Oriental Rug History
History
The history of the Oriental Rug design is like the flow of a river. It adopts and blends with the many countries and cultures it flows through. Each country of culture gives its own touch, variation in finish, colors, drawing and treatment. Once these differences and uniqueness are noted it is easier to identify a rug according to the country of its origin.
The constant movement of the Nomads from one area to another in search of a new pasture for their cattle brought new cultural influences to other areas. When tribes intermarry they blend and adopt new ideas and designs. For example, some of the earliest designs found in the shawls made in Kashmir are also found in shawls from Kerman. This is due to the fact that India was invaded time and again by the Afghans and Turks. Nadir Shah, who captured Persia from the hand of the Afghans in the 1720's, successfully invaded Afghanistan and India.
He came back to Persia with the "Peacock Throne",wealth of jewel and fine rugs. The Indo-Herati floral design is an example of a design adaptation.
Design
From the antiques of Isfahan, Ardebil, and Mongol carpets, down to the pieces that are manufactured today in India, Iran, Turkey, Pakistan and Romania, the same imagination persists - a flower garden, the open air, life. In antique rugs the field is closely covered and stems, leaves, and tendrils pave the winding paths of multicolored flowers and vines on which the design is formed. The arabesques, panels, corner pieces and figures are all balanced. There is a perfection in detail and composition which adds a special charm to the old rugs. In later years, a medallion was added to the design bringing a centerpiece therefore the repeat pattern became more unusual. Though, centuries have come and gone, many of the classic patterns are still used. The cone, which has become paisley, the rosette and serrated leaves of the Herati pattern, the growing vine, the rose, carnation, lily, peony, the star like Henna blossoms, the palmette, the pomegranate, the shah abbas and the Minakhani patterns, the turtle, the Chinese knot of destiny with birds, trees and animals are all still used.
Learn about the different symbols used in the making of oriental rugs.....see bottom of this page or click here.
Rug Producing Countries
The transition from simple lines to geometric to floral of Safavid 15th century design was a gradual shift. No one knows
exactly when or where this change occurred. The 15th and 16th centuries in Iran were the golden age of the Persian carpets. In India there are travelers
reports of carpet weaving industries in Calicut in the 15th century. A Portuguese trader, Barbosa, wrote in 1518 about the heavy carpets inn Cambay Gujarat. Some of the finest carpets were made from 1580 to 1650, with 2500 knots per square inch, in Kashmir, Agra and Lahore.
The major rug producing countries are Iran, Turkey, Caucasus, Afghanistan, India, Pakistan, Romania and China. The two types of knots are Turkish knot and the Persian or Senna knot. Both types are used in Iran and Turkey.
Types of Rugs
There are three types of rugs: Geometric patterns from Turkoman, floral patterns from Persian and carved pattern from China.
Types of Weave
The earliest form of weave is the dimensional flat weave, where horizontal threads are passed over and under vertical threads. This kind of weaving can be traced back to ancient Egyptian times, before pile weaving began. There are four types of flat weave rugs: Kilim, Dhurry, Sumakh and Aubusson.
The history of the Oriental Rug design is like the flow of a river. It adopts and blends with the many countries and cultures it flows through. Each country of culture gives its own touch, variation in finish, colors, drawing and treatment. Once these differences and uniqueness are noted it is easier to identify a rug according to the country of its origin.
The constant movement of the Nomads from one area to another in search of a new pasture for their cattle brought new cultural influences to other areas. When tribes intermarry they blend and adopt new ideas and designs. For example, some of the earliest designs found in the shawls made in Kashmir are also found in shawls from Kerman. This is due to the fact that India was invaded time and again by the Afghans and Turks. Nadir Shah, who captured Persia from the hand of the Afghans in the 1720's, successfully invaded Afghanistan and India.
He came back to Persia with the "Peacock Throne",wealth of jewel and fine rugs. The Indo-Herati floral design is an example of a design adaptation.
Design
From the antiques of Isfahan, Ardebil, and Mongol carpets, down to the pieces that are manufactured today in India, Iran, Turkey, Pakistan and Romania, the same imagination persists - a flower garden, the open air, life. In antique rugs the field is closely covered and stems, leaves, and tendrils pave the winding paths of multicolored flowers and vines on which the design is formed. The arabesques, panels, corner pieces and figures are all balanced. There is a perfection in detail and composition which adds a special charm to the old rugs. In later years, a medallion was added to the design bringing a centerpiece therefore the repeat pattern became more unusual. Though, centuries have come and gone, many of the classic patterns are still used. The cone, which has become paisley, the rosette and serrated leaves of the Herati pattern, the growing vine, the rose, carnation, lily, peony, the star like Henna blossoms, the palmette, the pomegranate, the shah abbas and the Minakhani patterns, the turtle, the Chinese knot of destiny with birds, trees and animals are all still used.
Learn about the different symbols used in the making of oriental rugs.....see bottom of this page or click here.
Rug Producing Countries
The transition from simple lines to geometric to floral of Safavid 15th century design was a gradual shift. No one knows
exactly when or where this change occurred. The 15th and 16th centuries in Iran were the golden age of the Persian carpets. In India there are travelers
reports of carpet weaving industries in Calicut in the 15th century. A Portuguese trader, Barbosa, wrote in 1518 about the heavy carpets inn Cambay Gujarat. Some of the finest carpets were made from 1580 to 1650, with 2500 knots per square inch, in Kashmir, Agra and Lahore.
The major rug producing countries are Iran, Turkey, Caucasus, Afghanistan, India, Pakistan, Romania and China. The two types of knots are Turkish knot and the Persian or Senna knot. Both types are used in Iran and Turkey.
Types of Rugs
There are three types of rugs: Geometric patterns from Turkoman, floral patterns from Persian and carved pattern from China.
Types of Weave
The earliest form of weave is the dimensional flat weave, where horizontal threads are passed over and under vertical threads. This kind of weaving can be traced back to ancient Egyptian times, before pile weaving began. There are four types of flat weave rugs: Kilim, Dhurry, Sumakh and Aubusson.
- Kilim
The Kilim uses the same type of dye and the same patterns in certain areas. The peculiar characteristics of kilims is due to the primitive form of weaving. The weft wool threads are twisted very firm to give the look of linen. The weft threads do not go beyond the particular figure in the pattern and once it is finished perfectly the rug is exactly the same on both sides. Do to the method of weaving, the design is geometric. The meaning of the word Kilim is "double faced", they are reversible. Persian Kilim is called Gileem and comes in a few different types but the finest of these are the Sehna. - Dhurry
The Dhurry is a flat weave rug made in India and in Afghanistan. Old Dhurries are made of cotton and are tightly woven. These rugs were used in wedding ceremonies and other important occasions. Flat weave was essentially the art. At some point there were rules and regulation concerning the quality of the products were established. The best rugs were made by a limited group which included members of the local authority and other influential people.
New Durries are made from both cotton and wool. The best ones have five or six ply wool yarn twisted together to make the weft threads. The tighter the weave is, the longer the rug lasts. The lowest quality Dhurries are used as bed covers and underlay for fine rugs. These types of weaves have also been seen in American Indian rugs from Peru.
Sumakh
Sumakhs are flat weaves with design on one side, with loose ends at the back. Sumakhs are hand make pileless carpets from the Caucasus, around the Caspian sea. The design of the Sumakh is like any other rug from the Caucasus, geometric and ornate. The ground is covered with geometric shapes running lengthwese with the occasional star or diamond which, is the knot of destiny. There are many beautiful finished weaves made for tents, bags and saddle bags in this area. The women of the tribes placed a high value on design improvement by filling the spaces with small designs without loosing the overall stability of the main design.
The closest technique of weaving is found in the Kashmir shawls where the two dimensional fabric is made with the design on one side, leaving the loose threads inside. Because of its similarity in technique and fineness, Sumakhs were also called Kashmir. A long needle with a hook is used to insert the different threads between the warp and weft.
- Aubusson
Aubusson is woven in France using the Kilim or slit-tapestry technique. The term is also used to refer to the familiar design of these rugs, which generally feature a floral medallion worked in pastel shades. First flat-weave Aubussons appeared in about 1768. In making the Aubusson, the weaver pulls the colored yarns of weft through neutral-colored warp threads that will make a smooth-surfaced fabric that runs the width of the finished rug. The resulting weave is like the weave employed for tapestries, but heavier and thicker. - Types of Dyes
Types of Fibers
There are three types of fibers used: cotton, wool and silk. The warp and weft are cotton as it is used for the backing of the rugs due to the fact that otton shrinks evenly when it is washed. The pile in most of the rugs is wool. In the finest carpets silk is used and occasionally metallic threads are used to brocade.
Oriental Rugs as Art
The manuscript painters were a great source for carpet designs. The tulip design which originated in Turkey evolved from the calligraphers's brush to ceramic forms, into carpets. The collaboration between the Islamic architects and designers and weavers is quite evident. Variety as well as, repetition is the theme in this art form. Compared to the modern artists, the ancient art of rug weaving was mostly anonymous by artists who left the rugs unsigned. Sometimes pieces are signed like the Ardebil Mosque rug signed by Maqsood of Kashan, as a prayer of art dedicated to god and to the Mosque.
Oushak rugs of 15th century Turkey are used in paintings of Lorenzo Lotto and Hans Holbein. From several documentary sources we know that Turkish and Persian rugs were used as table covers, wall hangings, trappings for horses and carriages, alters, pulpit and communion table decorations. They also were used in marriages and funeral rituals. Hungary and Transylvania were influenced by the Ottoman.- Types of Dyes
Some more
- Historical Importance of the Persian or Oriental Rug
In the 17th Century, during India's Mugal Era, master carpet weavers created elegant rugs depicting realistic expressions of scrolling vines and flowers, the favorite Persian design of the day. Using hand-spun wool and vegetable
dyes, these rugs were finely constructed and hand-knotted. The artistic expression and mastery perfected and elevated the art form to world-renowned status.In their locations of origin, carpets were historically considered as symbols of wealth, prestige and even spiritual power.
Here are some interesting examples:
- Carpets appearing in portraits of early Persian merchants demonstrated their success and illustrated that, as a representative of trade, the individual had functioned as a deputy - one upon whose threshold foreign legions were
permitted to kiss and pay homage to the "throne" carpets.
In provincial capitals, carpets symbolized the presence of the ruler.They were extra-territorial, and the special protection of the owner was bestowed on refugees who succeeded in reaching the carpet's edge.
- In religious paintings, carpets and other furnishings of splendor were used to make the unusual spiritual significance of the space obvious to the viewer.
In the "Zafar Name" an excerpt describes Timur's imperial carpet stating that, in his absence, the carpet had fun
The Oriental Rug Today
The last twenty years have seen a remarkable revival in interest in the Oriental Rug - both the antique, and the new recreations. Much of this enthusiasm has been generated by the acceptance of Oriental carpets as works of art as they express the creativity of indigenous peoples from fascinating and colorful cultures.
Today, master weavers continue to recreate these beautiful 18th and 19th century rugs, employing the same techniques used over the centuries and recreating museum -quality masterpieces in colors such as burgundy, gold and blue. They are truly the most popular, and in-demand rugs of today.
During the past five years, the authentic handmade Oriental carpet had gained a dynamic new image in the American floor-covering market. Casting off its traditional mystique of exclusively bought at prohibitive cost, the emerging products speak the designer's language more beautifully and fluent than ever before - contemporary colors, striking new designs, and affordable pricing all combine to make an investment in an Oriental rug even more attractive. For today's fine home or office, the historical images and unique beauty of an oriental rug provide limitless possibilities for design, and color to enhance personal surroundings. Part of the pleasure of owning is in knowing that the acquisition is virtually a one-of-a-kind work of art.
Trends - Fashion & Design Industries Drive the Process
Once, the traditional Persian carpet model with it's dark colors, medallion center, limited palette and complex design was the only vision one had of an "Oriental" carpet. Now, carpets are being custom made to exclusively meet American designer
standards for design and color. From India, Pakistan, Afghanistan, China, Romania, Turkey and Nepal, new production has been revived, and improved. The looms are now managed to make the industry more sensitive to the fashionable colors of today, in answer to the American designer's desire to adopt the use of pattern, and ornamentation in their creation of rich, visual interior experiences.
Modern Oriental carpet importers have greatly increased their commitment to the American designer, bringing in a variety of designs, colors and sizes to market and taking cues for collocation from the fashion and home furnishings industry. The somber, brooding tones that were so popular during the first half of the century are being complemented by pastels and primary colors.
Saturated colors such as midnight blue, forest green, burgundy and even black are also appearing in the rugs coming from India, Pakistan, Nepal and Tibet.
The industry responds with affordability and the near-perfect accessory
The Oriental carpet industry is recognizing the shift in the market toward not only more choices, but quality and value. There is a segment of the market that is very price-sensitive and there are attractive options for this group in the Oriental rug market. At the same time, there is increasing demand for higher quality and wider choice of color and designs where price is not the most important factor.
For the designer, the Oriental carpet can be one of the most cost effective items in a furnishing schedule because it can make a strong statement. Some interior designers are selecting carpets with a neutral or uniform color palette, while others prefer a statement with more individual impact. Because of their versatility, Oriental carpets are being specified for installations where the need is for unique colors and patterns to either blend with or stand alone in contrast to more monochromatic surroundings.
Designers are also discovering that due to improvements in modern weaving methods, unit prices are down, making a fine carpet accessible to a much broader market than ever before. In residential and contract interiors, quality and long term value are on the minds of corporate and residential clients alike. As a result, one of the most important aspects of buying an Oriental carpet for a client is knowing your resource and feeling comfortable with the value of the investment being made.
What's "Hot"
The "Amritsar " rug takes its name from a small town that is located roughly 20 miles from the Indo-Pakistan border. It is an area that has produced some of the most collectable and desirable rugs of all time. Their distinctive designs appear as early as the 18th century paintings of Lorenzo Lotto; they are mentioned as part of the booty of the Polish King, John III Sobieski, and they are found in the Savonnerie motifs in the 17th Century. In the 19th Century, the traditional deep indigo color gave way to more subtle earth tones of coral, ivory, gray and olive/sage green. Frequently used as coverings for the floors of mosques, these large rugs also lent themselves to the export trade. Strictly Amritsar have a double weft cotton foundation and are generally piled with good quality wool.
The first distinctive designs from this center were an elaboration of the outlines of octagons and other shapes. These were eventually turned into a fascinating patter of yellow Arabesques in a single unbroken line over the whole field, covering it with lozenge shapes, criss-cross patterns, etc. The rugs on display in the show room represent some of the finest
collections of this type of Persian carpets.
Facts - The Fine Art of Quality Oriental Rug Construction
Durability and beauty are inextricably linked in the authentic hand-make Oriental carpet.
The unique construction of these weavings is such that forces on tension and compression are used to strengthen the carpet's structure.Taut, Pro-tensioned warp threads of strong, twisted wool or cotton yarn are strung on the looms before weaving begins. These warps are then wrapped by the weaver using hundreds of thousands of hand looped knots of color wool. Each one of these knots, which forms the pile of the carpet, is itself pulled in tension white it compresses the two adjacent warps, around which it is tightly wrapped.
