DOCSLIB.ORG

Persian Rug Buyers Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Persian Rug Buyers Guide PERSIAN RUG BUYERS GUIDE If you’re considering making an investment in purchasing a Persian rug, it’s best to have some knowledge beforehand. We’ve compiled some tips and guidelines to help you know what you want, what you’re buying and how to get the best deal. IS A PERSIAN RUG THE SAME AS AN ORIENTAL RUG? Many people make the assumption that all oriental rugs are the same, which is not true. Whereas oriental rugs can be made in several countries (typically India, Afghanistan, Pakistan, Iran, Turkey and Tibet), Persian rugs are only produced in the area of the world formerly known as Persia (modern-day Iran). Why does this differentiation matter? Although a well-crafted oriental rug can still be a beautiful addition to your home, the rugs made in Iran (formerly known as Persia) are considered to be the highest quality among oriental rugs. Persian rugs have a long- established history of craftsmanship. The people of Persia had the distinctive expertise of handcrafting rugs, which is native to that region, dating back to more than 2500 years ago. HANDMADE OR MACHINE-MADE? There are Persian rugs that are painstakingly created by hand and those that are made by large machines. These machines are called power looms and they are run by computers. The materials used in machine-made rugs include wool and synthetic fibres, such as polypropylene, nylon, polyester, acrylic and art silk. Machine-made Persian rugs can be produced more quickly than hand-made rugs and therefore cost less. However, their lifespan is usually 20 years or less, depending on the quality of the materials used and how well they are maintained. They are not an investment piece, and provide no value to collectors. A 3 x 2 metre handmade Persian rug takes at least eight months to complete and some require years of labour. The craftsmanship used in creating them sets them well apart from the machine-made rugs. Each rug is uniquely designed, visually stunning and appealing. Their beauty is unsurpassable. Authentic, handmade Persian rugs are investments, since they will increase in value over time. They also age much better than machine- made rugs, actually becoming even more beautiful over time. There is also a sort of “hybrid” between handmade and machine-made Persian rugs, called “hand-crafted” or “hand-tufted” rugs. They are made using a hand-held drill gun that inserts the pile into the cloth foundation, creating a loop pile. If sheared, the loop pile is called a cut pile, whereas, if not sheared, it is referred to as a “hand-hooked” rug. The rug can also be a combination of both styles, creating a dimensional pattern. A latex coating and canvas fabric are then applied to the back of the rug. These hand-tufted rugs may look more authentically handmade than the machine-made ones, and cost less than handmade Persian rugs because they require much less time to complete. They can be very beautiful, but do not improve with age as do the handmade rugs. Therefore, they are not considered to be an investment and are not typically valued by collectors. The bottom line when purchasing any Persian rug is to determine whether you want a quality product that will last for many decades, become more beautiful as it ages, and is a great investment. If all these factors are true, you’ll want only a handmade Persian rug! Authentic handmade Persian rugs have a higher aesthetic and financial value. They are considered as investments as well as beautiful additions to your home decor. Machine- made rugs are solely for decorative purposes. Knowing how to tell the difference between a handmade Persian rug and a machine-made rug can save you a lot of heartache. How to Tell the Difference between Handmade and Machine-Made If you’re shopping for an authentic handmade Persian rug, it may be a challenge to differentiate between them and the machine-made ones. Here are a couple things to look for: • Rug Knots Because authentic Persian rugs are made by an individual person, they are not uniform. The knots, which make up the pile of the rug, are tied by hand, so they will be of different sizes. This makes each rug a unique production. If the rug has knots that are all the same size, it means it was machine-made. • Rug Fringe When making a Persian rug by hand, its fringe is woven in as part of the rug’s foundation and is an integral part of its design. In machine-made rugs, the fringe is added to the foundation after the rug is made. HOW HANDMADE PERSIAN RUGS ARE MADE Authentic handmade Persian rugs are all uniquely created from different materials, designs and dyes and characteristics. Materials It’s important to know that synthetic materials are never used in the pile or foundation of handmade Persian rugs. Wool is the most common material used, but silk and combinations of the two can also be used for authentic Persian rugs. Materials used and their level of quality usually depend on the region where the rugs are made. (See Tribal vs. City Persian Rugs below.) There are three types of wool--white wool, pearl-coloured wool and multi-coloured wool-- used in Persian rugs. Black wool is never used because it cannot be dyed. The characteristics of the wool used is important, as well. It should be thick with an even texture and have the right amount of curl and oiliness to prevent the strands from breaking. Wool from New Zealand is considered some of the best wool in the world; however, because it is more difficult and expensive to attain, Persian rugs often have a mixture of New Zealand wool and local wool. The quality and value of a Persian rug usually depends on the type of wool used. The highest quality of wool comes from the head, neck, back and stomach of the sheep. The next-best wool can be found from the feet, arms, shoulders and sides. Sometimes, silk fibres are added to wool to produce rugs with a softer feel and rich lustre. They are very luxurious and elegant, but delicate and more difficult to maintain and clean. They are also typically more expensive than those rugs made with pure wool. You need to consider the wear and tear that your Persian rug will withstand. If the foot traffic it receives is high, these blended materials may not be a good choice. Regions Where Rugs Are Made All Persian rugs fall into one of two categories; tribal or city. Each type has distinct characteristics. Nomadic or Tribal Persian Rugs Tribal rugs originated from people identified with various tribes and clans in Persia. They raised sheep and goats, and lived a nomadic lifestyle, living mostly in portable tents. They often moved to search for more opportunities for grazing for their livestock. Tribal rugs are usually brighter in colour with a looser weave, with as few as 50 knots per square inch. The designs are simpler, with less complex patterns, because the looser weave restricts the shapes that can be included. Tribal rugs are usually woven with hand- spun wool from the sheep raised by the weavers themselves. The dyes used for the colouring are manufactured from the leaves and roots of regionally-grown plants and roots. City Persian Rugs Unlike the Tribal Persian rugs, city Persian rugs are produced by people residing in cities, towns and villages. They are woven using a permanently-pitched loom in a stationary location that is permanently pitched. City or village rugs are more elaborate and contain a higher knot count, allowing for more intricate patterns. They usually have a cotton warp and weft, which enhances the stability of the rug and adds resistance to shrinkage. City Persian rugs take longer to make, often involving complex designs that were sketched on paper by local artists. They are usually higher in quality than the nomadic tribal rugs with a more consistent shape. With more access to modern dyes, it’s easier to incorporate more hues into the weave, resulting in more colourful patterns. Overall Appearance There are certain characteristics that you can look for to determine whether the Persian rug is authentic and made with high quality standards. Consistency in the weave. Inspect both the front and back of the carpet for flaws in the weave. (Flaws are usually more noticeable on the back.) Rugs with a consistent weave will lay more smoothly on the floor. If the carpet contains ripples, wrinkles or puckers when you lay it on the ground, recheck it for flaws. Straight edges. The edges and ends of the carpet should be straight, with the same dimensions at both ends. The ends should be secured; if not, they will likely unravel during vacuuming or cleaning. Fringes. If the carpet has fringes, they should be neatly cut and the ends secured tightly. Avoid rugs with fringes that are discoloured or made from fabrics other than cotton or wool. Colour consistency. Even though there are usually many colours in authentic handmade Persian rugs, they should be consistent throughout the design. If there is a spot that appears darker, it could mean that the rug was mended or has faded. Knot count. A variation in knot count among Persian rugs is normal. Tribal rugs have a lower knot count than city rugs. That doesn’t necessarily affect quality, only the weaving technique used. However, rugs with a more intricate pattern usually have a higher knot count and are more expensive than those with a more basic design or lower knot count.
Load more

Recommended publications
  • Lesson: Two Carpets Essential Questions
    Lesson: Two Carpets Essential Questions: Why are carpets important in Islamic cultures? What are the basic characteristics of West Asian carpet design? What are the similarities and differences between the Ottoman Turkish and Iranian carpets discussed in this lesson? Learning experience: Students will become familiar with two roughly contemporaneous carpets, one from Ottoman Anatolia and one from Iran. They will analyze their design and learn about some of the aesthetic priorities of the people who created them. Anticipatory set: In your house, your apartment, or your room: what kind of objects do you surround yourself with? Which are useful? Which are decorative? Which are both? Context: Carpets have been made for thousands of years throughout Central and West Asia. Flat-woven textiles (kilims—carpets without pile) were made in Turkey at least as early as 7000 BCE. The oldest surviving woolen pile carpet dates from the fifth century BCE, found in a burial site in the Altai mountains of southern Siberia. For pastoral nomadic inhabitants of the Eurasian steppe, carpets served as “floor coverings, prayer mats, tent decorations, canopies, as symbols of power, privilege and riches” (Abas 2004: 11). In the sedentary world of cities, towns, and farming villages, carpets were also more than floor covering. They were "an integral part of one’s living arrangements, one which took the place of chairs, beds, and sometimes tables” (www: Erdmann). Carpets, in short were necessities, not merely decorations, and so were worth the great care that was lavished on them. Those belonging to the wealthy never remained in one place all the time.
    [Show full text]
  • Persian Collections
    Size: 1 (Ft) = 30cm • SELL • TRADE PERSIAN • WASH MASTER PIECE MASTER PIECE • RESTORE NEW AND ANTIQUE 489594-P CARPETS www.persiancollections.com Collections THE fine persian carpet gallery Open 7 Days A Week Desa Sri Hartamas 32-2 & 34-2, Jalan 25/70A 6. Super Fine Tabriz, signed by Master Weaver. 11. Showroom 12. Great Stock. BIGGEST CARPET Kurk wool & silk on silk base, 400 x 600 cm. Take 8 years to weave. MUST SEE!!! Desa Sri Hartamas 50480 Kuala Lumpur SALE ☎ 03-2300 6966 Bangsar Shopping Centre 50% - 75% F4A, 1st Floor (East Wing) Bangsar Shopping Centre off 59000 Kuala Lumpur ☎ 03-2094 6966 Holiday Villa - Jln Ampang BGM-12, Ground Floor Megan Embassy (Holiday Villa) Jln Ampang, K.L. ☎ 012-308 0068 5. Super Fine Qum Silk, signed by Master Weaver. 7. Large selection on extra large carpet. 6th June 20th July 2008 13. Great Turnover! New Stock Arrive Monthly. 14. See Our Extensive Stock Selection. SALE Silk on silk base, 250 x 350 cm. Take more than 8 years to weave. MUST SEE!!! BRINGING WONDERS OF PERSIA TO YOUR HOME MORE THAN 5,000 CHOICE OF PERSIAN CARPETS ON SALE MASTER PIECE COLLECTABLE ITEM 1. Tribal Kilim Stool. 2. Fine Persian Tabriz. Dining Room Size. 8. Super Fine Qum Silk, sign by Master Weaver. 15. Super Fine Nain. 16. Super Fine Tabriz. Silk on silk base, 350 x 500 cm. Take 10-12 years to weave. DO NOT MISS!!! Wool & silk on cotton base, 500 x 800 cm Wool & silk on cotton base, 300 x 400 cm BEST BUY RM ***** MASTER PIECE 3.
    [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]
  • 13 Days Persian Carpet Tour Overview
    Tour Name: 13 Days Persian Carpet Tour Tour code: OT2313003 Tour Duration: 13 Days and 12 Nights Tour Category: In-depth Tour Difficulty: 2/5 Tour Tags: Tour Best Date: All Month Tour Services Type: Bronze (economy) Tour Destinations: Tehran/ Shiraz/ Yazd/ Naein/ Isfahan/ Kashan Related tours code: Max Group Size: 2-20 Overview: The oldest Iranian handmade carpet was discovered in 1949 in the second stage of the Russian archaeological excavation, Rudenko, in the Pazyryk region, called the Pazyryk carpet. During the period of Iranian carpet evolution, its raw material, wool, and silk have been tied up in Iranian noble roles. The natural progression of the skill and craft involved in the creation of these works of art has been passed down from generation to generation. Geographical dispersion and variation in design, texture, and dyeing of fibers indicate the influence of carpet on the Iranian lifestyle. In this 13-day trip, the “Persian Carpet” can only be part of the Persian carpet culture that belongs to the central Iranian regions. In fact, Persian carpets are not limited to these areas, and carpet from western parts of the country include Kurdistan and Lorestan, the eastern part of Sistan and Baluchistan, and the northern section, including Golestan and Mazandaran, are also very valuable Artistic and handicraft. This itinerary is very valuable in terms of artistic and educational aspects and includes a visit to the carpets of each region and its production workshops as well as workshops to Acquaintance them. If you are interested in familiarizing yourself with the ancient Persian carpet as a lifestyle and authentic art, join us on this journey.
    [Show full text]
  • Approaches to Understanding Oriental Carpets Carol Bier, the Textile Museum
    Graduate Theological Union From the SelectedWorks of Carol Bier February, 1996 Approaches to Understanding Oriental Carpets Carol Bier, The Textile Museum Available at: https://works.bepress.com/carol_bier/49/ 1 IU1 THE TEXTILE MUSEUM Approaches to Understanding Oriental Carpets CAROL BIER Curator, Eastern Hemisphere Collections The Textile Museum Studio photography by Franko Khoury MAJOR RUG-PRODUCING REGIONS OF THE WORLD Rugs from these regions share stylistic and technical features that enable us to identify major regional groupings as shown. Major Regional Groupings BSpanish (l5th century) ..Egypto-Syrian (l5th century) ItttmTurkish _Indian Persian Central Asian :mumm Chinese ~Caucasian 22 Major rug-producing regions of the world. Map drawn by Ed Zielinski ORIENTAL CARPETS reached a peak in production language, one simply weaves a carpet. in the late nineteenth century, when a boom in market Wool i.s the material of choice for carpets woven demand in Europe and America encouraged increased among pastoral peoples. Deriving from the fleece of a *24 production in Turkey, Iran and the Caucasus.* Areas sheep, it is a readily available and renewable resource. east of the Mediterranean Sea at that time were Besides fleece, sheep are raised and tended in order to referred to as. the Orient (in contrast to the Occident, produce dairy products, meat, lard and hide. The body which referred to Europe). To study the origins of these hair of the sheep yields the fleece. I t is clipped annually carpets and their ancestral heritage is to embark on a or semi-annually; the wool is prepared in several steps journey to Central Asia and the Middle East, to regions that include washing, grading, carding, spinning and of low rainfall and many sheep, to inhospitable lands dyeing.
    [Show full text]
  • Anatomy of Persian & Oriental
    dÌ¿z»ZÀ¼ÁdÌ¿¹Â¸ »Öf{Ä],§d§Z]ÁxËZe0 ½ZÌ¿YËYįdY¾ËYº¸»|« |ÁĬÀ»¹Y|¯Y§d§Z]į «YÁ{ |¿YÃ{¯Á/Y§d§Z]į|Àf/ÅÖ»Y«Y¾Ì·ÁYĸ¼mY YÌ]{ÁZf/{Ö§Z]§»Y{,Á»Y½ZÌ¿YËY{§Ä]vÀ»/v^e dYÄÀÌ»¾ËY{Ä]neÁÔeµZ www.Rug.VestaNar.com Nasir al-Mulk Nasir al-Mulk is a famous historic mosque in the center of Shiraz, located near the Shah Cheragh shrine. It was constructed in the Qajar Dynasty in 1876 by Lord Mirza Hasan Ali Nasir al Mulk. The mosque is known for its extensive use in colored glass in its façade. The construction of the mosque uses other traditional structural elements as well such as “panj kasehi” (five concaves). These days, the mosque is more of a tourist attraction than a place for prayer. Like all mosques in Iran, you must remove your shoes before entering and the floor is lined with Persian rugs from wall to wall. We found out that underneath the rugs is actually a beautiful marble floor as well. www.Rug.VestaNar.com ½YËY¥Z^f{§½Z³|ÀÀ¯{ZÁ½Z³|ÀÀ¯|Ì·ÂeÄË{ZveYÄ»Z¿¶§ ¿Yc¸y{ ¹ÔY¾Ì^»¾Ë{½YÁY§ÄmÂeÄ]¶^«Ä·Z¬»{ÁÄË¿Y¾ÌÌaÃZ¼{ ºË{¯ÃZYZÆ¿Z¿YÖËZÌ¿{¶ËZ»Ä] ½M«cZËMYÖy]ÄÀËY¾¼ dY]Y]ºË¯½M«{cyMÁZÌ¿{cZ¼¸¯Y°e{Y| eį|Äf¨³ Á ºË{ÁMµZj»|ÅZ½YÂÀÄ]dYÄf§³Y«|̯Pe{»cyMÄ]ÄmÂeZÀ¯{ZÌ¿{Ä]ÄmÂeZÆ¿M{įYºË¯ įd¨³ºÌÅYÂy\¸»Ä»Y{Y{®ÀËY Ã|Á|À¿Z» dYÃ{Y{½ZÅZÀ³ÁÖZ »YÕZÌ]]cyMºÅZÌ¿{ºÅÕÁyYÁÕÂÌ¿{[Y~Ã|ÁºË¯½M«{|¿ÁY|y |ÀÀ¯Ö»\ËzeY|mZ»Ä¯Ö¿Z¯Á{ÂÖ»|mZ»{¹{»ÂuY¿Z»Ä¯Ö¯]cyMÁZÌ¿{{[Y~ ì]ÃÂÄËM 3 4 3 3 Ê5§º7 Æ4 3·Á3 É1 7 yZ5 Ì3 7¿|·YÊG 5§º7 Æ4 3·¾Ì3 ¨5 5WZy3 ÓF 5SZÅÂ3 ¸4 y4 |7 3˽7 Oº7 Æ4 3·½Z3 ¯Z3 »3 ®3 X5 3·ÁOZÆ3 5]Y3 yÊ3 5§Ö 3 3 Á3 Ä4 ¼4 YZ7 ÆÌ3 5§3 ¯3 ~7 4˽7 O5×YF |3 mZ5 3 »3 3 À3 »3 ¾7 ¼F »5 º4 3¸7 O¾7 »3 Á3 ºÌ1
    [Show full text]
  • Year Old Historical Background of The
    Indian Journal of Fundamental and Applied Life Sciences ISSN: 2231– 6345 (Online) An Open Access, Online International Journal Available at www.cibtech.org/sp.ed/jls/2015/01/jls.htm 2015 Vol.5 (S1), pp. 1838-1856/Sara and Fatemeh Research Article THE ORIGIN OF THE MOTIFS AND THE FOUR- THOUSAND- YEAR OLD HISTORICAL BACKGROUND OF THE PERSIAN CARPET Sara Naeemi Hir and Fatemeh Dehghany Department of Art Research, College of Art and Architecture, Yazd Branch, Islamic Azad University, Yazd, Iran *Author for Correspondence ABSTRACT Carpet is the mirrors of the Islamic and Iranian art and civilization. It is a priceless heritage remaining from a long time ago and has been approved in the birth certificate of our nation. The motifs are amongst the most important and most effective component used in the rug which have a fundamental role in it and attract any viewer at first glance. Rugs and the patterns of rugs have undergone changes in different eras. The data collection method in this article includes using the library resources the research method was historical- descriptive. As each government came to rule throughout history, it brought along change and upheaval with it and has led to change in social and cultural fields of that society. The rugs and the art of rug weaving are also inseparable parts of Iran’s culture which have also undergone this upheaval. Therefore this article has tried to examine the role of the governments in forming rug motifs and the progressing process of this art from the ancient times, the primary periods of Islam and after that up to the present era.
    [Show full text]
  • The Tree of Life Design – Part 1
    S. Busatta– The Tree of Life Design – Part 1 Cultural Anthropology 205 – 220 The Tree of Life Design From Central Asia to Navajoland and Back (With a Mexican Detour) Part 1 Sandra Busatta Antrocom-Onlus sez. Veneto The Tree of Life design is thought to be originated in Central Asia possibly from shamanic cultures, and can be seen as a favorite pattern in many carpets and rugs produced in a huge area, from Afghanistan to Eastern Europe. From the Middle East, together with other Christian and Moorish designs, it was imported to Central America where it mixed with the local versions of Tree of Life. Traders who brought Oriental carpet patterns to be reproduced by Navajo weavers made it known to them, but it was only after the 1970s that the design has had a real success together with other pictorial rugs. Introduction In the late 1970s for the first time I saw a number of samples showing the so-called Tree of Life design embellishing the walls of a restaurant in the Navajo reservation. In one or two trading posts and art galleries in the Southwest I also saw some Tree of Life rugs made by Navajo weavers, and also some Zapotec imitations, sold almost clandestinely by a roadside vendor at a ridiculously low price. The shops selling Mexican artesanias, both in the US Southwest and in Mexico, however, displayed only a type of Tree of Life: a ceramic chandelier- like, very colorful item that had very little to do with the Tree of Life design in the Navajo rugs and their Zapotec imitations.
    [Show full text]
  • Conservar Património
    Estudos sobre têxteis históricos Studies in historical textiles Article / Artigo A. Serrano, M. J. Ferreira, E. C. de Groot (ed.) Título Reconsidering dragon carpet origins Autor 1 Autor 2 Gerald Pollio Endereço 1 EndereçoFordham University,2 London Study Centre, 2 Eyre St Hill, London EC1R 5ET, United Kingdom [email protected] Abstract Keywords Armenians have increasingly been eliminated from the weaving history of the Caucasus. Given Design origins that Armenians have lived there for millennia and are its only inhabitants attested in both ancient Dragon carpets and medieval sources as having been weavers and dyers, it is surely curious they would have Caucasus abandoned a craft for which they were renowned. Many regional rugs were originally attributed to Armenians Armenian weavers, but from the second quarter of the 20th century onwards were reclassified as Historiography being either of Turkish (Azeri) or Persian origin. This article reconsiders the available evidence and the way it has been interpreted to arrive at a balanced assessment of Armenians’ contribution to the production of Dragon carpets, the region’s earliest surviving design. Its findings challenge many of the assumptions upon which these conclusions were based, and thus revives the possibility the attributions of earlier authors were more accurate than those of their successors. Reconsiderando as origens do tapete de dragão Resumo Palavras-chave O povo arménio tem vindo cada vez mais a ser eliminado da história da tecelagem caucasiana. Origens de padrões Dado que os arménios viveram na região durante milénios e são os únicos habitantes reconhecidos Tapetes de dragão como tecelões e tintureiros em fontes da Antiguidade e da Idade Média, é certamente curioso que Cáucaso tenham abandonado uma actividade pela qual foram tão famosos.
    [Show full text]
  • INSIDE DOMOTEX Asia/CHINA FLOOR FLOORING the FUTURE! OMOTEX Asia/CHINAFLOOR Is the Largest Floor Covering Trade Show in International Carpet in Europe
    Sponsored by: Middle East Textile Journal Kohan Textile Journal www.kohanjournal.com Persian Hand-Knotted Carpet Think Tank MENA Scince 2005 [email protected] The Iranian Hand-Made Carpet Data Bank www.carpetour.com News [email protected] Carpetw w w . m e n a c a r p e t n e w s . c o m Volume 1 | Issue 4 | ِMarch 2013 Middle East and North Africa Carpet World FREE DISTRIBUTION ; DOMOTEX Chinafloor 2013 INSIDE DOMOTEX asia/CHINA FLOOR FLOORING THE FUTURE! OMOTEX asia/CHINAFLOOR is the largest floor covering trade show in International Carpet In Europe ...................2 Dthe Asia Pacific region, and the sec- Conference ond largest in the world. Held every March at the Shanghai New International Expo Centre, On Carpet this event attracts 40,000 visitors from around the world and hosts more than 1,100 Chinese 2013-Baku and international exhibitors. 17-18 June 2013 Held since 1999, DOMOTEX asia/CHINA- FLOOR will be back for its 15th installment The Promised Paradise in the on 26-28 March, 2013 at the Shanghai New Persian Carpet .....................4 International Expo (SNIEC) in Shanghai. GRASP FUTURE MARKETS OPPORTUNITIES China and the greater Asia Pacific region of- fer unparalleled emerging opportunities for the The planned Int’l Congress floor covering industry. With most of the world on Azerbaijani Carpets in economies suffering from recession, in 2010 March 2013 in Baku has China’s GDP grew 8.7%. China’s government been postponed until 17-18 Byzantium and Islam; Age of has placed new emphasis on increasing con- will migrate to urban settings by 2020, gen- dented in world history and DOMOTEX asia/ June 2013.
    [Show full text]
  • Vol. XXVIII, No. 3 March, 2021 Newsletter
    View from the Fringe Newsletter of the New England Rug Society Vol. 28 No. 3 March 2021 www.ne-rugsociety.org March Meeting (Online): Stefano Ionescu, “Tracing the Ottoman Rugs in Transylvania” Meeting Details Date and Time: 11 AM (EST), on Saturday, March 13 Venue: Your desktop, laptop, or tablet! Directions: Jim Sampson 1 will email invitation links to members; to receive the Stefano Ionescu, examples, including Ushaks, Holbeins, Lottos, Selendis, and Zoom login, you must register and a view of Lotto a wealth of “Transylvanian” rugs. The presentation will draw before the meeting by clicking and small-pattern on his new ideas and latest findings about these carpets— on the link in Jim’s email. Holbein rugs including the nature of their “intentional imperfections.” He Non-members should email in Saint Margaret’s will conclude by showing some unpublished examples of the [email protected] Church, Mediaş, Bistritza collection held in the Germanisches Nationalmuseum to get an invitation link. Transylvania in Nuremberg, and will briefly report on a project of weaving high-quality Anatolian copies of these rugs, to be displayed Transylvania is the repository of the richest and best- in the Bistritza Parish. preserved group of small-format Anatolian rugs outside the Born in 1951 in Transylvania, Stefano has lived in Rome Islamic world—almost four hundred examples (including since 1975. An independent scholar, he is the major expert on the fragments) attributable to the golden age of Ottoman corpus of Anatolian rugs surviving in his homeland. His first rug weaving. On March 13, Stefano Ionescu will tell NERS book, Antique Ottoman Rugs in Transylvania (2005), was attendees and guests how these rugs arrived in Transylvania, awarded the Romanian Academy Prize in Art History.
    [Show full text]
  • Symbols and Their Meanings in the Carpets and Prayer Rugs of the Turkish, Armenian and Persian Traditions Sharla F. Ackles Depar
    SYMBOLS AND THEIR MEANINGS IN THE CARPETS AND PRAYER RUGS OF THE TURKISH, ARMENIAN AND PERSIAN TRADITIONS SHARLA F. ACKLES DEPARTMENT OF ART COLORADO STATE UNIVERSITY DECEMBER 6, 1988 SYMBOLS AND THEIR MEANINGS IN THE CARPETS AND PRAYER RUGS OF THE TURKISH, ARMENIAN AND PERSIAN TRADITIONS Oriental carpets are more than attractive patterns and colors, they are stories, beliefs and prayers. Patterns and designs for the rugs started before there was an alphabet. The images were actually picture writings, using tribal and religious symbols1 the same symbols that were used in architecture and sculpture. The artists and craftspeople chose forms that were known to them, such as clouds, stars, trees and animals. These familiar images became symbols for ideals and philosophies of life. The rugs woven with these symbols were an integral part of the history, culture and religion of the people that wove them. There is a basic design format that is found in most Oriental carpets and prayer rugs. In general the rugs and carpets have a central area of design bordered several times with geometric patterns. In prayer rugs the center of the rug is assymetrical. The central shape is made up of three straight sides with one of the ends forming a archway or point to symbolize the entrance way of a place of worship. The carpets that are not used for prayer have a symmetrical center section, with an all-over pattern or an elaborate motif such an the tree of life. Traditionally, the colors used in the weaving of Oriental carpets depended on what raw 1 materials were available to the craftspeople.
    [Show full text]