Small Rug,Flat Woven Wool Rug 3' 7'' x 2' 1'' Little buying Boho Kilim,Rustic Sink Rug,Genuine Bedside Rug,Unique Bathroom Rug,Welcome Mat 9013

Small Kilim Rug,Flat Woven Turkish Tiny Wool Rug 3' 7'' x 2' 1'' Pileless Boho Kilim,Rustic Sink Rug,Genuine Bedside Rug,Unique Bathroom Rug


Kilim rug

Small Decorative rug

Gift present rug

Kitchen rug

Boho Kilim Rug is clean and ready for use

Rustic Decor Rug is hand made and vintage

Flat woven rug

pileless rug

Geometric design rug

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.


This Beautiful Kilim Rug can be used for your Home decor ,Office decoration,Kids room,Nursery,Living room,Dining Rooom,Bedroom,Gift for loved ones !!!



Bedroom Rug is clean and ready for use

Bathroom Rug is hand made and vintage

Flat woven rug

pileless rug

Kilim Is In Perfect Condition

Boho Style Rare Oriental Kilim Rug

Every Design Has a mysterious History

Adds rustic charm,where you live !!!

Beautifully transform your living space with our handmade, authentic and timeless new kilim rugs that carry
with them many of the traditional elements that made true vintage Turkish Kilim rugs so precious.

Each kilim is skillfully hand-woven in Turkey to create a beautiful piece of art. We use vegetable dyed and hand spun wool to make sure they age gracefully.



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.

Photos of the rug may differ from screen to screen !!!

We Ship The Rug Directly From Turkey !!!

You Will Receive Same Rug In The Pictures !!!

Rug Comes From Smoke Free and Pet Free Area



SIZE IN FEET: 3' 7'' X 2' 1''


SIZE IN INCHES: 45 X 28



SIZE IN CENTIMETERS: 112 X 71



I will ship your rug by very well known shipping couirier fedex express within 5 business days with online traacking number !!!



Please feel free for any questions,you may have ,I will respond you as soon as possible !!!!!!!


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


kd: 9013


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About Turkish Kilim Rugs

Kilim is the best known type of flat weave, and an indispensable component of social life in Turkey. In recent years, being eloquent and stimulating works of art, Anatolian Kilims are highly esteemed by world public opinion and have assumed the place they deserve. Compared to the Kilims of other countries where similar weavings are produced, Anatolian Kilims display some differences in terms of general characteristics and are preferred by art enthusiasts all around the world.

The colours, motifs and compositions introduced by various cultures flowing from different directions to Anatolia which already had produced outstanding examples in the art of weaving lead to an incredible increase in the variety of these Kilims. The Turkish tribes moving into Anatolia have introduced new dimensions to the art of Kilim weaving. Research indicates that Turks had an established weaving tradition before they came to Anatolia, pile-knotted carpets, Kilims and other types of weaves being an important part of their life. Though produced for daily use, they are loaded with profound aesthetic values. Researchers believe that the colours and motifs used on Kilims display a type of symbolism which serves to differentiate various social groups from others.

Some experts suggest that these motifs were transported to Anatolia, through the migration process of Turcoman groups, mixing as they do with the cultures in the regions they passed through, and intermingled with the already existing rich varieties of textiles in Anatolia to produce new variations. Migrations, marriages, friendship and kinship relations in different regions have led to flow of motifs from one region to another, causing an interaction, and the different colours, patterns and compositions brought in by these waves have occasionally increased diversity, while the motifs specific to a tribe or group were faithfully preserved.

Kilims, which are generally woven by rural women in Anatolia, were produced in royal workshops during the Seljuk and Ottoman periods. Various sources state that, although there were specimens influenced by tribal Kilims. The designs of these Kilims were drawn by court designers to suit the various tastes of the period in terms of motifs and compositions and the weavers used these models in weaving. Such drawings are not used in the production of tribal Kilims. Even today, Anatolian women weave Kilims from memory/by heart without using any kind of drawing. It is known that the motifs are transferred from one generation to the other in a process where weavers learn from their mothers and grandmothers.

Although the Kilims which the Anatolian rural population, procuring the necessary material with their own means, produced for their own use are functional, they have an extraordinary decorative characteristic. The decorative characteristic is derived by the colour of natural dyes extracted from local plants, as well as the motifs and compositions which lead the viewers into a mysterious search for meaning every time they look at it. The fact that the variety of colour and richness of design displayed in Anatolian Kilims are observed in none of the Kilim weaving countries is accepted by numerous foreign scholars. The abundance and diversity of the cultural accumulation in Anatolia have created a very rich common language of motifs. The extraordinary artistic and technical level achieved by the women who probably have never left their villages or regions is met with worldwide excitement and appreciation.

There is a widespread view that motifs used on Kilims have certain meanings and contain symbolic expressions. This quality assigned to Kilim motifs suggests that numerous values which has an importance for the people living in Anatolian rural settlements are reflected on Kilims through motifs symbolizing concepts pertaining to life such as birth, marriage, and death, as well as the desires to define and protect themselves against malice and secure fertility.

Some researchers trace the origins of motifs and their meaning back to the pre-historic period and ancient civilizations, while some hold the view that they are transferred to Anatolia via the migration of Turkic groups. In spite of the fact that the debate on the origins of motifs and compositions are not yet concluded, the researchers do not object the view that Kilim motifs have names or meanings. Some scientific circles accept the view that Kilim motifs are symbolic expressions reflecting universal concepts like birth, life and death which have been used since the oldest times in Anatolia.

It is also observed that some motifs are assigned religious meanings. According to some researchers Anatolian women display a unique power of observation and a great skill in creating symbols. Due to traditions, they usually prefer to express their expectations and also themselves through symbols.

Elibelinde motif symbolising women, fertility and abundance, is still used in all regions of Anatolia under different names yet similar meanings. Elibelinde is a stylised female figure. It has been given various names, some of which are elibelinde (hands on hips), elibogrunde (hands on flank), ele gogsunde (hands on breasts), gelin kiz (bride), cocuklu kiz (girl with child), aman kiz (the mercy girl), seleser, kakullu kiz (gir with fringes). No other motif is known to be so widespread yet to carry a single meaning. Some scholars believe that elebelinde motif is the equivalent of the mother goddess and maintain that it is being used since the ancient cultures where woman was dominant and important to symbolise motherhood and fertility.

Kocboynuzu, though not as frequent as elibelinde, is another motif which frequently appear on Kilims. It is said to be a symbol of heroism, fertility, power and masculinity. It is also called by various names; kocboynuzu (ram's horn), koc (ram), boynuzlu yanis (horn motif), koclu yanis (ram motif), gozlu koc basi (ram's head with eyes) etc.

According to some scholars, the wide use of protective motifs on Kilims results from the fact that the house, grain, animals and family are the most valuable assets of rural people. Protective motifs have a special place in Anatolian Kilims. Special motifs are used on the Kilims to protect marriages, spouses, family members, children, houses and grain, and animals against the evil eye and malice in the environment; such motifs include amulets, charms, scorpions, hands, fingers, eyes, crosses, hooks, burdocks, dragons and snakes.

There are also views which suggest claim that fertility is one of the prominent themes used on Anatolian Kilims. Sometimes with the aid of the male and female symbols, they express reproduction in marriage and family, other times they symbolise fertility of the grain and an increase in family income.

The tree of life, which appears in many cultures, is a motif frequently used in Anatolian Kilims. Some experts believe that it symbolises the uniqueness of the god, paradise and immortality. It is generally depicted with birds on it. According to the belief the birds will fly off the tree at the time of death.

It is suggested that the bird motifs carry various meanings. Good wishes, bad chance, death, soul, power, strength, happiness and many other concepts are symbolised with the several bird motifs on Kilims.


Currently, Anatolian women are interested in the names identifying the motifs rather than the meanings of motifs decorating their Kilims. However, with an instinct to protect the tradition they claim the rights of the designs attributed to their region and their culture and avoid reflecting the changes which inevitably take place in time, on the basic design.

Contemporary weavers have almost forgotten the ancient, and once widespread, belief that “kilims bring good luck”. When the weaving women are asked about the meanings of the motifs, they tend to say, “this is our tradition, custom, that's how we've seen from our elders, that's what we've learned” and state that they name the motifs after the objects they see around them. Names such a frog, cat, lamp, apple etc is a terminology they use among themselves to indicate which motif should be used where and these terms usually tend to change from one region to another.

Turkish Kilims
Kilims were constructed with two sets of threads by crossing them at 90-degree angles. In these weaves the perpendicular threads are called the warp and the horizontal threads the weft. This technique was first used for making cloth, but at the same time it set the foundation for weaving kilims. All of these productions are referred to as "flat weaves" Wooden or metal combs were used to push the weft down, so these weaves are called "combed weaves".
The etymological root the word "kilim" is not known exactly but it has be seen in the Turkish language since the 13th century. The word "kilim" is misused in other languages to refer to all flat weaves other than rugs. However, the word "kilim" is only a name for a weaving technique. Among kilims there are different makes, including "cicim", "zili" and "sumak". For centuries, these different designs were traditionally passed down from mother to daughter. Turkey is the only country in the world that has preserved all the different techniques.
These weaves are made by tribe members or by villagers for daily needs. They are named after tribes, families, villages and towns that they are made in, or even after the motifs used on them. The Yoruks and Turkomans have also placed their tribal signatures among the patterns, making these weaves cultural objects as well. According to the latest research, these motifs reflect all the rich cultural heritage of Anatolia, and for that reason each motif is a symbol or interoperation of the values that were created by people from different cultures.
The common aspect of kilims is the technical manner in which they are produced, which influences the shapes of the patterns. For this reason, the motifs were strongly stylized and were changed into geometrical forms.
Kilims are made in different colors, designs, and compositions and it is possible to find them in various sizes. In different parts of Turkey, kilims are woven with several different combinations of materials, such as all wool, wool and cotton, or all silk.
This group of weaves is often used in contemporary decorations in various locations, making them at the same time valuable objects in the field of art. For this reason, it is also proper to talk about the art of kilims in Anatolia as an art which is distinct from the art of rug-making.



How to Properly Clean a Kilim Rug


Kilim rugs are beautiful works of art, but they were made to be used and walked on. They can be very durable and resistant. That said, they can also need some special attention and care when it comes to maintaining them and cleaning them. While it is strongly recommended that strong detergents and buying harsh cleaning agents are avoided, there are easy ways to clean a kilim at home.

Vacuum a Kilim
Use a good vacuum at the correct setting for regular cleaning; vacuuming both sides. Never vacuum on high suction setting. Never use a washing machine and dryer to clean a kilim. The best place to wash a kilim is outside on grass or gravel with cold water from a hose. Never wash it on a flat surface, the water needs to be able to drain away to avoid over soaking the kilim and making the colors run. Use a soft natural soap or baby shampoo to clean the kilim.

Cleaning
If the colors are fading, use a solution of half vinegar, half cold water on the kilim. Use a very soft bristly brush on both sides and then rinse with cold water. Lay the kilim flat to dry in the shade, rotating if necessary to drive evenly. It is also recommended to flip it to prevent sun damage if the kilim is taking a while to dry and is in the sun.

How to clean a kilimIn the event of an accidental spill or stain, treat the stain immediately. Remove any solid pieces from the stain carefully to avoid pressing them into the fabric. Leaving the kilim on the floor, immediately blot the stain to remove all excess liquid as possible. Start from the edge of the stain and move towards the center to avoid spreading the stain more. When finished blotting, take a shallow container with a lip that is slightly larger than the stain and place under the stain.

Dilute the stain as much as possible with a clean, cold water rinse. Remove the container, flatten the kilim and blot out the liquid. Repeat as necessary until the stain is gone. To dry the spot, keep in mind that carpets need to breath when drying. Using a hair dryer on low or cold setting can also dry the spot faster and may prevent a ring from forming.

If there are stains that stubbornly remain or a professional is needed or preferred, there are a few things to look for when choosing a cleaning service. Do not take straight to a dry cleaner. Dry cleaners can use harsh chemicals that will damage the kilim. Search for a professional cleaning service that has experience with a kilim and understand and follow the best cleaning practices for cleaning a kilim.

Chemical Detergents
Once again, never use a harsh or strong detergent or cleaning agent. If there is a pesky stain or a strong desire to use one, spot test it first before proceeding and use it only after highly diluting it first. Use a cold-water rinse multiple times until the detergent is completely gone. Never vacuum over the fringes of a kilim. This can lead to them tearing off, fraying and damaging the edges of the kilim. If using a soft-bristled brush, use short, gentle strokes and brush both sides of the rug. Begin at the top corner and work across the length of the carpet, moving downward.

Keeping a kilim clean can take a little more work than a studier carpet or rug, but with the right care it doesn't have to be too often. With the right care and patience, a beautiful kilim can last a long time and one day become a family heirloom.



Turkish Kilims


Kilims were constructed with two sets of threads by crossing them at 90-degree angles. In these weaves the perpendicular threads are called the warp and the horizontal threads the weft. This technique was first used for making cloth, but at the same time it set the foundation for weaving kilims. All of these productions are referred to as "flat weaves" Wooden or metal combs were used to push the weft down, so these weaves are called "combed weaves".
The etymological root the word "kilim" is not known exactly but it has be seen in the Turkish language since the 13th century. The word "kilim" is misused in other languages to refer to all flat weaves other than rugs. However, the word "kilim" is only a name for a weaving technique. Among kilims there are different makes, including "cicim", "zili" and "sumak". For centuries, these different designs were traditionally passed down from mother to daughter. Turkey is the only country in the world that has preserved all the different techniques.
These weaves are made by tribe members or by villagers for daily needs. They are named after tribes, families, villages and towns that they are made in, or even after the motifs used on them. The Yoruks and Turkomans have also placed their tribal signatures among the patterns, making these weaves cultural objects as well. According to the latest research, these motifs reflect all the rich cultural heritage of Anatolia, and for that reason each motif is a symbol or interoperation of the values that were created by people from different cultures.
The common aspect of kilims is the technical manner in which they are produced, which influences the shapes of the patterns. For this reason, the motifs were strongly stylized and were changed into geometrical forms.
Kilims are made in different colors, designs, and compositions and it is possible to find them in various sizes. In different parts of Turkey, kilims are woven with several different combinations of materials, such as all wool, wool and cotton, or all silk.
This group of weaves is often used in contemporary decorations in various locations, making them at the same time valuable objects in the field of art. For this reason, it is also proper to talk about the art of kilims in Anatolia as an art which is distinct from the art of rug-making.



How to Properly Clean a Kilim Rug


Kilim rugs are beautiful works of art, but they were made to be used and walked on. They can be very durable and resistant. That said, they can also need some special attention and care when it comes to maintaining them and cleaning them. While it is strongly recommended that strong detergents and harsh cleaning agents are avoided, there are easy ways to clean a kilim at home.

Vacuum a Kilim
Use a good vacuum at the correct setting for regular cleaning; vacuuming both sides. Never vacuum on high suction setting. Never use a washing machine and dryer to clean a kilim. The best place to wash a kilim is outside on grass or gravel with cold water from a hose. Never wash it on a flat surface, the water needs to be able to drain away to avoid over soaking the kilim and making the colors run. Use a soft natural soap or baby shampoo to clean the kilim.

Cleaning
If the colors are fading, use a solution of half vinegar, half cold water on the kilim. Use a very soft bristly brush on both sides and then rinse with cold water. Lay the kilim flat to dry in the shade, rotating if necessary to drive evenly. It is also recommended to flip it to prevent sun damage if the kilim is taking a while to dry and is in the sun.

How to clean a kilimIn the event of an accidental spill or stain, treat the stain immediately. Remove any solid pieces from the stain carefully to avoid pressing them into the fabric. Leaving the kilim on the floor, immediately blot the stain to remove all excess liquid as possible. Start from the edge of the stain and move towards the center to avoid spreading the stain more. When finished blotting, take a shallow container with a lip that is slightly larger than the stain and place under the stain.

Dilute the stain as much as possible with a clean, cold water rinse. Remove the container, flatten the kilim and blot out the liquid. Repeat as necessary until the stain is gone. To dry the spot, keep in mind that carpets need to breath when drying. Using a hair dryer on low or cold setting can also dry the spot faster and may prevent a ring from forming.

If there are stains that stubbornly remain or a professional is needed or preferred, there are a few things to look for when choosing a cleaning service. Do not take straight to a dry cleaner. Dry cleaners can use harsh chemicals that will damage the kilim. Search for a professional cleaning service that has experience with a kilim and understand and follow the best cleaning practices for cleaning a kilim.

Chemical Detergents
Once again, never use a harsh or strong detergent or cleaning agent. If there is a pesky stain or a strong desire to use one, spot test it first before proceeding and use it only after highly diluting it first. Use a cold-water rinse multiple times until the detergent is completely gone. Never vacuum over the fringes of a kilim. This can lead to them tearing off, fraying and damaging the edges of the kilim. If using a soft-bristled brush, use short, gentle strokes and brush both sides of the rug. Begin at the top corner and work across the length of the carpet, moving downward.

Keeping a kilim clean can take a little more work than a studier carpet or rug, but with the right care it doesn't have to be too often. With the right care and patience, a beautiful kilim can last a long time and one day become a family heirloom.


Language of Turkish Kilims Rugs

One day a Yürük tribal chief saw a kilim rug cast on the ground by a tent. Looking at it brought anguish to his heart, so he called on his men to find the father of the girl who had woven that kilim rug. When the father of the girl was brought to the tent the chief asked:

"You have a daughter, don't you?"
"Yes, I do" replied the father.
"As I understand it," continued the chief, "you want to marry the girl to someone she doesn't want. She has set her heart on another."

At first the father was stunned - how could the chief know of this - but then his tongue was loosened:

"That's true, I'm a poor man and the man who wants to marry my daughter is rich, so I promised to give him her hand in marriage. My girl, though, lost her heart to a poor young man…but how could you know of this?"

The chief pointed to the kilim rug on the ground saying:

"Didn't your daughter weave this kilim rug?"
"Yes, she did" said the father, to which the chief replied:
"So I knew about it from the language spoken by this kilim rug…I'll give you a horse, a camel, go and marry the girl to the one she loves. Oh! and tell her this…she wove it well, but she should put a bit less of a green accent by the red…as it is, I was almost misled."

(Translated from "Anadolu'da Kilimler de Konusur", an article by Dr. Mehmet Onder in issue No. 11 of the magazine "Kultur ve Sanat" published by Turkiye Is Bankasi, Sept. 1999, Ankara, Turkey.)

"The lore of kilim motifs, designs, colors and their symbolism is as rich and complex as the combined heritage of cultures that gave them birth and contributed to their evolution."

This touching, romantic story is a delightful illustration of the intricate art of communication practiced by the kilim weavers who are often illiterate in our sense of the word, but are wonderfully erudite in the language of kilim rugs . Girls weaving kilim rugs for their dowry chests use this language to express their hopes for children, good fortune or a strong and handsome husband, while a married woman may show her irritation with a prickly mother-in-law or longing for an absent mate. Ancient tribal allegiance may also be expressed through symbols whose meanings are now perhaps forgotten but still kept in designs by some mysterious impulse of the subconscious. The lore of kilim motifs, designs, colors and their symbolism is as rich and complex as the combined heritage of cultures that gave them birth and contributed to their evolution.

kilim scorpion motif
scorpion
kilim comb motif
comb
kilim eye motif
eye
kilim fertility motif
fertility
kilim star motif
star
kilim dragon motif
dragon
kilim amulet motif
amulet
kilim burdock motif
burdock

As kilim rugs gained popularity in the West, scholars, enthusiasts and rug dealers suddenly became interested in this lore, making extensive efforts to analyze the various motifs and designs in order to decipher the language of kilim rugs.

kilim hair band motif
hair band

kilim tree of life motif
tree of life
Researchers such as James Opie, Parvis Tanavoli and James Mellaart investigated symbols found in kilim rugs and proposed differing theories of their origins and evolution, a way to establish the etymology of kilim language and a first step towards its understanding. But, perhaps as might be expected, the subject proved elusive.

Although each theory gained its own group of disciples because in each case some interpretations and conclusions appear astute and logical, there is much agreement that "...there is no direct answer or watertight paradigm that organizes and explains the development and meaning behind the patterning and motifs found in a kilim rug." (Quote from "Kilim, The Complete Guide" by Alastair Hull and Jose Luczyc-Wyhowska).

This lack of certainty, however, has not discouraged scholars from pursuing the subject further, nor has it restrained other interested parties from spinning appealing tales purporting to elaborate the meanings of various symbols in the context of specific design compositions.

The latter is often the way of merchants trying to sell a kilim rug to an impressionable customer and consequently these "salesmen's stories" are suspect. But, although it is a rather unscientific view, perhaps there may be a place for some intuitive interpretation as illustrated by the introductory story related above.

An authentic kilim expert with local roots or deep local knowledge may seem to concoct interpretations and academics are bound to demand proof, but proof may not be forthcoming because this may not be a world of strict empirical truth but one that includes feelings, perceptions and an inborn ability to relate on the instinctive level to the inner world of the weaver.

"...kilim symbols could well be regarded as words or phrases whose meanings may vary according to their placement in the pattern..."

Viewed from this imaginative but admittedly unscientific perspective, kilim symbols could well be regarded as words or phrases whose meanings may vary according to their placement in the pattern, changes of color, or slight modification of shape, much like context, intonation or stress alter the meaning of words in a narrative spoken in a local dialect.

To understand it fully, perhaps one needs to be in a community of spirit attainable only by members of the clan, but ingrained cultural affinity and the deep empathy of an adept may well be sufficient to grasp its essentials and be able to interpret its overall meaning.

This exotic, cryptic language of the kilim rug, however, also works its spell on many people from backgrounds and cultures very different from those of the weavers, people who seem to respond to some atavistic chord, grasping a kilim's essence without being versed in the intricacies of its symbols and designs. Enlightening us on this point are the disciplines of psychology and anthropology which suggest that there is a kind of unconscious unity among all human beings, a unity often seen in common archetypal symbols, beliefs and behaviors, and it may be the response of the individual to some aspect of this collective unconscious that moves the mind to a subliminal understanding and instinctive appreciation of a kilim rug.

kilim hook motif
hook
kilim ram's horn motif
ram's horn
kilim ram's horn motif
ram's horn
kilim running water motif
running water
kilim running water motif
running water

kilim snake motif
snake
kilim hand on hips motif
hands on hips
kilim hand on hips motif
hands on hips
Kilim symbols, their various names and surmised meanings presented here are only the bare building-blocks of kilim language. They acquire depth, nuance and emotional content through immersion, a process that is thoroughly rewarding since it brings us in contact with the great inner universe of our common human ancestry.



Rug Motifs, Symbols & Meaning

There are so many different symbols and motifs found in Rugs and Kilims across the world, most of which date back hundreds of years but are still being used by carpet weavers today. We thought it might be interesting to have a reference to these symbols together with their meanings so you can identify some of the motifs found in your own rugs.



ELIBELINDE - Hands on Hips
A stylised female figure derived from the Anatolian mother goddess figurines and used as a symbol of motherhood and fertility.

KOÇBOYNUZU - Ram's Horn
A crescent-shaped symbol of fertility, heroism, power and masculinity

BEREKET - Fertility
A kilim motif composed of elibelinde and koçboynuzu motifs arranged to include various protective symbols. Stylised representations of multi-grained plants such as wheat, barley, pomegranate, poppy, melon, figs, grapes and mulberry are also used to indicate fertility.

INSAN - Human Figure
A stylised representation used to commemorate a person, to express the hope for having a child, or to imply the expectation of a baby.

SAÇBAĞI - Hair Band
A rug motif, evolved as a symbolic representation of the head ornament used by the bride in the wedding ceremonies, which indicates the desire to get married.

KÜPE - Earring
A kilim rug motif resembling the shape of an earring, an indispensable wedding present, used to express the desire for marriage.

BUKAĞI - Fetter
A cuff-shaped motif symbolising the continuity of the family union, the devotion of lovers and the hope that they should always stay together.

SANDIKLI - Chest
A motif which symbolises the trousseau chest of a young woman and stands for the desire to get married and having a child. In some cases the motif symbolises death and a coffin.

AŞK VE BIRLEŞIM - Love and Unison
A rug motif inherited from the Far East, generally known by the name of Ying-Yang and used to indicate the harmony between a man and a woman

YILDIZ - Star
A rug motif used to express happiness and fertility, based on the fact that the size pointed star, generally known as the Soloman's Seal, is used to symbolise the womb of the mother goddess figurines. The star motifs with eight or more points are used on the Anatolian weaves.

IBRIK - Ewer
A motif stylised in the form of a water container, symbolising purity and purification and used also as a symbol of pregnancy.

SU YOLU - Running Water
A theme indicating the importance of water in the life of mankind. Motifs in the forms of meanders, clouds and even vases and ewers are all different expressions of the same theme. The pattern of running water varies according to the material on which it is applied. When carved on stone, it assumes an angular shape, while it is curvilinear or triangular on weavings.


PITRAK - Burdock
A motif derived from a plant which is believed to be capable of warding off the evil eye. The fact that the term "like a burdock" means full of flowers, account for the use of the motif as a symbol of abundance.

EL, PARMAK, TARAK - Hand, Finger, Comb
Rug motifs which are composed of five lines or five dots are based on the Anatolian belief that the number five, ie the number of fingers on a hand, serves as a protection against the evil eye. The Hand motif is used against a spell or evil eye, where the comb motif is related to the protection of birth and marriage.


MUSKA - Amulet
A rug motif in the shape of written charms which are believed to have magical and religious powers to protect the possessor from dangerous external factors and generally placed in triangular cases.

NAZARLIK - Evil Eye
A motif used to reduce the effect of the evil glance, which is believed to be a power possessed by some people that cause harm, injury, misfortune and even death


ĞOZ - Eye
A stylised eye motif derived from the belief the the best source to prevent the harms caused by the evil glance is the human eye itself.

HAÇ - Cross
A rug or kilim design motif which is used against the evil eye and believed to reduce the power of the evil glance by dividing it into four pieces.

ÇENGEL - Hook
A motif used against the evil eye.

YILAN - Snake
A theme which dates back to the earliest history of mankind. The motive is used with protective purposes, while a black snake is the symbol of happiness and fertility.

EJDER - Dragon
A mythological theme where a winged creature stylised with feet of a lion and tail of a snake is believed to be the master of air and water, the cause of lunar eclipse, the guard of treasures and secret objects as well as the tree of life. A related theme is the fight of the dragon and the Phoenix which is believed to produce fertile rains of spring and where the dragon is stylised as a cloud.

AKREP - Scorpion
A Kilim or Rug motif used as a protection against the scorpion, sometimes used to represent a dragon.

KURT AĞZI, KURT IZI - Wolf's Mouth, Wolf's Track
A motif used as a protection against the wolves, which is the primary threat for the cattle breeding nomadic and semi nomadic tribes.

CANAVAR AYAĞI - Monster's Feet
The local name for the motif which symbolise the dragon.

HAYAT AĞACI - Tree of Life
A theme which stands for the wish of immortality or the hope for life after death. Stylisation of various plants, such as cypress, date, palm, pomegranate, fig, olive, wine, beech and oak, are used to symbolise the tree of life.

ÇIÇEK - Flower
A rug motif generally used on the borders of Kilims composed of stylised roses, carnations, tulips and hyacinths which resemble the garden of Eden. The Tulip is also used to express the expectation of a son.

IM - Family Signs
Rug Motifs which stand for the names of various Turkish tribes.

KUŞ - Bird
A kilim, rug or carpet motif which is loaded with various meanings, ranging from good luck to bad luck; happiness, joy and love; the soul of the dead; women; longing; an expectation of news; power and strength.Rug Motifs, Symbols & Meaning

There are so many different symbols and motifs found in Rugs and Kilims across the world, most of which date back hundreds of years but are still being used by carpet weavers today. We thought it might be interesting to have a reference to these symbols together with their meanings so you can identify some of the motifs found in your own rugs.



ELIBELINDE - Hands on Hips
A stylised female figure derived from the Anatolian mother goddess figurines and used as a symbol of motherhood and fertility.

KOÇBOYNUZU - Ram's Horn
A crescent-shaped symbol of fertility, heroism, power and masculinity

BEREKET - Fertility
A kilim motif composed of elibelinde and koçboynuzu motifs arranged to include various protective symbols. Stylised representations of multi-grained plants such as wheat, barley, pomegranate, poppy, melon, figs, grapes and mulberry are also used to indicate fertility.

INSAN - Human Figure
A stylised representation used to commemorate a person, to express the hope for having a child, or to imply the expectation of a baby.

SAÇBAĞI - Hair Band
A rug motif, evolved as a symbolic representation of the head ornament used by the bride in the wedding ceremonies, which indicates the desire to get married.

KÜPE - Earring
A kilim rug motif resembling the shape of an earring, an indispensable wedding present, used to express the desire for marriage.

BUKAĞI - Fetter
A cuff-shaped motif symbolising the continuity of the family union, the devotion of lovers and the hope that they should always stay together.

SANDIKLI - Chest
A motif which symbolises the trousseau chest of a young woman and stands for the desire to get married and having a child. In some cases the motif symbolises death and a coffin.

AŞK VE BIRLEŞIM - Love and Unison
A rug motif inherited from the Far East, generally known by the name of Ying-Yang and used to indicate the harmony between a man and a woman

YILDIZ - Star
A rug motif used to express happiness and fertility, based on the fact that the size pointed star, generally known as the Soloman's Seal, is used to symbolise the womb of the mother goddess figurines. The star motifs with eight or more points are used on the Anatolian weaves.

IBRIK - Ewer
A motif stylised in the form of a water container, symbolising purity and purification and used also as a symbol of pregnancy.

SU YOLU - Running Water
A theme indicating the importance of water in the life of mankind. Motifs in the forms of meanders, clouds and even vases and ewers are all different expressions of the same theme. The pattern of running water varies according to the material on which it is applied. When carved on stone, it assumes an angular shape, while it is curvilinear or triangular on weavings.


PITRAK - Burdock
A motif derived from a plant which is believed to be capable of warding off the evil eye. The fact that the term "like a burdock" means full of flowers, account for the use of the motif as a symbol of abundance.

EL, PARMAK, TARAK - Hand, Finger, Comb
Rug motifs which are composed of five lines or five dots are based on the Anatolian belief that the number five, ie the number of fingers on a hand, serves as a protection against the evil eye. The Hand motif is used against a spell or evil eye, where the comb motif is related to the protection of birth and marriage.


MUSKA - Amulet
A rug motif in the shape of written charms which are believed to have magical and religious powers to protect the possessor from dangerous external factors and generally placed in triangular cases.

NAZARLIK - Evil Eye
A motif used to reduce the effect of the evil glance, which is believed to be a power possessed by some people that cause harm, injury, misfortune and even death


ĞOZ - Eye
A stylised eye motif derived from the belief the the best source to prevent the harms caused by the evil glance is the human eye itself.

HAÇ - Cross
A rug or kilim design motif which is used against the evil eye and believed to reduce the power of the evil glance by dividing it into four pieces.

ÇENGEL - Hook
A motif used against the evil eye.

YILAN - Snake
A theme which dates back to the earliest history of mankind. The motive is used with protective purposes, while a black snake is the symbol of happiness and fertility.

EJDER - Dragon
A mythological theme where a winged creature stylised with feet of a lion and tail of a snake is believed to be the master of air and water, the cause of lunar eclipse, the guard of treasures and secret objects as well as the tree of life. A related theme is the fight of the dragon and the Phoenix which is believed to produce fertile rains of spring and where the dragon is stylised as a cloud.

AKREP - Scorpion
A Kilim or Rug motif used as a protection against the scorpion, sometimes used to represent a dragon.

KURT AĞZI, KURT IZI - Wolf's Mouth, Wolf's Track
A motif used as a protection against the wolves, which is the primary threat for the cattle breeding nomadic and semi nomadic tribes.

CANAVAR AYAĞI - Monster's Feet
The local name for the motif which symbolise the dragon.

HAYAT AĞACI - Tree of Life
A theme which stands for the wish of immortality or the hope for life after death. Stylisation of various plants, such as cypress, date, palm, pomegranate, fig, olive, wine, beech and oak, are used to symbolise the tree of life.

ÇIÇEK - Flower
A rug motif generally used on the borders of Kilims composed of stylised roses, carnations, tulips and hyacinths which resemble the garden of Eden. The Tulip is also used to express the expectation of a son.

IM - Family Signs
Rug Motifs which stand for the names of various Turkish tribes.

KUŞ - Bird
A kilim, rug or carpet motif which is loaded with various meanings, ranging from good luck to bad luck; happiness, joy and love; the soul of the dead; women; longing; an expectation of news; power and strength.

What is a Kilim?


Kilim, a word of Turkish origin, denotes a pileless textile of many uses produced by one of several flatweaving techniques
that have a common or closely related heritage and are practiced in the geographical area that includes parts of Turkey
(Anatolia and Thrace), North Africa, the Balkans, the Caucasus, Iran, Afghanistan, Pakistan, Central Asia and China.


Although at times you may find kilim rugs included in the general genre of "oriental rugs", in more accepted practice,
kilims are in a class of their own.

The major difference between a kilim area rug and a carpet or a pile rug is that whereas the design visible on a pile rug
is made by individual short strands of different color being knotted onto the warps and held together by pressing the wefts
tightly, kilim designs are made by interweaving the variously colored wefts and warps, thus creating what is known as a flatweave.

Kilims are generally woven with the slitweave technique. The slit refers to the gap left between two blocks of color.
It is created by returning the weft around the last warp in a color area, and the weft of the adjacent color is later returned around the adjacent warp.

Weavers pack the weft tightly to completely cover the warp and often favor diagonal patterns so as to avoid weakening
the structure of the rug with vertical slits. It produces bold, sharp patterns that weavers enjoy creating with more
freedom allowed than a plainweave. This is also why kilims are so closely associated with geometrical designs even
though there are are kilims with floral designs as well.

Slit Tapestry/Slitweave


This is the most common weaving technique used to create geometric and diagonal patterned kilims. The slit refers
to the gap left between two blocks of color. It is created by returning the weft around the last warp in a color area, and
the weft of the adjacent color is later returned around the adjacent warp. Weavers pack the weft tightly to completely cover
the warp and often favor diagonal patterns so as to avoid weakening the structure of the rug with vertical slits.
They work on one color block before moving onto the next. It produces bold, sharp patterns that weavers enjoy creating
with more freedom allowed than a plainweave. It also results in a smooth kilim that is reversible with the same pattern on both sides in most cases.

Kilims are Versatile


Are kilim rugs just floor coverings? No, some are hangings, some are bench or divan coverings, bags or mule saddles.
They are very popular as colorful kilim pillows, as well.

Hanging Kilims
Kilims look great on walls since they are also art pieces! See our page on hanging kilims for examples and options and let us know if you need help.

What does it take to make a kilim?
In material terms, not very much really. A loom, a beating comb, a shuttle (optional) and a knife or scissors are the
simple tools needed and wool is the primary material. Cotton, silk and animal hair (goat, camel, or horse) are also sometimes used,
mostly in conjunction with wool. Gold or silver thread, beads, and other small decorative baubles that strike the weaver's
fancy are also sometimes inserted into the design, but not very often.

The Loom
The earliest known illustration of a loom appears on an Egyptian bowl dated to ca. 4000BC, but its invention is believed to
have been made even earlier, at the dawn of civilization. Today, though looms may vary in type, size and complexity of construction,
in most cases they are quite simple structures of wood with, perhaps, a few metal parts.

The function of the loom is to hold the longitudinal strands (known as warps) under tension so that the horizontal strands (called wefts)
can be woven between the warps to produce a kilim rug. Custom and circumstances usually determine the type of loom used. Sedentary villagers
usually employ a fixed vertical loom while nomads, for the sake of portability, generally employ a horizontal ground loom where
stakes driven into the ground hold the loom in position.

Adjustable looms with a fixed width but with a mechanism permitting the completed horizontal kilim section to be moved out of
the way of the weaver are usually found in more sophisticated contemporary kilim workshops.

A beating comb is usually just a larger and cruder version of the familiar hair comb; it is usually made of wood, metal, bone,
horn, or some combination of these materials. Its function is to compress, i.e. "beat down", succeeding lines of wefts against
the preceding ones so that the kilim rug produced is tightly woven.

The shuttle is basically a stick with notches in the ends. When used, the weft end is placed in the notch and the shuttle is then
inserted between alternate warps to produce a weave, but weavers often prefer to dispense with the shuttle and pass the weft between the warps by hand.

A knife or scissors are used to cut and trim the wefts and warps.



Materials
Wool is the primary and often the only material used to make a kilim rug. Many kilims are made totally from wool where it is used
for both warps and wefts, and wool is the primary weft material used with cotton warps, which accounts for the great majority of all kilims.

This popularity of wool is due to its inherent qualities. It is supple, durable, handles easily when spun or woven, readily takes
on dyes and, most important, is in plentiful supply in kilim-making regions. There are certain breeds of sheep, like the merino,
whose fleece is especially sought-after for its special luster and length of fiber, but actually it's the domestic fat-tailed sheep bred
with its favorable climatic and grazing conditions that provides much of the excellent fleece used in kilims.

Cotton is commonly used for warps because of its high strength and plentiful supply. Also, because it keeps its shape well in use,
retains its natural whiteness with age, and because it can be spun into fine, thin strands, it is commonly interwoven in places to
highlight certain aspects in the overall design executed mainly with wool.

Animal hair - goat, camel or horse - is used sparely in kilim-making, but to good effect. Very strong and durable camel hair,
where available, is sometimes used to give added strength to a woolen kilim rug, while tail or mane hair of horses is used by
some nomads to provide decorative fringes or tassels. Goat hair was commonly used to weave nomadic tent and floor covers for its strength.
Whereas goat hair is rougher that wool, angora goat hair, "mohair", is much softer and gives a silky sheen when mixed with wool.
Mohair is also used to make the lustrous "filikli tulu" with its shining locks of hair.

Silk was and remains a luxurious material, and though flatweaves made from silk are now rare they are still produced, notably in the Kayseri
district of Anatolia in Turkey. Bridal dowries that include silk flatweaves are treasured, regarded as status symbols, and protected as family wealth.

Beads and baubles, and other items that may be regarded as extraneous to a flatweave readily marketable in Western countries, are sometimes
interwoven into a kilim design by some tribal kilim-makers and, due to their very authenticity, such kilims have a certain ethnic appeal.

Motifs are derived from symbols that were used in ages gone by to inform, communicate and to convey ideas. Over time, some of these signs
merged with myths, acquired hidden significance and moved into the world of esoteric symbolism. In this context, their use may not be
limited to decorative purposes. Due to the hidden forces they are believed to imply, their primary purpose may well be psychological rather than aesthetic


How to Clean Kilim Carpet?

Kilim is a special type of a carpet we usually know from Eastern Europe and Asia. It is known as a hand-made decorative rug with a
beautiful look and amazing warm surface. In most cases, a kilim carpet is made of natural materials and fibers. This makes it even more
beautiful, but also more difficult to be maintained.
The thing is that many of you common carpet cleaning actions should be avoided, permanently excluded or reduced to a minimum.
Meanwhile, it is essential for you to get to know the basics in taking care of kilim carpet. This is our topic today!

Kilim carpet basics in cleaning and maintenance

Kilim carpet is a wonderful addition to an interior design. But to keep it fresh and bright, you need to follow some instructions.
Here are what you need to know about kilim carpet cleaning:

Do not vacuum the fringes of the kilim carpet. They will tear or waste quite fast.
Avoid turning the vacuum cleaner on the highest power rate. Fit in the medium rate and make sure you clean it thoroughly,
but not often enough. This is how you are going to protect it intact and shiny for longer.
Avoid using too numerous liquids and water for the washing. There are better alternatives for you – steam machines or commercial dry solutions.
Use professional cleaning services once in a while. Even though not always cleaned by carpet cleaners, kilim carpet will
be maintained in a decent condition for a longer time.
Avoid all-purpose cleaners in liquid condition. In most cases they contain bleach that is not very suitable for the kilim carpet.
What to do, when I have to clean a stain out of a kilim carpet?

It is not on mandatory to go to your local expert cleaning company. There are ways you can deal with the situation, too –
without risking your kilim carpet. Here is what you can use to clean out a stain of a kilim carpet:

Baking soda is always ok for pre-treating a kilim carpet stain – whatever it is. Just make sure you use it with a decent
vacuuming procedure later.
Also, consider applying white vinegar in all cases you have mud, grease or any organic stains. White vinegar has extra
strong disinfection qualities. It is also a good stain remover and makes the colors look brighter and shinier!
When removing a stain, try to blot, but not to scrub. If there are any visible excesses of the stain, try to scrape them off with a knife.
It should be a sharp knife, but be careful not to tear the tiny and delicate fibers.
Kilim carpet is a fantastic addition to your home interior. Have it with pleasure, but make sure you take care of it properly and regularly!


The 5 Most Common Anatolian Motifs And Their Meanings

Anatolia is home to some of the most ancient artistic traditions of anywhere in the world. Many of these arts date back well before
anything we'd recognize as modern civilization, and indeed some may be as old as written history itself. Anatolian motifs have been
used to express social status, desire, love, expectation, belief, marriage, celibacy, migration, disaster, sadness, joy, taste, happiness,
longing, separation, wishes and so much more.

But, as with all artwork, a few motifs have become particularly popular for the way they mix beautiful imagery with meaning. When you go
carpet-shopping in Turkey, or simply enjoy looking at local vases, or just about anything else, be sure to keep an eye out for these 5 motifs.

Elibelinde

Elibelinde means literally "hands on hips" and its a motif of a female figure with, unsurprisingly, her hands on her hips, and symbolizes
fertility and motherhood. It's common on kilims and either varieties of Turkish flatweave rugs. But one interesting feature of this particular
motif is that it's perhaps most common on more run-of-the-mill items of regular use. You'll see elibelinde, for instance, on farmhouse sacks
(called çuvals) or in other oft-used woven things due to its symbolism of fertility and motherhood. These symbols are not simply ancient
traditions but there is a genuine belief, or half-belief, amongst large members of the Anatolian population that using items with an elibelinde
motif could bring the joy fertility to the family. As with almost all motifs in Anatolia, it can be designed in slightly different ways though
the essential design is always the same.

Muska and Nazarlık

"Nazar" is an important notion in Anatolia, the idea of the evil-eye. A few things are particularly at risk of "nazar" (or unspecified evil) happening to them.
Vulnerable, and valuable people (particularly babies) are at risk, pets, important objects in the home, property, or other inanimate objects,
or really in general any somewhat unfortunate thing happening. A baby getting sick at an inopportune moment, glasses/food plates being broken
at an important gathering, and other such things.

The primary way to prevent the evil eye from striking you or your family is through "nazarlık," either evil-eye beads or evil eye motifs.

Muska has the same essential purpose of warding off evil. the designs aren't identical, though even the triangular shape of the muska is
reminiscent of the eye-shaped nazar. Indeed, muska are simply a stylized form of typical nazar motifs. When these images are woven into
kilims or other flatwoven products in Anatolia it's believed that they will help protect the family from evil. Of course, the fact that
each design is striking and beautiful is just an added bonus!

Abundance


Abundance in all senses is a common need, particularly in rural Anatolia. Abundance and happiness are considered to go hand in hand,
and as a result fruit and animal motifs are both seen to promote abundance and happiness. Similarly, trees, flowers, soil and leaves
are seen to symbolize the same essential properties. In fact, beyond just trees, natural formations like rocks, water, mountains and
other natural formations again are often seen to reflect abundance.

Koçboynuzu (Ram's Horn)

If Elibelinde is more of a female symbol, ram's horns are certainly more male. They symbolize traditionally masculine traits,
like heroism and strength, though they share traits like abundance with many other traditional Anatolian motifs. In Turkey,
you'll find the ram's horn motif on kilims and rugs, but also they're quite common on traditional tomb stones that you'll find all over.
Sculptures are very common as well, with various fabrics and clothing bearing traces of this traditional motif as well.


Hayat Ağacı (Tree of Life)

The tree of life is of course a worldwide symbol of life rising up to heaven. It symbolizes the universe as it lives in constant change.
The soil, the roots, the lower brances, the trunk as it rises up to the sky, and the light shining on the upper branches all combine to
form a symbol that encompasses both Earth and heaven.

In Turkey, cypress trees are possibly the most common tree used though anything from fig trees to palm trees can be used.
The motif is used in stone masonry, wood-working, pottery, tile work, weaving, glass blowing, miniatures,
literature and music and can be stylized in many different ways.

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.