Kitchen Rug,Overdyed Bed side Rug,Vintage Living Room Carpet 6' 9'' x 3' 9''Hand Made Dining Room Rug,Boho outlet Company Rug,Unique Nursery Rug885

Kitchen Rug,Overdyed Bed side Rug,Vintage Living Room Carpet 6' 9'' x 3' 9''Hand Made Dining Room Rug,Boho Company Rug,Unique Nursery rug 885


I belive that every rug has it's own story !!!

100 % Hand Made Turkish wool Unique rug !!!

Discover the timeless beauties of vintage runner rugs with their traditional designs.
Each one is unique and authentic. We select only the ones in great condition.

My curated collection of vintage wool area rugs are composed of hand-knotted Turkish, Persian and other Oriental rugs
woven mostly in the 50s, 60s and 70s. We select these rugs from
homes and usually shear their piles low to reduce the strength of the designs and to give a further aged style


This gorgeous rug can be used as:Room size rug,Dining room rug,Living room rug,Nursery,Offce,
Present for loved ones,Bedroom,kids room,saloon,Studio.



HAND MADE RUG IS CLEAN AND READY TO USE !!!

VINTAGE RUG IS LOW PILE !!!

NOMADIC RUG IS FROM SOUTH ANATOLIA !!!

BEDROOM RUG IS ONE OF A KIND !!!

BOHO RUG WILL BRING YOUR HOME BEAUTYNESS AND RUSTIC DECOR !!!

You deserve to have a beautifully decorated home !!!

Before I Ship My Rugs ,I Check Them and If need anything,I Do Necassary rapairs and Cleaning, As They Are Vintage Rugs,
They May need From Time To Time Certain Repairs
Which I Think You Should Find İt Normal.

You want to have a beautiful entryway ‘' to greet your family and friends with? Here is a wonderful entrance rug !!!



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 and Pet Free Area



SIZE IN CENTIMETERS: 210 X 118

,
SIZE IN FEET: 6' 9'' X 3' 9''


SIZE IN INCHES: 83 X 46



FEEL FREE FOR ANY QUESTIONS,YOU MAY HAVE !!!

Due to the nature of age, All vintage rugs might have slightly worn, faded, or have minor imperfections adding to the character of the item.That makes them more beautiful and more unique.

I take the photos outdoor with naturel daylight to show you the real,naturel and original rug.I don't make any photoshop or etc.



I WILL SHIP YOUR RUG SAME AS PICTURED,NO WAY DIFFERENT ONE !!!


You will receive the exactly rug as pictured.


I AM GOING TO SHIP YOUR RUG BY FEDEX EXPRESS COMPANY WITHIN 5 BUSINESS DAYS ,HANDLING TIME IS 1 DAY, AFTER

SHIPMENT,I WILL INFORM YOU ABOUT DELIVERY !!!


I Am Grateful For Your Support The Handcraft And My Small Business,Melisa !!!



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https://www.etsy.com/shop/VINTAGERUSTICRUG?ref=seller-platform-mcnav§ion_id=26186852

IF YOU LIKE TO SEE MORE KILIM RUGS,PLEASE VISIT:

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About Turkish Rugs


Various Well-Known Anatolian Rugs
There are different types of rugs produced in Turkey and they are classified according to the materials used:

Silk on silk
Wool on cotton
Wool on wool
Viscose on cotton
Kilims
Tulu
Anatolian Turkish Rugs
At present, it is impossible to prove exactly when and where rug weaving began, as there is no reliable source, but it can be traced back as early the Neolithic age (7000 B.C.). The first examples consisting of warp and weft were textile products which resembled flat weave kilims. Then rugs were created by forming knots to make a pile. According to scientist, rug weaving must have originated in the dry steppe regions where the nomadic tribes lived. Central Asia was a suitable location for the first rug-weaving center because of the availability of land for herding sheep and because of the climate of the region.

Rugs have been used in the home as floor coverings, blankets, tablecloths and decorations. They acquire value as they are used, whereas most objects decrease in value over time.

The oldest example known in the history of hand-make rugs is the one which is exhibited in the St. Petersburg Hermitage Museum in Russia. This fantastic Altai rug was discovered by the Russian archaeologist Sergei Rudenko in the year 1949 and is known as the "Pazirik Rug", woven around the 3rd century B.C. The majority of experts believe that there is a link between ancient Turkish culture and this particular rug; they also believe that the other items found in the Pazirik Tumulus have some connection to Turkish civilization.

Nomadic rugRug weaving in Anatolia first began with the arrival of the Turkish tribes from Central Asia, who settled in this region. Therefore, Anatolian rugs form a branch of ethnic Turkish rugs. Some of the oldest examples known are the eighteen surviving pieces woven by the Selcuk Turks in the 13th century. The motifs in these pieces represented in stylized floral and geometrical patterns in several basic colors and were woven in Sivas, Kayseri and Konya.

The art of rug weaving which began with the Selcuks continued with the Ottoman Turks. After the Selcuk Turks and before the Ottomans, during the transition period in the 14th century, animal figures began to appear on the rugs. Although very few of these exist today, they can be seen in the paintings of famous Italian, French and Dutch painters. Due to the animal figures on these rugs, they are called as "Rugs with Animals".

By the 15th century there was a wider variety of animal motifs on the rugs. A new group of rugs with a combination of animal motifs and geometrical patterns appeared around this time. These rugs were called "Holbein Rugs" since they appear in paintings by the German artist Hans Holbein. As there are no surviving examples of these rugs today, all research is carried out from the paintings. The works of artists such as Lotto, Memling, Carlo Crivelli, Rafaellino de Gardo, B.Van Orley, Carpaccio, Jaume Huguet were also important sources of research. In this century, Bergama and Usak became important weaving centers in western Anatolia.

The 16th century was the beginning of the second successful period of Anatolian rug-weaving. The rugs from this period are called "Classical Ottoman Rugs". The reason these rugs are called "Palace rugs" is that the design and colors would have been determined by the palace artists and then sent to the weaving centers. this method was similar to that used in the ceramic tile production of that period.

The designs, which consisted of twisting branches, leaves and flowers such as tulips, carnations and hyacinths, are woven in a naturalistic style and establish the basic composition of the rug. This style was continued in other regions and can be seen in Turkish rugs today.

In the 16th, 17th and 18th century, Gördes, Kula, Milas, Ladik, Mucur, Kirsehir, Bandirma and Canakkale gained importance as rug-weaving centers, along with Usak and Bergama. The rugs woven in some of these areas are known as "Transylvanian Rugs" because they were found in churches in Transylvania.

In the beginning of the 19th and 20th centuries, the rugs woven in Hereke (nearby Istanbul) gained worldwide recognition. These rugs were originally woven only for the Sultans of the Ottoman Empire. The finest silk rugs in the world are still being woven in Hereke today.

We can identify the rugs woven in different regions as town or village rugs. The rugs woven in the agricultural areas of Anatolia owe their origins to the settlers or nomadic cultures. In Europe, these rugs (which are woven with wool on wool) are generally called "Anatolian Rugs" In towns where people have settled permanently, the rugs are woven with a wool on cotton combination.

Today in Turkey there are regions which keep this wonderful tradition alive; such rugs are woven in Konya, Kayseri, Sivas, Hereke, Yagcioglu, Kula, Dösemealti, Taspinar, Isparta, Milas, Bergama, Canakkale, Kars, Usak, Gordes, Fethiye and Yahyali.

The Craft of Weaving Rugs
A rug is a handicraft which consist of two parts; the skeleton of the rug, which is formed by vertical and horizontal threads called "warps" and "wefts" and the part which resembles a picture and is like velvet, which is called the "pile" of the rug, made by knotting different colors of thread. In order to form motifs, there are two knotting techniques:

Turkish double knot Symmetrical knotting, double or Turkish knotting. Each knot is made on two warps. In this form of knotting, each end of the pile thread is wrapped all the way around the two warps, pulled down and cut.
Non-symmetrical or single (Persian) knotting. While one end of the thread is wrapped all the way around the warp, the other end goes just beside the other warp. Then both ends are pulled down and cut.
Persian single knotThe steps for weaving a carpet are written below:

The weaving is started from the bottom of the loom. First the kilim part (flat woven part) is woven at the lower edge.
The weaver then takes a piece of wool which corresponds with the pattern and forms a knot on two warps.
Then she cuts the surplus wool with a knife.
After one row of knotting is completed, she then passes a weft thread in between the front and back warps. The weft threads are used to strengthen the weaves of the carpet.
Then she will take the "kirkit" (a heavy comb like tool) and vigorously beat down the row of knots and weft, in order to obtain the desired tightness and to make the knots and weft compact.
Following this step, with a pair of adjustable scissors she cuts the surplus colored threads to obtain a uniform level of pile thickness.
This process is continued until the carpet is complete.
Dyes
There are two types of dyes which are used to dye wool for weaving: vegetable dyes and chemical dyes. Rugs which are made using natural dyes are the most preferred. The natural dyes are obtained from three sources: plants; animals; and minerals. Plant sources are used most widely in rug production. Some of the examples of colors obtained from plants and animal sources are: red (RUBIA TINTORIA); yellow (GENISTA TINTORIA); navy blue (ISOTIS TINCTORIA and INDIGO FERETINTORIA); gray and black (OVER LUS); brown (JUNGLAND REGIA); and red (DACHYLOPIUS COCUS). Dyeing threads by using sources from nature is an art which has been practiced since ancient times. Anatolia has a large variety of plants available for dyeing purposes and this is where the craft of dyeing has been improved throughout centuries of experience. Plants gathered from natural sources are still widely used today.

Motifs
There are many different types of motifs and emblems which can be seen on the rugs. These are classified into two groups:

Geometrical or Stylized Motifs
Naturalistic and Floral Designs
The motif on the rugs represent Anatolia and Central Asia and their civilizations. These compositions, motifs, and designs represent the origins and culture of a society; therefore, a rug can be considered a cultural item. Each of the designs is meaningful, not an accidental drawing. To understand the meaning of every motif would be a very long and tiring process, as there are so many of them which have accumulated throughout the centuries. The motifs on the rugs represent Anatolia, Central Asia and their civilizations. Some of the most common motifs on rugs are the TREE OF LIFE symbolizing long life and re-birth; the HORNS OF ANIMALS which symbolize power; HANDS ON HIPS symbolizing female fertility and the mother of God; and the HANGING CANDLE symbolizing the holy (eternal) light.



RUG CARE AND CLEANING FOR HAND-KNOTTED RUGS


Never use bleach or foor polishers on the rugs.
Spot cleaning when spills happen:
• Act Fast
• BLOT – NEVER RUB
• Clean stain – Edge to Center
• Do Not SOAK
• Pat and Fan Dry
• Brush Pile with a soft brush
If food or liquids spill onto a carpet, blot up the spill as soon as possible. Use only club soda
and a clean white towel to soak up the spill. Do not soak the stain. Don't rub, as this will
spread the stain. Work the stain from the outer edge to the center. Dry with a fan or hand
blow dryer, preferably on a low heat setting. Finally, to restore the pile, brush it with a soft
brush. On old and stubborn stains, repeat the process until the stain is completely removed.
Cornstarch can be used to soak up liquid after cleaning. Sprinkle a thin (1/8”) layer of
cornstarch on rug and let it dry for 24 – 48 hours. Vacuum and whisk away excess.
Spills such as mustard, blood and mud should be allowed to dry and then scraped off.
Failure to dry the carpet properly can cause mold, mildew and dry rot with signifcant
damage.
Special Stains:
Chewing Gum – Press ice cubes against spot until it becomes brittle and breaks off. Use spot
remover to vanish last traces. Saturate the spot with a cloth soaked in vinegar or alcohol.
Candle Wax – Place a brown paper bag over the spot. Place a hot iron over the paper bag.
Move iron constantly. Wait a few minutes until the wax is absorbed. Repeat if necessary.
Ink from ballpoint pen – Saturate the spot with hairspray. Allow to dry. Blot lightly with
vinegar and water solution.
Deep cleaning:
Periodically, every 2 to 3 years, the hand-knotted rug should be cleaned by a professional in a
full immersion wet bath and it will be refreshed and look outlet like new. Hand-knotted rugs can
be wet-cleaned in this fashion as opposed to hand-tufted rugs that can only be spot cleaned.
Moths: Regular maintenance is the best way to keep your wool rugs from being damaged by
moths. Periodic cleaning, moth proofng and rotating rugs are a good way to prevent moth
larva from taking hold and damaging your fne rugs. When inspecting rugs for moth activity,
remember that most moth damage is to the back of a rug where moths are least likely to be
disturbed. So examine the back of the rug along its perimeter and look for moths, moth larvae
or the casing or webbing they leave behind.
Fading in Sunlight: Colors fade unevenly and wool and cotton dry out and become brittle. A
good rug can be faded in a month or less. When colors are softer or lighter on the pile side of
the rug than they are on the back, it means that fading is occurring. You can eliminate or
prevent the problem by keeping the curtains closed or by having your windows
professionally coated with mylar (an invisible flm which can be applied to your windows
and which flters out harmful ultraviolet light).
Note: Never put a potted plant on a rug as the water can leak onto the rug and damage it.
Disclaimer: For diffcult or unlisted stains, please consult with a professional rug cleaner.
Never use dry cleaning methods on a wool rug. Never “steam clean” a wool rug as this may
cause dyes to bleed. The rugs should be wet-cleaned by a professional, thoroughly rinsed
and allowed to dry completely before being placed on the foor again.
Important: Vacuum your rug regularly. Sand and grit can work into the base of the pile and
abrasion can damage the wool and result in loss of pile. Vacuum only with suction, never use
a beater bar on a wool rug. DO NOT USE DYSON VACUUM CLEANERS OR ANY OTHER
VACUUM THAT HAS POWERFUL SUCTION. THESE VACUUMS CAN DAMAGE THE
RUG.
These stain removal tips are to be used only as a guide for your personal use.



History of Turkish Rugs
“Often referred to as Anatolian, rugs have been woven in the area of present-day Turkey since the 13th century
with the arrival of the Seljuks, who were nomadic tribes from Central Asia. Turkish rugs were first brought to
Europe in the Middle Ages and were in such high demand that Europeans in the fifteenth and sixteenth centuries
referred to all oriental rugs as " Turkey rugs." In contrast to Persian rugs, Turkish rugs of the nineteenth
century were less sophisticated, brighter in color, more rectilinear, and were more coarsely-woven. Repeating
patterns are rare and prayer rugs with mihrabs in solid colors are common in antique Turkish rugs. Of the many weaving
centers throughout Anatolia, each created an innately Turkish rug with a distinct signature style native to its specific region.
[Source: Doris Leslie Blau *~*]
“With many weaving centers throughout Anatolia, each created an innately Turkish carpet with a distinct
signature style native to its specific region.
In the fifteenth century, inspired by the example set by the Timurid and Safavid Courts, Turkish artists
introduced floral and Chinese motifs, first into ceramic tile-work and textiles, and then adapted into oriental carpet patterns.
These designs included elegantly drawn prayer rugs decorated with architectural motifs serving as models for centuries
of village weavers of rugs and textiles across Anatolia.” *~*
Marika Sardar of New York University wrote: “In Ottoman Turkey, weaving patterns and techniques changed in the early
sixteenth century after conquests in Persia and Egypt. Anatolia had been known for carpets with stylized animal and
geometric designs, but with these new cultural contacts, carpets designed around a central medallion and with flowing
saz-style vegetation came into vogue. Similar motifs also appeared on book covers, textiles, and in manuscript borders.
The style of these Ottoman court rugs, first produced in Istanbul, then spread to other weaving centers in Cairo and Ushak
(58.63; 1984.69), but never fully overtook the various regional carpet traditions. Caucasian and Armenian carpets retained
their customary geometric patterns, and kilims (or flat-weaves) remained popular. [Source: Marika Sardar Institute of Fine Arts,
New York University, Metropolitan Museum of Art metmuseum.org ^/]
Different Types of Turkish Rugs
Among the most famous types of Turkish rugs are Ghiordes, Kulah, Bergama, Ladik, Anatolian, Melez, Kirsehir, Oushak, Sivas,
Tulu, Kayseri, Hereke, Borlou and Konya. Carpets from southeastern Anatolia are influenced by carpets from Syria and Iran.
They use a lot of red and feature a lot of alternating positive and negative space. Carpets from northeastern Anatolia are
influenced by carpets from Armenia. They feature Armenian floral and tree designs.
According to Doris Leslie Blau: “Decorative antique carpets from Sivas are often finely-woven interpretations of the classical
Persian medallion design and have floral infill. Hereke rugs often feature luxurious materials such as silk and metal-thread worked
into designs emulating the antique Persian carpets of the Ottoman and Safavid Court workshops. Ghiordes, in the western part of Turkey,
is known for precisely figured, colorful, multi-bordered antique prayer rugs with open prayer niches, and stylized architectural motifs.
The antique Borlou carpet most closely resembles the dramatic scale, informality and pleasing palette of oriental Oushak rugs.
[Source: Doris Leslie Blau *~*]
“Ghiordes, in the western part of Turkey, is known for precisely figured, colorful, multi-bordered antique prayer rugs with
open prayer niches, and stylized architectural motifs. The antique Borlou carpet most closely resembles the dramatic scale,
informality and pleasing palette of the oriental rugs in nearby Oushak, later manifesting itself in grand room size carpets.
Formerly called Caesarea, Kayseri is a rug production center in central Turkey (Anatolia). Due to its location along the
Silk Road, rugs from the region reveal the heavy influence of Gordes and Iranian carpets.” *~*
“Since the beginning of their production in the 18th century, rugs from the Anatolian town, Ghiordes have mostly been known
for their rectilinear, colorful, multi-bordered antique prayer patterns. Ghiordes rugs often have open fields with mihrabs
or hanging lamps and stylized architectural motifs that are found on sixteenth and seventeenth century Ottoman court rugs.
Ghiordes is the oldest knot found in the most ancient of rugs/carpets. However, the oldest fragment of rug found with this
knot was discovered in Siberia amongst the remains of the Pazyryk people and has a date stamp that places it in the Iron Age. *~*
Oushak and Tulu Rugs
According to Doris Leslie Blau: “Since the sixteenth century, antique oriental carpets and rugs from Oushak have been
represented among the carefully chosen and highly esteemed objects d'art in the studied interiors and still life paintings
of important European personages, as depicted by such artists as Holbein, Lotto, Velasquez, Memling and Vermeer. Until the
eighteenth century, the vogue for Ottoman carpets was unabated designs such as 'medallion' and 'star' Oushaks in royal tones
of brick red, terracotta, deep blue and gold continued to grace European interiors. Over time, designs of antique Ushak carpets
and antique Oushak rugs evolved, managing to retain the distinctive character of sixteenth century prototypes continuing to reference
large scale ovoid or star shaped medallions enclosing split-leaf rumi and floral vinery displayed on fields of delicate floral tracery.
[Source: Doris Leslie Blau *~*]
“Characteristics of antique Oushak rugs are: relatively loose knots giving a supple hand a fairly long pile colors that have oxidized
into a riotous sorbet of summer fruit such as melon, tangerine, passion fruit, mango, orange, lemon and lime green. The monumental scale,
relaxed structure and playful palette of antique Oushak rugs ensure that they remain a favorite within the pantheon of decorative antique
oriental rugs. *~*
“Tulu means long haired in Turkish. These rugs were made in the past for the purpose of getting warmth and for sleeping.
They are soft, usually have vibrant colors and are very shiny. Antique Tulu rugs are some of the most beautiful textile
creations in the entire world. They can be identified by their artistic details and luscious texture. These rugs were made
by hand knotting with the Ghiordes knotting style. Tulu rug patterns are unique but they are mostly based on flowery or
vinery designs with something solid or plain for a centerpiece. Tulu rugs are usually woven with a combination of vibrant
and earthy tones for balance. *~*
“Tulu rugs are woven in the city of Karapinar, which lies east of Konya. It is home to a lot of mountains and plains.

At least 100 years ago, the people of the village could not grow plants or tend livestock because of the conditions at the time.
As a result, they started doing Tulu weaving (long-haired) and producing Tulu - rugs. Most of these rugs are 70-100 years old.
They begin weaving these Tulus to keep themselves warm in the blistering cold up in the mountains.
Commercial Tulu rug weaving only started recently to help them make a living for themselves.
Some Tulu rugs show regional geography and terrain, hence, the flowery and vinery centerpieces and
designs. Some Tulu rugs exist with oatmeal fields (centers) and more solid edges. This depicts the plains
of the Karapinar and the mountains depict the solid edges that give some balance to the city of Karapinar.” *~*
Sivas, Borlou and Hereke Rugs
According to Doris Leslie Blau: “Borlou rugs originate in Turkey. They have been handmade since as early as the 13th century.
It is believed that a tribe known as the Seljuks were the skilled weavers responsible for these early masterpieces.
The Seljuks are said to have hailed from Central Asia and were nomads. During the 1400s and 1500s, Europeans collected
and treasured these rugs so much so that all rugs that came from Asia were thought to be products of Turkey. Each rug bears
the intricate designs that represent the weaving base that produced it. Each region in Turkey has a signatory design that
identifies it.” [Source: Doris Leslie Blau *~*]
“The following are some of the regions and their associated designs: 1) “Hereke” is weaving center is located near Istanbul
in the northern tip of Izmit Bay. These rugs were reserved for royalty and people held in high esteem on the national and international front.
They incorporated motifs from Persia, traditional Turkish designs, Egypt, Western Europe, and of course the Usak medallion.
These rugs are considered to be the finest in the world. 2) “Konya” is located in Central Anatolia. The rugs produced
here also have a Persian flavor as well as a floral motif. Marco Polo once commented on the beauty of the carpets produced in this region.
3) “Sivas” carpets incorporate the Usak medallion, have a Persian flavor, and tend to be more floral.
“Sivas rugs and carpets weavers traditionally used a smaller assortment of color than their Persian counterparts, achieving a remarkable
range with only eight or nine colors. Primary colors tend to dominate, particularly blue and madder red, although a softer and
lighter palette is often used on late nineteenth and early twentieth century carpets. Decorative antique carpets from Sivas in
the southeast are finely woven and formal, tending to interpret the classical Persian style with central medallions and floral infill.
A palette of soft and pale gelato tones in the typical antique Sivas rug makes it more feminine and sugary than other any other antique Turkish carpet. *~*
“Hereke rugs made in the small coastal town of Hereke, Turkey. In the early nineteenth century, on the outskirts of Istanbul, the Hereke
carpet workshop was established, becoming famous for producing exceptional, finely woven carpets of outstanding technical ability.
These antique Hereke rugs often feature luxurious materials such as silk and metal-thread worked into designs emulating the antique
Persian carpets of the Ottoman and Safavid Court workshops. *~*
“Antique Hereke rugs are truly beautiful pieces of art, and it's truly mind-boggling to think that so many beautiful pieces came from a single town.
Like many antique rugs, Hereke rugs feature subtle, muted colors that span the spectrum. They also feature intricate designs from edge to edge.
Hereke rugs can range from small 6'x4' rugs that will cover a small piece of a room to massive, room-spanning 22'x14' carpets. Each one will
serve as a unique piece of art with its own distinct flair. *~*
“Originally intended to furnish palaces, Hereke rugs were made throughout the 1800's. To fit their palatial purposes, Hereke rugs are not only
made of cotton, wool, or silk, but many also feature threads of gold or silver. These threads help antique Hereke rugs stand out visually,
and vastly increase their value among collectors. While some Hereke rugs are still produced today, the most beautiful
and valuable of them are the antiques.
There is no need to worry about any degradation of quality over time, however. Even in the 1800's, Hereke rugs were precisely
made with double knots, and their patterns are still clearly visible and their colors have not faded.” *~*
Turkic and Islamic Carpets in European Paintings
Walter Denny of the Metropolitan Museum of Art wrote: “The popularity of what we call oriental carpets—pile-woven carpets from
the Islamic world—in Europe from the fourteenth century onward is reflected in the frequent depiction of oriental carpets in European paintings.
Indeed, European paintings are a primary source for scholarship on early carpets, and many groups of Islamic carpets from the Middle
East are today called by the names of European painters who depicted them: Lotto, Holbein, Ghirlandaio, Crivelli, and Memling are among
the European painters whose names are now used to describe certain groups of carpets woven in Ottoman Turkey. [Source:Walter Denny,
Department of Islamic Art, Metropolitan Museum of Art metmuseum.org ^/]
“From biblical times onward, the concept of having an expensive textile underfoot has been associated with wealth, power, and sanctity;
when the Sienese painter Duccio depicted the story of those who spread their garments under Christ's feet on Palm Sunday, he was simply
renewing an age-old cultural concept. By the time Sir Walter Raleigh put his cloak on the ground to help Queen Elizabeth over a mud puddle,
the mystique of textiles underfoot had been around for millennia.^/
“A fifteenth-century painting by Giovanni di Paolo, Madonna and Child with Two Angels and a Donor, depicts under the feet of the Virgin
Mary one of the earliest and rarest types of carpets from Turkey to be exported in quantity to Italy; the design consists of highly
stylized animals in octagons (41.190.16). By the sixteenth century, carpets were frequently depicted in portraits as a signifier of
sophistication, education, and high social and economic status; an anonymous portrait by Moretto da Brescia shows at the very bottom
a minor border of a contemporary Anatolian rug from Ottoman Turkey; the design of the rest remains an enigma (28.79).^/
“By the seventeenth century, depictions of carpets were widespread throughout Europe. The Museum owns several Lotto carpets; the earlier
and larger examples have a border of stylized strapwork recalling squared-off kufic Arabic writing (08.167.1), while borders of later
examples have small medallions, such as those shown in the painting by Jan Breghel and Peter Paul Rubens entitled The Feast of Achelous
(45.141). Here, we see a story from Ovid's Metamorphoses portrayed as a contemporary Flemish outdoor banquet, with a beautiful Lotto
carpet with red and yellow arabesques from central Turkey shown on a table partially protected by a linen tablecloth. The pattern was a
favorite in Europe; the seventeenth-century painter Nicolas Maes depicted a young girl peeling apples, seated next to a table covered with
a sumptuous Lotto carpet (14.40.612).^/
“Carpets woven in Syria were extremely rare in Europe: a painting by Gabriël Metsu entitled A Musical Party shows a so-called chessboard
carpet with a design of geometrical stars from early seventeenth-century Syria over a table (91.26.11); the Museum owns an actual carpet
of this design, given by Joseph V. McMullan (69.267).^/
“Medallion carpets woven in Ushak in west-central Turkey were also depicted frequently in European paintings. Metsu's sumptuous Dutch interior scene
The Visit to the Nursery shows a large Ushak medallion carpet draped over a table (17.190.20). The Metropolitan has several Ushak carpets
of this type in its collection (08.173.13). The attractive genre scene by Gerard ter Borch, the Younger, entitled A Woman Playing the
Theorbo-Lute and a Cavalier depicts a small west Anatolian medallion carpet with an unsual design on the table in front of his musical couple (14.40.617).^/
Although Johannes Vermeer's lifetime output of paintings was very small, a large portion of them contains depictions of oriental carpets.
Two in particular feature carpets prominently: the famous A Maid Asleep depicts two different seventeenth-century Anatolian carpets from Turkey
(14.40.611), while Young Woman with a Water Pitcher shows a soft and thickly textured Persian carpet, again on a table, with a design of
floral arabesques on a red ground (89.15.21). The tradition of showing carpets on tables in upper-class interiors continued well into
the eighteenth century; Longhi's The Visit shows a western Anatolian prayer carpet from the Gördes district draped over a table in an
elegant Italian interior (14.32.2).^/
As carpets became more affordable in Europe, very large examples were imported for use as floor covering. Francis Wheatley's
The Saithwaite Family, for example, presents an aristocratic British couple and their daughter on a very large eighteenth-century
carpet from Ushak (2009.357). In early nineteenth-century France, Jean-August-Dominique Ingres, a great admirer of Italian Renaissance art,
self-consciously referred backward in time to earlier portraits in his well-known portrait of Jacques-Louis Leblanc (19.77.1).
The carpet-covered table shown with books, a handwritten letter or manuscript, and an inkwell (a concept that horrifies today's textile conservators)
refers to a long tradition in European painting, in which carpets are associated not only with economic and social status in general,
but also with learning and literacy. The small carpet on the table, of a well-known eighteenth-century type from Anatolia,
is strikingly similar to an actual example from the McMullan collection in the Metropolitan (1974.149.15).
Depictions of carpets in European and American paintings continued throughout the twentieth century,
in works as diverse as the orientalist paintings of Matisse or American interiors by artists such as Glackens; the colors, textures,
and patterns of carpets continue to fascinate patron and painter alike into our own time.



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.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
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.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
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.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
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.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
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.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
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.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
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.


CLEANING
REGULAR CARE AND CLEANING OF TURKISH AND ORIENTAL CARPETS
Cleanliness is the first and major step towards the preservation of a hand made carpet and it is the best defense against damage.
There are no strict rules to determine when and how often to clean a carpet since every hand made carpet is a different and every
household exposes a carpet to different amounts of wear and dirt. The following advice and information are basic general instructions
that the average carpet owner may exercise in the care and cleaning of Turkish and Oriental Carpets. The best recommendation is
regular brushing with an old fashioned hand broom with natural bristles or the use of a vacuum cleaner. Remember that it is equally
important to brush the underlay of the carpet and the floor beneath. Utilizing a vacuum cleaner will never damage the carpet
if only cleaning is made by the nozzle attachment other than the revolving brush attachment.

WASHING OR CLEANING
How often a carpet to be cleaned, obviously 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 pattern 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 the carpet needs
cleaning will be from the feel of the pile, which may feel course and 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 loose fibers fall into your hand it is certainly the time to clean the carpet.

HAND CLEANING AT HOME
You may hesitate at the idea of cleaning your carpet at home. Although it is a time consuming process requiring care and patience,
it is actually a simple job which can be successfully carried out by any carpet owner who follows these simple instructions.
Hand cleaning has several rewards, apart from the obvious benefit of saving money. It will give personal satisfaction to see
every fiber getting fresh and reviewed. It will also give you a chance to have a closer relationship with your carpet as every previously
unnoticed detail of color and motif comes into view with the close attention that hand cleaning requires. Nearly all types of carpets can
be cleaned at home with the exception of antiques, carpets in need of repair and fine silk carpets. These should receive the attention
of a personal carpet repair specialist.

PREPERATION FOR WASHING
Preparation is as important as the washing process itself. First of all, test the carpet for color fastness by rubbing a brightly
colored area gently with damp white cloth. Then examine it the carpet thoroughly to make sure it is not in need of repair.
Since the carpet becomes slightly fragile when it is wet, it is advisable to carry out most repairs before washing.
Only repiling is done more successfully after washing, since the color can be matched more accurately. Before washing,
brush and beat the carpet thoroughly to remove as much loose dust as possible, because dust and dirt is more damaging
when wet rather than dry. Finally find a flat, clean hard surface on which to clean the carpet more easily.

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 for grooming horses is ideal), white natural vinegar, carpet shampoo (or any kind of natural soap),
especially Ivory soap is recommendable) and a bucket of lukewarm water are all that is needed.
Caution:Avoid using detergents and soaps containing strong chemicals with high P.H. values since inorganic substances may harm organic wool fibers.

METHOD
Lay the carpet with the pile up on a hard flat surface. Dip the brush into the liquid (mixture of soap, vinegar and
lukewarm water) and apply it in gentle even vertical strokes. Vigorously brushing or scrubbing will not clean thoroughly
and is likely to damage the carpet in its wet vulnerable state. Start in one corner, brushing up and down, against the pile
with even overlapping movements. Once the carpet is brushed lengthwise, than brush horizontally, or from side to side across the pile,
the same gentle overlapping strokes is best. The Pile should be thoroughly clean by now. Finally, brush gently in the direction of
the pile as the carpet dries, so that the pile is running in the right direction.
Try to apply the cleaning solution sparingly, so that the foundation does not become wet. It is very difficult to dry a carpet thoroughly,
since it is firmly encased in the million of tight little knots. If the carpet is relayed on the floor while it is still damp, the carpet
will probably start to rot and in a few months the base will become extremely brittle.
During the entire cleaning process handle the carpet as carefully as possible, since while it is wet, it is extremely fragile, so it
is very easy to cause damage.

DRYING
Small carpets can be pegged by the kilim and on a clothes line. Large ones are more easily dried on a hard clean surface like concrete
of paving stones. Do not dry on a lawn, since the base will absorb moisture of the grass. If the weather is not cooperating for drying it
outside than let the carpet dry flat in a room with warm air current heating system. While it dries don�t walk on it and don�t place anything on it.
The warp, left and the pile of a completely dried carpet should feel soft and pliable.
Remove the dry dirt and shampoo powder by gently brushing with a soft brush or by using the vacuum cleaner.

THINGS TO AVOID
Washing machines and dryers must never be used for any delicate hand made item. Vibration, water temperature and harsh detergents
will cause irreparable damage. It may even reduce the carpet to shreds. Many people must have seen or heard Eastern weavers washing the
carpets in streams and rivers. This has lead many owners to wrongly believe that a complete soaking is good. This process in fact, is
only used for brand new carpets. They are washed very quickly laid out to dry immediately in the baking sun.
Some firms that advertise themselves as expert carpet cleaners use electric rotary brushes. These machines were designed for use
on machine made carpet and should only be used on such items. Again dry cleaners advertise themselves as carpet cleaners.
These services may be useful for machine made carpets, but an Oriental hand made masterpiece should never be subjected to
the strong chemicals that these firms use. The damage may become apparent only after several months and it may be irreparable.

DEALING WITH SPILLS AND STAINS
Water and dampness are the greatest danger to an Oriental carpet. Water spills are perhaps the most common accident at home.
When this occurs, necessary steps should be immediately taken. Using a white cloth with no coloring, try to absorb as much of
the spilled water as possible. Place some material underneath the carpet and never try to wring it out. A hair dryer, set a moderate heat,
is probably the best implement for drying. Dry the carpet thoroughly from both sides. The pile may be a little when dry.
Gentle ease it back into shape with your fingers. On the other hand, in a busy household, a variety of substances may be
accidently spilled on a rug. Excluding the silk and antique carpets most of these accidents can be tackled at home.
The first step with any substance is the same as with water. Absorb as much as the spill as possible with a clean, white dry cloth.
This simple absorption method, when carried out as quickly as possible, is the greatest contribution to stain prevention.
In dealing with every type of stain, work from top of the stain downward, never from the middle outwards, as this may
cause the stain to spread. Never use hot water or bleach to help remove the stain, and always remember that soft scrubbing
is much more effective than a harsh one.

BENEFIT OF WOOL RUGS

1. AESTHETIC APPEAL
The attractiveness of a wool rug is the very first thing you will notice, with your rug instantly adding a touch of
warmth and luxury to your home.
There is just something so appealing about the look of a 100% wool rug compared with a synthetic one.
2. COMFORT
The feel of your 100% wool rug is another obvious plus. Whether walking, standing, sitting or lying on a wool rug, they provide excellent comfort,
feeling oh-so soft and warm underneath you.
3. HEALTH BENEFITS
Less obvious are the many health benefits that wool rugs provide. Wool is a natural material, which is hygienic and non-allergenic.
It is a great choice for asthma sufferers or those with sensitivities or allergies, because wool rugs are excellent at filtering air
pollutants such as pollen, dust and fungal spores, aiding respiration.
The scales of wool's fibres trap fine dust and dirt in their layers until you vacuum, limiting the amount of particulate floating in the air.
The fibres also deter the growth of bacteria and dust mites, and they do not release harmful gases, unlike many synthetic fibres.
4. NATURAL AIR HUMIDIFIER
Did you know wool is a natural ‘smart' fibre, helping to balance the atmosphere in your home? This means it absorbs humidity and releases
it back into the air when the air is dry.
Because wool fibres soak up the water vapour in the air, they act as a natural air humidifier for your home.
5. ERGONOMIC BENEFITS FOR SAFETY
Another benefit of wool rug is its pile texture; a wool rug provides excellent surface friction,
which assists in maintaining a good grip and posture when you walk.
This is especially helpful for toddlers who are learning to walk, as it supports their balance and coordination.
The extra grip also contributes to accident prevention by helping you avoid slipping on a bare floor.
If you or your kids do have a fall onto a wool rug, it will also help cushion you from injury.
6. FLAME RESISTANCE
Wool fibres are naturally flame-resistant without requiring the addition of fire-retardant chemicals.
Unlike synthetic rugs, which can be extremely dangerous, a wool rug will not melt if it comes into contact with heat.
If wool comes in contact with fire, it is extremely slow to ignite, and even has the ability to self-extinguish smouldering due to its upper pile,
the thick insulating char layer that inhibits fire.
This will give you great peace of mind, particularly when used in your children's rooms.
7. DURABILITY AND ENDURANCE
Your wool rug is a great investment, as its luxurious look will last for years without showing signs of ageing.
The fibres have an intrinsic resilience and are able to withstand heavy foot traffic, thanks to wool's natural crimp,
which enables ‘bounce back'.
Amazingly, wool fibres are able to stretch more than 35% and will still return to their original shape.
This elasticity means that your rug will quickly recover from crushing, indents, pile compression or tracking marks caused by feet or furniture.
8. STAIN RESISTANCE
Compared with synthetic fibres, wool fibres have a 30% higher rate of stain resistance, thanks to the natural light lanolin
coating on the surface of wool fibres which prevents dirt and stains from penetrating deeply.
This means that most soiling remains on the surface and is easy to remove.
9. WATER RESISTANCE
Similarly, water doesn't easily penetrate wool fibres, providing a natural protective barrier.

10. WOOL DYES ARE FADE RESISTANT
The processes used to dye wool ensure the colours are fade resistant.
Unless constantly exposed to direct sunlight, you can expect barely any fading of your beautifully coloured wool rug.
11. ENERGY EFFICIENCY
Wool rugs act as an insulator helping to keep your home warm and contributing to your energy efficiency efforts.
12. NOISE CANCELLATION
Wool rugs absorb sound and muffle echoes and family noise.
13. RESISTANCE TO STATIC ELECTRICITY
Honestly, who likes getting zapped?
14. ENVIRONMENTALLY FRIENDLY FIBRE
Wool is a fully sustainable, renewable fibre. Sheep grow their wool all year around, keeping them warm in the colder months
before the wool is shorn in the summertime.
Shearing is a vital part of caring for the animals, while ensuring a fresh supply of wool for the wool industry each year.

Unlike many synthetic products, wool products are also recyclable. Once your wool rug has served your family for many years,
instead of going to landfill it can be transformed into other products.
Alternatively, wool rugs are also biodegradable in soil, producing nitrogen, sulphur, carbon dioxide, all of which are plant nutrients.
The energy costs of creating wool products are also far lower than for synthetic fibres, greatly reducing the carbon footprint
for producing wool products. All up, it's one of the most environmentally friendly flooring products you can hope to find.