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