DOCSLIB.ORG

Identification Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Identification Manual ORIENTAL & FINE AREA RUG CLEANING IDENTIFICATION MANUAL “TRY NOT TO BECOME A MAN OF SUCCESS, BUT RATHER A MAN OF VALUE.” – ALBERT EINSTEIN RUG TYPES AND CONSTRUCTION The construction of any hand-woven or machine-woven rug begins with the interlacing of warp (vertical) and weft (horizontal) yarns, which are known as the foundation. This creates the basic structure of the rug, to which the pile yarns may be added with hand knotting or mechanical insertion. Foundation yarns used in rugs are: wool, silk, cotton, jute, polyester and polypropylene. Foundation yarns include: Warp – cotton, wool, silk, linen, polyester, slit-film polypropylene. Weft – cotton, wool, silk, jute, spun polypropylene. Stuffer – cotton (one or several). Differences between Hand-Made and Machine-Made Rugs Items to Inspect: Machine Made: Hand Made: Warp Yarns Warps visible on the back Knots visible, pattern distinct Weft Yarns Double “shots” if Gripper Visible on back, single and Axminster double weft End Finish Fringe sewn or stitched on Extension of warp yarns unless repaired Edge Finish Edges are machine serged or Edges hand sewn or stitched “overcast” WARPS NAP OR PILE KNOTS (SHOWN IS THE EDGE WEFT ASSYMETRIC BINDING “PERSIAN” OR “SENNEH” KNOT KNOW) WARP WEFTS KILIM END FINISH OVERCASTING OR KILIM KILIM FRINGE 1 Basic Rug ID Chart: Hand Woven: Hand Knotted Iran, India, Pakistan, Oriental China,Tibet, Nepal, Visible Weft Turkey, Afghanistan, Overcast by Hand Africa, Spain Fringe Extension of Warp Pattern on Back is Distinct Flat Weave Not Perfectly Symmetrical Dhurrie, Kelim, Soumak, Navajo, Zabotec, Chimayo, Inca, Aubusson Wilton Machine Woven: Wire Wilton Visible Warp Yarns Axminster Overcast by Machine Fringe Sewn or Stitched Face to Face Wilton Back Pattern Not as Distict Velvet Weave Perfect? (Spanish Wilton) Spool Axminster Hand Tufted: High Value Gripper Axminster Cloth Backing with pile yarns inserted through Inexpensive cloth, latex adhesive, scrim Tai Ping China, (secondary backing) Thailand, Singapore Lacey Champion Machine Tufted: Plain Georgia, Edward Carpet that has been Fields bound and made into a Graphics Tufted rug; Synthetic primary and secondary backing. natural and Synthetic Pottery Barn – India fibers Printed Hand Made or Stitched Needlepoint, Chain-stitch, Hand Hooked Other Types Flokati, Rag Rug, Braided, Tapestry 2 2 Hand Woven Flat-Weaves Examples of Flat Weaves – A hand woven rug without pile. Dhurrie (Dhurry) – A plain or flat weave twill tapestry or rug made of cotton or wool usually produced in India. They are identical on both sides. The wool is usually coarse. Dhurries are made in many colors. Indian Kelim Flat Weave 1 Kelim (Kilim) – A weft-faced plain flat weave, primarily from the mid-east, in which the design is rendered by means of colored areas of discontinuous ground wefts. Looks the same on both sides but is distinguished by the slits between the colors. Pakistani Kelim Flat Weave 1 Soumak (soumac, sumak) – A flat weave in which the wefts encircle groups of warps, usually horizontally, though it may be vertical with loops staggered across the warps. Soumaks are common in weaves of the near east and central Asia. Old Soumaks aren’t reversible, however other countries have started producing Soumaks that are. (A key trait to real old Soumaks are the dangling yarns on the backside newer Soumaks are reversible.) Backside of old non-reversible Soumak Flat Weave 1 3 Navajo Rug – Rugs made by American Indian tribes, who were influenced by early Spanish settlers, and who live in the southwestern United States (Arizona and New Mexico). The rugs are woven in natural colored wool, without touches of white, black, red, blue and yellow in geometric designs that symbolize Indian patterns. Most Navajo rugs are continuous warp with no fringe. Fringeless Navajo Flat Weave 1 Mexican Flat Weave (Chimayo and Zabotec) Archaeologists believe the area of the Valley of Oaxaca was settled more than 2,500 years ago, however records didn’t tell very much about pre-Hispanic textile production. They used a technique common to Native American groups throughout the Americas. Mexican rugs are often mistaken for Navajos. Unlike Navajos, they have fringe. Mexican Flat Weave 1 Morocco – Moroccan rugs may have brightly colored stitching and are notorious bleeders. Peruvian – Often times these rugs are woven with alpaca fur and resemble Navajo chief blankets and serapes. Hand Knotted Moroccan Flat Weave 1 4 4 Oriental or Hand Knotted (hand woven with pile) Oriental is an indefinite term originally applied to hand-knotted pile rugs woven in the near east and Asia. Today, the term includes all hand knotted pile weaves regardless of country of origin. Oriental-design rugs made by machine or any method other than hand-knotting or hand-weaving are not considered true oriental rugs. Thus, it is critical when estimating the value of a rug to identify if it is hand-knotted or machine made. Nomadic Tribal Rugs – These rugs are woven by nomadic or now settled tribes of people who are essentially living in portable housing. They tend to be limited in color and design and are much smaller in scale. Wool is the most common material used with horsehair or camel hair occasionally used for edge and end finishes. Silk is used sometimes and can tell us if it’s a Baluch or Turkoman rug. Antique Hamadan Tribal Rug 1 Village Rugs – These rugs are normally woven on vertical looms without cartoons (patterns) as guides. The designs are more geometric and less sophisticated, for example, the Hamadan Rug. Village Rug 1 City Rugs – Usually intricately designed and woven rugs in commercial establishments by skilled craftspeople. These rugs go through various stages: spinning, dyeing, designing, weaving, finishing etc. These rugs are usually wool on a cotton foundation (warp and wefts): Sarouk and Kirman. Large Persian City Rug 1 5 Prayer Rugs – These rugs are usually 2-4 feet wide and 4-8 feet long featuring a prayer niche (mihrab) in the field design. Classic Mihrab Symbol for Prayer Rugs 1 Oriental rugs are valuable because of their intricate designs and the length of time it takes to make them. The value depends on the material used and on the size and closeness of the weave or KPI (knots per square inch) because tightly woven rugs require the most time and are the most durable. Age, condition and color all contribute to the value of a rug. Several Traits to look for when identifying a real ‘Oriental’ rug: 1. An Oriental rug is not perfect (imperfections make it unique) like a mass produced rug. 2. The size and shape of an Oriental may not be exact (one end wider than the other, edges misshapen) or symmetrical. Hand looms make it difficult to create perfect shapes. 3. Striations in color (abrash) and other discolorations (fading, pattern variation) may also be present. 4. The rug has one or more side cords. 5. The fringe on one end is different than the other. 6. The weft yarns are colored (other than naturally colored wool or white cotton). How Oriental rugs get their names: 1. Country of Origin: China, Pakistan, Tibet. 2. Region: South Persia, Caucasus Mountains. 3. Trading Center: Shiraz, Hamadan. 4. City or Village of Origin: Kirman, Sarouk, Tabriz. 5. Tribe: Baluch, Turkoman, Shiraz. 6. Structure: Kelim, Soumak, Dhurrie. 7. Use: Salt bag, Trapping, Bag Face. 6 6 Types of Oriental Rugs Here are some examples of some rugs you will come across in no particular order, they include but are not limited to: 1. Persian – Pile rugs made in Iran (formerly Persia). The most beautiful of the hand-knotted rugs, their patterns feature flowers, leaves and birds. Some Persian rugs feature animal combat scenes. Persian rugs have soft, blended colors. True Persian (Iran) Floral Medallion 1 2. (East) Indian – These rugs resemble Persian rugs in color and pattern. Contemporary Indian rugs copy Chinese, Persian, Turkoman, and Aubusson designs. They are woven with asymmetrical knots on a cotton foundation with double weft yarns. Many of the designs feature plants and animals. 3. Chinese – Rugs that have designs that feature philosophical and religious symbols of the Western Pacific region (China). The designs are woven into the backgrounds originally of blue, red, and yellow. Time may have changed the reds to lighter colors in older rugs. Chinese Hand Knotted 1 7 4. Pakistan – Rugs of Pakistan are woven on a cotton foundation with an asymmetrical knot. The cheapest grades may have jute wefts. The Bokhara pattern, copied from an old Turkoman tribal design was the first rug made Pakistani. A new popular design is the Peshawar. Many of these rugs are tea washed. Pakistani Peshawar Chemical Washed Rug 1 Afhan gul Design 1 5. Afghanistan – A trade term for certain Turkoman rugs of the Afghan region. These rugs are coarsely woven with a ‘gul’ design (a motif of octagonal and angular shapes usually repeated to form an overall pattern in the field). Beware, they bleed with the slightest moisture. Afghan war rugs are quite common as well. 6. Tibetan – Rugs made in Tibet (inner Asia) which is bordered by Nepal, India, and China. These rugs are made with a distinctive weft wrapping technique. The result is a pile that suggests overlapping shingles or visible rows. Contemporary rugs are often sculpted once they have left the loom. 7. Caucasian – Rugs from the Caucasus Mountains between Europe and Asia. These rugs have geometric designs woven in bold reds, blues, yellows and other Tibetan Weft Wrapped Rug 1 colors. 8 8 8. Turkish – Rugs known for their rectangular patterns and their floral designs arranged in rows. Most of these rugs have large areas of solid colors, wool foundations, and harsh/ odd color combinations and double side cords.
Load more

Recommended publications
  • The Power of Color: Anatolian Kilims Sumru Belger Krody Senior Curator, George Washington University Museum and the Textile Museum
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2016 The oP wer of Color: Anatolian Kilims Sumru Belger Krody George Washington University Museum and The Textile Museum Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Krody, Sumru Belger, "The oP wer of Color: Anatolian Kilims" (2016). Textile Society of America Symposium Proceedings. 973. http://digitalcommons.unl.edu/tsaconf/973 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Crosscurrents: Land, Labor, and the Port. Textile Society of America’s 15th Biennial Symposium. Savannah, GA, October 19-23, 2016. 287 The Power of Color: Anatolian Kilims Sumru Belger Krody Senior Curator, George Washington University Museum and The Textile Museum The kilims of Anatolia are great contemplative and minimalist works of art as stated by a kilim enthusiast.1 Created by women who had a magnificent eye for design and an awesome sense of color, these textiles are prized for the purity and harmony of their color, the integrity of their powerful overall design, their masterfully controlled weave structure, and their fine texture. The kilims are large tapestry-woven textiles. The visually stunning and colorful Anatolian kilims communicate the aesthetic choices of the village and nomadic women who created them.
    [Show full text]
  • MARRAKECH Di N Guide
    Maria Wittendorff Din guide til MARRAKECH muusmann FORLAG Maria Wittendorff Din guide til MARRAKECH muusmann FORLAG INDHOLD 57 Musée Tiskiwin 97 Dar Bellarj 7 Forord 138 Restauranter & cafeer – Museum Bert Flint 98 Dar Moulay Ali 59 Heritage Museum 99 Comptoir des Mines 140 Det marokkanske køkken 62 Maison de la Photographie 100 Festivaler 8 En lang historie kort 64 Musée de Mouassine 102 David Bloch Gallery 143 Gueliz 65 Musée Boucharouite 102 Galerie 127 143 Grand Café de la Poste 12 Historiske 67 Musée de la Femme 103 Musée Mathaf Farid Belkahia 144 La Trattoria seværdigheder 68 Musée des Parfums 104 Maison Denise Masson 145 +61 70 Aman – Musée Mohammed VI 105 La Qoubba Galerie d’Art 146 Gaïa 14 El Koutoubia 71 Observatoire Astronomie 106 Street art 146 Amandine 16 Almoravide-kuplen – Atlas Golf 147 Le Loft 17 Bymur & byporte 147 Le 68 Bar à Vin 19 Jamaa el-Fna 148 Barometre 108 Riads & hoteller 22 Gnawa 149 L’Annexe 72 Haver & parker 24 De saadiske grave 110 Riad Z 150 Le Petit Cornichon 26 Arkitektur 74 Jardin Majorelle 111 Zwin Zwin Boutique Hotel & Spa 150 L’Ibzar 32 El Badi 77 Jardin Secret 112 Riad Palais des Princesses 151 Amal 35 Medersa Ben Youssef 79 Den islamiske have 113 Riad El Walaa 152 Café Les Négociants 37 El Bahia 80 Jardin Menara 113 Dar Annika 153 Al Fassia 39 Dar El Bacha 82 Jardin Agdal 114 Riad Houma 153 Patron de la Mer – Musée des Confluences 83 Anima Garden 114 Palais Riad Lamrani 154 Moncho’s House Café 41 Garverierne 84 Cyber Park 115 Riad Spa Azzouz 154 Le Warner 42 Mellah 85 Jardin des Arts 116 La Maison
    [Show full text]
  • Oriental Rug Knotting & Construction
    Oriental Rug Knotting & Construction Knotted, Tufted and Flat-Woven Rugs; Knot Types and Density Anatomy of A Hand Knotted Rug A. WARP - The parallel threads running through the entire length of the rug onto which the knots are tied. B. WEFT - The threads running across the width of the rug inserted between all the rows of knots. These threads pass through alternate warp threads. Their job is to secure the knots in parallel lines and to strengthen the fabric. C. KNOT - The term used for a strand of wool yarn which is looped around two adjacent warp threads and then cut to form the pile (surface of carpet). D. OVERCASTING - A simple wrapping of dyed yarn along the entire length of both sides of a handmade rug. E. FRINGE - The visible continuation of the warp threads at both ends of the carpet. F. KILIM - The pileless web of warp and weft between the rug's pile and the knotted fringe. This is also the name for a rug without pile. Types of Oriental Rug Construction Who Uses Which Knot? Line of division (dotted line): distinguishing Turkish Knot (west of line) and Persian Knot areas (east). PERSIAN KNOT WITH ALL OF THE WARP THREADS ON ONE LEVEL TURKISH KNOT WITH ALL OF THE WARP THREADS ON ONE LEVEL PERSIAN KNOT WITH THE WARP THREADS ON TWO DIFFERENT LEVELS OPEN BACK & CLOSED BACK OPEN BACK CLOSED Different methods for finishing the undersides of rugs BACK The FULL LOOP part of the In the CLOSED BACK KNOT is on the UPPER KNOT the FULL LOOP is warp thread on the LOWER warp thread .
    [Show full text]
  • The Bayeux Tapestry
    The Bayeux Tapestry The Bayeux Tapestry A Critically Annotated Bibliography John F. Szabo Nicholas E. Kuefler ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by John F. Szabo and Nicholas E. Kuefler All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Szabo, John F., 1968– The Bayeux Tapestry : a critically annotated bibliography / John F. Szabo, Nicholas E. Kuefler. pages cm Includes bibliographical references and index. ISBN 978-1-4422-5155-7 (cloth : alk. paper) – ISBN 978-1-4422-5156-4 (ebook) 1. Bayeux tapestry–Bibliography. 2. Great Britain–History–William I, 1066–1087– Bibliography. 3. Hastings, Battle of, England, 1066, in art–Bibliography. I. Kuefler, Nicholas E. II. Title. Z7914.T3S93 2015 [NK3049.B3] 016.74644’204330942–dc23 2015005537 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
    [Show full text]
  • Nigel Lendon, a Tournament of Shadows: Alighiero Boetti, the Myth of Influence, and a Contemporary Orientalism
    Nigel Lendon, A tournament of shadows: Alighiero Boetti, the myth of influence, and a contemporary orientalism NIGEL LENDON A tournament of shadows: Alighiero Boetti, the myth of influence, and a contemporary orientalism ABSTRACT This paper examines the evolution of the historical and theoretical literature that has developed about the work of the avant-garde Italian artist Alighiero Boetti produced in Afghanistan from 1971 until 1994. Characterised by a set of interrelated cultural and historical fictions, I propose that this collective narrative has evolved to constitute a contemporary orientalist mythology. This is particularly evident in the literature following his death in 1994, and most recently in anticipation of his retrospective exhibitions in the Museo Reina Sofia, Tate Modern, and the Museum of Modern Art in 2011–12. Prior to his death, the literature on Boetti primarily took the form of catalogue essays, journal articles and biographies. These drew heavily on a small number of interviews conducted with the artist, plus accounts and memoirs given by his wives, partners, and curatorial collaborators. Since his death, the literature has further proliferated, and today a greater emphasis is placed on a growing number of secondary authorities. Recent monographs, catalogue essays, and auction house texts draw heavily on the anecdotal accounts of his agents and facilitators, as well as his employees and archivists. In exploring what I describe as the mythologies informing the contemporary reception of his work, I examine the claims of his influence over the distinctive indigenous genre of Afghan narrative carpets which were produced both within Afghanistan as well as by diasporic Afghans in Iran and Pakistan in the years following the 1979 Soviet invasion until the present.
    [Show full text]
  • Treasures from Near Eastern Looms
    The Bowdoin College Library Treasures from Near Eastern Looms ERNEST H. ROBERTS BRUNSWICK, MAINE 1981 Bowdoin College Museum of Art Brunswick, Maine September 11, 1981 to November 22, 1981 The Textile Museum Washington, District of Columbia December 11, 1981 to February 6, 1982 Cover: Carpel Fnn>incni, Caucasian, Dagistan area, ca. 1850 Photographs by Robert H. Stillwell Design by Michael W. Mahan Printed byJ.S. McCarthy Co., Inc., Augusta, Maine Copyright © 1981 by Ernest H. Roberts Library of Congress Catalog Card Number: 81-68474 ISBN: 0-916606-02-3 Portions of this catalogue are reprinted in altered form from other publications. We are indebted to the following institutions for per- mission to use their material: to the Allen Memorial Art Museum, Oberlin, Ohio, for the chapter introductions and descriptions of plates 12, 19, 24, 28, 63, and 65, which appeared in "Catalogue of Islamic Carpets," Allen An Museum Bulletin 3 (1978-1979) by Ernest H. Roberts; to The Textile Museum, Washington, D.C., for glossary entries and drawings from "Definitions and Explana- tions," a section of Early Caucasian Ru^s by Charles Grant Ellis, published by that museum in 1975, and for the loan of the map which appears on page 61 of this book; to the Joslyn Art Museum, Omaha, Nebraska, for descriptions of plates 28, 35, 44, 57, and 67 from A Rich Inheritance: Oriental Ruj^s oj 19th and Early 20th Centuries, published by that museum in 1974; and to the Near Eastern Art Research Center, Inc., for the description of plate 68 from Islamic Carpets by Joseph V.
    [Show full text]
  • Islamic Domes of Crossed-Arches: Origin, Geometry and Structural Behavior
    Islamic domes of crossed-arches: Origin, geometry and structural behavior P. Fuentes and S. Huerta Polytechnic University of Madrid, Spain ABSTRACT: Crossed-arch domes are one of the earliest types of ribbed vaults. In them the ribs are intertwined forming polygons. The earliest known vaults of this type are found in the Great Mosque of Córdoba in Spain built in the mid 10th century, though the type appeared later in places as far as Armenia or Persia. This has generated a debate on their possible origin; a historical outline is given and the different hypotheses are discussed. Geometry is a fundamental part and the different patterns are examined. Though geometry has been thoroughly studied in Hispanic-Muslim decoration, the geometry of domes has very rarely been considered. The geometrical patterns in plan will be examined and afterwards, the geometric problems of passing from the plan to the three-dimensional space will be considered. Finally, a discussion about the possible structural behaviour of these domes is sketched. Crossed-arch domes are a singular type of ribbed vaults. Their characteristic feature is that the ribs that form the vault are intertwined, forming polygons or stars, leaving an empty space in the centre. The fact that the earliest known vaults of this type are found in the Great Mosque of Córdoba, built in the mid 10th century, has generated a debate on their possible origin. The thesis that appears to have most support is that of the eastern origin. This article describes the different hypothesis, to then proceed with a discussion of the geometry.
    [Show full text]
  • Made in Afghanistan: Rugs and Resistance, 1979-2005
    University of Calgary PRISM: University of Calgary's Digital Repository Libraries & Cultural Resources Libraries & Cultural Resources Research & Publications 2006-02 Made in Afghanistan: Rugs and Resistance, 1979-2005 Hardy, Michele; Fyke, Robert The Nickle Arts Museum http://hdl.handle.net/1880/48154 Other http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca the nickle arts museum Made in Afghanistan: Rugs and Resistance, 1979·2005 Made in Afghanistan: Rugs and Resistance, 1979-2005 is an exhibition of rugs that offers insight into the recent political history of Afghanistan. Traditionally, the pile woven carpets made by Afghan tribal groups included symbols more often associated with life and faith than death and war. However, beginning with the Soviet Invasion of 1979, weavers have incorporated imagery that is at once disturbing and defiant. The events surrounding the period of Taliban rule and American Occupation have, similarly, provided fodder for woven imaginations. This exhibition, co-curated by Michele Hardy and Robert Fyke, features carpets from a number of private collections as well as the Jean and Marie Erikson Collection, all brought together for the first time in Canada. The earliest rugs to be called "war rugs" appeared following the Soviet invasion of Afghanistan in 1979. According to the often speculative literature on the subject, war carpets are thought to have originated near Herat in northwest Afghanistan. Likely they were woven by members of tribal groups with long traditions of carpet weaving. Many war rugs are attributed to the Baluch, for example, an ethnically diverse nomadic group who occupy a vast region on either side of the Afghan-Iran border.
    [Show full text]
  • History of Azerbaijan (Textbook)
    DILGAM ISMAILOV HISTORY OF AZERBAIJAN (TEXTBOOK) Azerbaijan Architecture and Construction University Methodological Council of the meeting dated July 7, 2017, was published at the direction of № 6 BAKU - 2017 Dilgam Yunis Ismailov. History of Azerbaijan, AzMİU NPM, Baku, 2017, p.p.352 Referents: Anar Jamal Iskenderov Konul Ramiq Aliyeva All rights reserved. No part of this book may be reproduced or transmitted in any form by any means. Electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without permission in writing from the copyright owner. In Azerbaijan University of Architecture and Construction, the book “History of Azerbaijan” is written on the basis of a syllabus covering all topics of the subject. Author paid special attention to the current events when analyzing the different periods of Azerbaijan. This book can be used by other high schools that also teach “History of Azerbaijan” in English to bachelor students, master students, teachers, as well as to the independent learners of our country’s history. 2 © Dilgam Ismailov, 2017 TABLE OF CONTENTS Foreword…………………………………….……… 9 I Theme. Introduction to the history of Azerbaijan 10 II Theme: The Primitive Society in Azerbaijan…. 18 1.The Initial Residential Dwellings……….............… 18 2.The Stone Age in Azerbaijan……………………… 19 3.The Copper, Bronze and Iron Ages in Azerbaijan… 23 4.The Collapse of the Primitive Communal System in Azerbaijan………………………………………….... 28 III Theme: The Ancient and Early States in Azer- baijan. The Atropatena and Albanian Kingdoms.. 30 1.The First Tribal Alliances and Initial Public Institutions in Azerbaijan……………………………. 30 2.The Kingdom of Manna…………………………… 34 3.The Atropatena and Albanian Kingdoms………….
    [Show full text]
  • Rug Buying Guide Find the Perfect Rug for Any Space
    Rug Buying Guide Find the perfect rug for any space. Learn more about rug construction, sizes, material, style, and care. The right rug can do more than just help define a space. It can protect your floors from wear and tear while adding to a visually appealing aesthetic with its colors and patterns. However, purchasing a rug is no easy task. You must consider your lifestyle, placement of the rug, design of the rug, and what you will need from a rug. We’ve compiled the ultimate guide to help you find the exact rug that will fulfill the needs of your space. Rug Weaves The weave of a rug can determine the feel, look, and durability overtime. Although rugs can now be made more efficiently, there are still many craftsmen who tediously weave rugs by hand. Hand-Knotted Hand-knotted rugs are very labor intensive with lasting results. They are very durable and can last for over 20 years with minimal shedding. The most common fiber used is wool. Because hand-knotted rugs are very labor intensive to create, they can take on average 5-7 months to be completed, sometimes even longer. The time and labor put into creating a hand-knotted rug does make it considerably pricier than other. Weavers will begin by hand tying knots onto warps before tying tufts of wool around the warp creating knots. The end of knots create the pile. Wefts are then threaded through in order to tighten the knots. This creates the foundation of the rug. The more knots per inch, the more intricate the pattern, and usually the more durable the knots will be.
    [Show full text]
  • Azerbaijan Investment Guide 2015
    PERSPECTIVE SPORTS CULTURE & TOURISM ICT ENERGY FINANCE CONSTRUCTION GUIDE Contents 4 24 92 HE Ilham Aliyev Sports Energy HE Ilham Aliyev, President Find out how Azerbaijan is The Caspian powerhouse is of Azerbaijan talks about the entering the world of global entering stage two of its oil future for Azerbaijan’s econ- sporting events to improve and gas development plans, omy, its sporting develop- its international image, and with eyes firmly on the ment and cultural tolerance. boost tourism. European market. 8 50 120 Perspective Culture & Finance Tourism What is modern Azerbaijan? Diversifying the sector MICE tourism, economic Discover Azerbaijan’s is key for the country’s diversification, international hospitality, art, music, and development, see how relations and building for tolerance for other cultures PASHA Holdings are at the future. both in the capital Baku the forefront of this move. and beyond. 128 76 Construction ICT Building the monuments Rapid development of the that will come to define sector will see Azerbaijan Azerbaijan’s past, present and future in all its glory. ASSOCIATE PUBLISHERS: become one of the regional Nicole HOWARTH, leaders in this vital area of JOHN Maratheftis the economy. EDITOR: 138 BENJAMIN HEWISON Guide ART DIRECTOR: JESSICA DORIA All you need to know about Baku and beyond in one PROJECT DIRECTOR: PHIL SMITH place. Venture forth and explore the ‘Land of Fire’. PROJECT COORDINATOR: ANNA KOERNER CONTRIBUTING WRITERS: MARK Elliott, CARMEN Valache, NIGAR Orujova COVER IMAGE: © RAMIL ALIYEV / shutterstock.com 2nd floor, Berkeley Square House London W1J 6BD, United Kingdom In partnership with T: +44207 887 6105 E: [email protected] LEADING EDGE AZERBAIJAN 2015 5 Interview between Leading Edge and His Excellency Ilham Aliyev, President of the Republic of Azerbaijan LE: Your Excellency, in October 2013 you received strong reserves that amount to over US $53 billion, which is a very support from the people of Azerbaijan and were re-elect- favourable figure when compared to the rest of the world.
    [Show full text]
  • Issue 2015 2 3
    1 Issue 2015 2 3 EDITORIAL Dear Fellow Associates, Alive is back! After several years of absence, we are proud to publish a totally brand new magazine dedicated to the art of Turkish rugs. Istanbul Carpet Exporters Association (IHIB) is celebrating its 25th anniversary. IHIB represents 400 Turkish carpet exporters that generate 500 million USD in rug exports as well as 1.5 billion USD from rugs sold in touristic shops within the country and from oriental rug restoration. Through Alive, our intention is to demonstrate not only our Turkish carpet heritage but also our vision for the future. In this issue, we have asked Turkish and, for the first time, international experts to share their knowledge of the rug history and more importantly, of the future of our precious rugs. Thanks to our rich heritage of carpet weaving, Turkey is the world’s second biggest Oriental rug exporter. Our goal, though, is to become number one. We aim to make Istanbul the main international center for oriental and for designer rugs with worldwide famous Turkish brands. For that very purpose, we give full support to young Turkish designers and to creative Turkish rug merchants. Soon we will be constructing our new project named ISTANBUL HALIKENT (Istanbul Carpet Outlet) that will be the biggest carpet outlet in the world consisting of 200 carpet showrooms at one location. Already the biggest manufacturer of machine made rugs and second biggest exporter of Oriental handmade rugs, our know-how, our dynamism and our innovation will herald a bright future for Turkish designer rugs and Turkish carpet brands.
    [Show full text]