become embedded in the pile after shopping and the loose excess dyestuff

This total immersion is not advisable. It can cause color run and it soaks the warp and weft threads unnecessarily. The warp and wolf do not need such a
cleaning since they are totally enclosed by the knots of the pile and so are not exposed to dirt. Some firms that advertise themselves as expert carpet
cleaners use electric rotary brushes. These machines were designed for use on machine-made carpets and could only be will twist and break the delicate wool
fibers of an oriental handmade masterpiece should never be subjected to the wrong chemicals that these firms use. The damage may become apparent only after
several months and the damage is irreparable….

Dealing With Spills And Stains
Water and dampness are the greatest danger to an Oriental carpet. Water spillage is perhaps is the most common accident at home. When this occurs,
appropriate steps should be immediately taken.Using an undyed piece of cloth try to absorb as much of the spilled water as possible. Place some material
underneath the carpet and gently blot the pile.Do not try to wring it.

A hair dryer set a moderate heat is probably the best implement for drying. Dry the carpets thoroughly from both sides. Place some material underneath the
carpet and gently tease it back in to shape with the gingers. Failure to carry set a moderate heat is probably the best implement for drying. Dry the
carpet thoroughly from both sides. The pile may be a little malted when dry. Gently tease it back in to shape with the gingers. Failure to carry out the
above steps as-as quickly as possible result in two problems color run and the rotting of the warp and weft. Should these problems occur it is best to seek
the help of shape of an expert restorer. In a busy household, a variety of substances may be accidentally spilled on a rug. Excluding the treatment,
for silk or antique carpets, most of these accidents can be tackled at home. The first step with any substance is the same as with water. Soak up as much
liquid as possible with a clean undyed cloth. This simple absorption method when carried out as quickly as possible is the greatest contribution to stain
prevention. The longer as a spill remains the more difficult it is clean and the greater the danger of a permanent stain. The next page is to make a
colorfastness test. Rub a colorfully patterned area with a damp white cloth. If the cloth takes the color of the carpet then an expert should be asked
to tackle the problem it the carpet is colorfast then the stain can be removed at home with a variety of commo
n household items. In dealing with every type of stain, work the from the top of the stain downwards never from the middle outwards as this may remember
that gentle repetition is more effective than harsh scrubbing.

Washing and care of the carpet
A dirty or stained carpet should be washed with soft soap, without delay, rinsed with clean water and dried. A Turkish carpet is made to last and,
therefore, requires certain care. The worst enemy of a carpet is damp. Therefore, it should not be left in a damp environment over a longs period.
There is no harm in washing and immediately drying a carpet. However, it should not be laid on the floor before it is well dry, and it should never
be kept damp on the floor.

Carpet naturally collects dust when laid on the floor a long time.Therefore, it should frequently be vacuum cleaned.In spite of this, when laid on the
floor over a long time, dust may collect at the bottom of its knots and the carpet should be laid on the floor face down for several days in each year,
walking on it frequently to get rid of the accumulated dust. This action causes the dust accumulated at the bottom of the knots to fall off. Later the
carpet should be laid face up again and vacuum cleaned. Nomads use a more practical method. They lay the carpet face down on snow and cover it with a
layer of snow.During this process, the melting snow removes the accumulated dust like a filter and polishes the carpet. Fading colors may be shined
with vinegar: Adding a glass of vinegar into a bucket of water, the pile of carpets is wiped with a sponge in the direction of the weave, and the
carpets are left to dry.As a result, the carpet regains its shine. As removing stains may not always be easy, carpet needs good care. A Specialist
should be consulted for stubborn stains. The following points should be remembered for good carpet care: During cleaning refrain from rubbing the
carpet knots in the reverse direction. Take care not to wet the whole carpet. Never use any chemicals, including ammonia, to clean silk carpets.

Some hits to remove stains
Any alcoholic drink: Lightly wet with warm water and use 90 % alcohol to clean.

Mud: Dry well and vacuum cleaners.

Sweets: Lightly wipe with warm water

Ink: Damp sponge with a mixture of water, soap, and alcohol, and wipe.Take care to prevent the cleaning mixture from dripping down to the reverse of the carpet.

Fruit: Damp sponge with a mixture containing 3 parts white vinegar or lemon juice and 1 part ammonia, and wipe.

Egg: Never use hot water. Wipe with an ammonia and water mixture, failing that, use an alcohol and water mixture.

Blood: Never use hot water. After cleaning the stain well with a damp sponge, If the stain is dry, brush it and clean with water.
If unsuccessful, wipe again with pure white wine. If the stain is dry, brush it and clean with water containing a small amount of ammonia.

Make-up materials or perfume: Wipe with alcohol.

Pet urine: Wipe with a sponge while the stain is damp, and leave to dry. Later wipe with white wine vinegar. If unsuccessful,
wipe again with a mixture of 3 parts alcohol and 1 part ammonia.

Red wine: Clean with white wine, and wipe with water.

Oriental Rug Designs and Motifs

Below I have listed a number of common motifs and designs found in Oriental rugs. This is by no means a list including all motifs,
and designs will vary from rug to rug.

Agra Border

Amulet
Meaning: Thwarts evil eye


Bird
Meaning: Faith, Fertility

Blossom
Meaning: Youth, Spring, Newlywed

Boteh
Meaning: Flame, Universe

Camel
Meaning: Wealth and Prosperity

Carnation

Chicken, Rooster
Meaning: Protect from evil eye

Chinese Script

Clouds

Comb
Meaning: Cleanliness

Crab

Cross
Meaning: Faith



Cypress
Meaning: Serenity, Rebirth

Diamond
Meaning: Woman. Two diamonds may be a man and woman.



Dog
Meaning: Protection, Trust, Defense

Dragon
Meaning: Power

Eagle
Meaning: Power

Ewer, Jug
Meaning: Purification

Herati
Meaning: Water garden, fish mahi

Hyacinth
Meaning: Regeneration

Lamp
Meaning: Youth, Spring, Newlywed

Leaf
Meaning: Endless Regeneration

Lotus
Meaning: Rebirth, Immortality

Man
Meaning: Weaver in the rug

Mihrab
Meaning: Gateway to Paradise

Numbers
Meaning: Signify Dates and Times

Octagon

Paradise Bird
Meaning: Paradise

Palmette

Peacock
Meaning: Immortality

Peony
Meaning: Power

Rose
Meaning:White: Innocence, Red:Passion/Mystery

Snake
Meaning: Guardian, Wisdom

Star
Meaning: Good Luck, Spirituality

Tulip
Meaning: Prosperity

Tree of Life
Meaning: Direct Path from Earth to Heaven



Tree (Weeping Willow)


THE BENEFITS OF 100% WOOL RUGS

Wool is very resilient and its texture allows it to quickly recover from crushing or indenting caused by footsteps or furniture.
This natural resilience also keeps the rug looking new and fresh for longer periods of time.

Wool has a natural ability to resist staining and soiling. In fact it has more than a 30% higher rate of stain resistance than even the best synthetic fibers.
It's so good at resisting stains because of the natural light lanolin that coats the surface of the wool.
This coating helps stop dirt and stains from actually penetrating the wool leaving any soiling on or near the surface.
That's why spills on wool is very easy to clean.

Wool is also very durable and will last for many years without showing signs of wear.
While wool rugs cost slightly more than synthetic rugs, because of its exceptional long life it can be a better choice
than other types of rugs because you will quickly recoup the extra cost in the additional years of wear.
Sheep produce wool to protect themselves from a variety of climates and natural elements.
Of course when man uses wool these natural capabilities remain intact.
Natural wool actually has two different types of wool cells – the orthcortex and the paracortex.

The Benefits Of 100% Wool Area Rugs
Wool is very resilient and its texture allows it to quickly recover from crushing or indenting caused by footsteps or furniture.
This natural resilience also keeps the rug looking new and fresh for longer periods of time.

Wool has a natural ability to resist staining and soiling. In fact it has more than a 30% higher rate of stain resistance than even the best synthetic fibers.
It's so good at resisting stains because of the natural light lanolin that coats the surface of the wool.
This coating helps stop dirt and stains from actually penetrating the wool leaving any soiling on or near the surface.
That's why spills on wool is very easy to clean.


Wool is also very durable and will last for many years without showing signs of wear.
While wool rugs cost slightly more than synthetic rugs, because of its exceptional long life it can be a better choice than other types of
rugs because you will quickly recoup the extra cost in the additional years of wear. Sheep produce wool to protect themselves
from a variety of climates and natural elements. Of course when man uses wool these natural capabilities remain intact.
Natural wool actually has two different types of wool cells – the orthcortex and the paracortex.

Each lies on the opposite side of the fiber and grow at different rates. This causes a coil spring that makes the wool very elastic.
The natural shock absorber allows the wool to quickly spring back to its original form. In fact wool fiber can be stretched more
than 35% and still easily return back to its natural shape. This protective barrier also stops water from easily penetrating the wool
fiber making wool water resistant. But more than being water resistant wool is able to absorb about 1/3 of its weight in moisture
and yet still not feel damp. This natural quality of wool allows it to remain warm and recover from pressure points quickly.

Wool rugs are available in a wide selection of styles, patterns, and designs. Because of the process used to dye wool rugs
the colors are fade resistant and unless they are exposed to direct sunlight on a continuous basis you should experience very little fading.

Wool has the ability to provide a long lasting functional product that exhibits outstanding beauty. There are a variety of patterns
and styles available in wool rugs and these days old world craftsmanship is being combined with new world technologies to produce outstanding results.
A wool rug will provide you with years of enjoyment and durability.