Caucasian carpets enjoy universal popularity, and justifiably so. Their harmony of colour, their fineness, and robust, geometrical designs appeal to our western taste. The austere, well – balanced arrangement of the pattern not only blends admirably with modern furnishings, but also ac
The original carpets discovered in Konya’s Alaeddin Mosque dating from the first half of the 13th century are products of Seljuk Anatolia and show the development in pile carpet making up to that period. They have also come to be considered as prototypes for all post – Seljuk carpets. The details of their origins still are a matter of speculation.
Until 1905 none of the visit
The next links in the historical development are the carpets founding Fostat, Egypt. The study of them points out the fact that some had been brought to Egypt from Samarra where Turkish guards were in the service of the Islamic state. Of this total find, twenty-nine fragments were published by Karl Lamm.
In addition to the woven pile rugs described above, tapestry woven rugs are also produced in the Caucasus. In this type of rug the wool thread which forms the design is drawn over one or more warp threads, and is then either secured flat in the warp itself or is left to hang freely from the back of the piece. The reverse side is therefore similar to a shaggy hide. The following types are are di
Milas, the district of Mugla, is an old carpet center and continues to be so, both Milas itself and its villages.
Milas carpets are easily recognized with their vigorous and bright colours, different mihrapfigures, long naps and fringes, and constitute the most important
The Gendje area lies surrounded by the Kazak area, Karabagh and Shirvan. The railway line from Tiflis to Baku passes through it, and Gendje, being a stopping-place for caravans, was a collecting point for all the products woven in its surroundings. To-day the town is called Elizabethpol. As most of the rugs are wo
Between the black and Caspian seas, in art of the knotted rug is as old as it is in neighboring Turkestan. The Turki tribes known as rugmakers appear in the Trancaucaucasus in the closing centuries of antiquity. We know, for instance, that the Avar tribe of the Lesghains established a kingdom in Daghestan (Avaristan) that, after the domination of the Huns, exenteded from the fifth to the ninth
Ever since the Renaissance, many Westerners have been keenly interested in the Oriental rug. They have made every effort to obtain rare, if not unique, specimens. Acoording to some accounts, Roman aristocrats of Caesar's time collocted these precious objects in large numbers. Even at that time it was possible to obtain such rugs, not only through the intermediary of the Roman legions stationed
When we say "a genuine rug," we obviously mean that there distinction to be drawn between handmade and machine made rugs; at the same time we do not clearly indicate that we refer only to the Oriental rug. Since it has been known so long and so widely, it is strange that the Oriental rug has never been viewed in the right sense when it comes to the essence of this work of art. As far as techniq
The ornamentation of Oriental rugs is based on ancient traditional rules having to do with the arrangement of spaces. Learning these rules will familiarize us with every kind of design. First, the rug is divided into field and borders. The field surface is also called the ground. Since all the design systems are based on yheir geometric arrangement of the field, it is possible to analyze the de
Without the uique effect of its colors, the Oriental rug would have far lesss special beauty and artistic worth. The richness of its coloring is expressed not in the number of colors but above all in their quality and composition, often limited of the contrasting of four to eight colors. The sumptuous colors of Oriental rugs have long been a marvel. They stimulated Renaissance artists to a new
Knotted rugs of fragments of them found in archaeological digs have shown that all the techniques of the knot, even the subtlest, as well as the decoration and coloring of rugs had already reached a high degree of perfection during the first millennium. It is all the more surprising that a vast selection of handmade Oriental rugs should appear on the markets of the industrial countries, even in
For the kilim (woven matting) weaving, within a limited space where the draw designs are placed, a color waft passed across a perpendicular double row threads at the back and front, from the bottom and top parts, reaching are the border of another design and returning back from its limits. The motive is emerged by means of return movement of different color wefts between the warps. Ingrained ha
Beside many groups that are only half settled and still continuing existents, an important group that have never changed their nomadic lifestyle can still be observed in east, south, southeast and west Anatolia (Asian part of Turkey; ancient Asia Minor).Basing on that, the fact that the traditions, customs, ethics and moral values are still cap alive, has enabled the cultural motifs of the nom
The motif of Yarkand rugs is the pomegranate, either on a arabesque of branches or in network of lozenge shape. Other types have three large medallions in a circle with complementary ornamentation. Aside from these, Yarkand rugs resemble Khotan rugs in all particulars.
Since the middle of the nineteenth century, Chinese rugs have been produced in Peking, Tientsin, and later in Hong Kong ex
During his hectic day every man longs to be at home among his own things to relax and reflect. Such an atmosphere is created by beautiful furniture and artistic Oriental rugs. Whether a residence is designed in the modern, spacious style or arranged in a more traditional mode there is hardly any room decor that is not enhanced by an Oriental rug. Rugs of geometric pattern fit well into modern
It is from Central Asia that the oldest evidence of the art of knotted rugs has come. First of all, there are the remains of a rug with a geometric design, tied in the Turkish knot, dating from the first century A.D., that were unearthed by the Turfan expedition to eastern Turkestan. Afterward, in the region of Altai, the almost perfectly preserved Pazyryk rug was discovered; it dates from the
The discovery of the important artistic value of oriental rugs is not recent. As early as the fourteenth century, in fact, the Italian painters gave them a very prominent position in their pictures. In the centuries that followed, they are represented as playing an important part in the life of the period. Rugs were attributes of royalty; they enhanced the significance of religious settings and
History of art begins with the history of mankind. The art of webbing came into being and developed as a product of the human instinct for self-protection. Men invented webbing by using wool the protect himself from adverse climate conditions, just as they developed tools for survival of the species. The art of webbing in ties real sense began when men were able to make use of animals and deve
Bergama, which is an ancient settlement carpet center as well. It still continues as such. Carpets are woven on the Kazak plateau, Yunt Mountain and in some villages of the Yagcibedir clan.
Yagcibedir is a region to the West of Bergama, 1051 meters above sea –level. Carpets and kilims are woven in the villages of Yagcıbedir clan, such as Mazili, Islamlar, Demirciler, Kiroba, Kocaoba and
Other woven objects aside from the carpets with knots, are known as kilim, cicim sili and soumak. The best and widely known kilims in our country are those reflecting a tradition peculiar to themselves. These are woven by sheep-raising nomads, from yarns made either from wool or goat’s hair. These kilims are woven as sacks and saddle-bags for the purpose of carrying provisions, in ornamenting h
Eagle: Symbol of sky and healthy life. Eagle with head turned right symbolizes sanctity and protection.
Water ever: Symbolize the basic material of life; water and cleanliness.
Dragon: A symbol of power and strength either many heads, feet and tails.
Pomegranate: Symbol of plenty and abundance.
Konya appears as an important carpet centrel as Seljuk capital. The carpets produced within this period are now exhibited at the Konya Mevlana Museum and the Istanbul Islamic Arts Museum. Konya still maintains this historic tridition. Kazak, Taskale, Ladik, Karapinar, Sultanhani, Eregli, Obruk, Sille and Sarayonu are the centres of carpet making.
Warm colours, as light brown, brick red
Hereke Turkish carpet art overcame the recession that began in the 18th century, and continued to develop until the 19 th century. After the cloth looms established in Hereke on 1844 by Sultan Abdulmecit, 100 carpet looms have been included on 1891 by Sultan Abdulhamit II.
Carpets woven in Hereke in Izmit shows a mixture of influences having the decorative characteristics mai