Noah's Ark | Handmade Turkish Rugs & Kilims

NOAH'S ARK

Handmade Rugs & Kilims

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Turkish kilim

Turkish kilim

Turkish kilim

Turkish kilim

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In Islamic art, some figurative forms, human and a

In Islamic art, some figurative forms, human and animal, are permitted, but in many cases it is considered disrespectful to walk over them, thus precluding their use in knotted rugs and kilims. For the tribal weavers, however, connections with their natural environment, with their animals, and with their family groups are very strong and deeply rooted and will override religious taboo, so that recognizable objects are depicted in their rugs, but these will never be seen to form part of a complete, pseudo-realistic picture. Art for art's sake is a concept alien to Islam, but kilims are practical as well as decorative, so they are of a high order within the definition of Islamic art.

The main motif in this Bahcecik (Kayseri) central Anatolian rug is the wolf mouths centered inside the triple medallion design it usually represents the power and acts as a protection of their sheep, and goats from the beasts of Anatolia.

Vintage from the 1980s
Materials: Wool
Length: 185 centimeters
Width: 105 centimeters

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Shahsavan flatweaves are considered to be the most

Shahsavan flatweaves are considered to be the most traditional of all kilims in design. There is both quality and harmony in the design, composition, color, and texture, successfully uniting practicality with decoration. Invariably woven in slit weave technique, the kilims are long and narrow and made in two halves loosely sewn together. The colors are clear and bright, but limited in range, and undyed ivory-white or brown wool is used for the warps. The traditional bold horizontal bands of Turkic motifs (lots of them for example hands on hips, peacock, goat, birds, and more.) are often bordered with a row of weft twining in one or two colors. Some kilims are composed of plain weave stripes of color with no border.

Vintage from before 2000
Materials: Cotton, silk, wool
Length: 200 centimeters
Width: 120 centimeters. #kilim #carpet #rug #hal #interiordesign #homedecor #handmade #rugs #home #vintage #ev #s #interior #carpets #design #decoration #xalca #art #ikinciel #palaz #usaqalemi #hamam #pencere #roya #divan #usaq #qizil #qonaqdesti #yataqdesti #bhfyp

Most of the designs, ornaments, patterns, and even

Most of the designs, ornaments, patterns, and even techniques on this rug are based on local factors related to the tribe of the specific region where is Central Asia. Besides, all the colors of this runner are natural (koek boya, vegetable dyes like madder for red indigo for blue and etc.) two different rug-making techniques were used during production (embroidery & pile knotted) the symbolization of these patterns of evil eye in the center of the compartments and running dog figures have been used in this region widely and blended according to the composition of this beautiful Baluchi soumak and rug. The devil's eye in 13 pieces in this runner and the middle of these pieces and the zig-zag patterns blended with the different techniques around this devil's eye are the running dog figures, which are intended to be reflected in these patterns to keep bad luck away and basically a reflection of their shepherd dogs, the analogy and this is to prevent bad luck and other bad situations that may occur by the demons and monster of nature and also from the evil gaze can come from anywhere else. this 13-piece pattern may have been referring to the 13 digits of this village. Many examples like this have been seen in the area of Baluch people designed for purposes on their rugs.

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Highly stylized birds, with tails, fanned out in t

Highly stylized birds, with tails, fanned out in the way which brings to mind the cock, These charming birds have been woven in too many colors which are used to crate strip lines running through the field. A similar effect through variation of color is seen in the border. Bright and muted colors are one significant part of those Shahsavan styled soumaks and because of the natural dye. Shahsavan tribe people are usually weaving soumak type rugs. This is because of their nomadic lifestyle and need for textiles that are light in their weight so that they are easy to carry. Expressive bird motifs and their symmetrical design is the signature motif on this type of soumaks. Among many other Persian soumaks, Shahsevan ones are one of the most recognizable with their design and interpretation.
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Some rug experts have provided a credible explanat

Some rug experts have provided a credible explanation of how the Senna (or alternatively spelled as Senneh, Sehna, or with current name as it goes Sanandaj) weaves might have developed in an isolated Kurdish town surrounded by tribes that produced quite different fabrics. He recalls that in the 18th century Senneh emerged as the capital of a Persian province, complete with government Persian officials who accustomed to the refined floor coverings they knew in some cities and the major provincial capitals. Since existing Kurdish rugs did not satisfy their needs they encouraged an industry that produced rugs with fine textures and elegant designs. It is recalled that the town of Senneh during its feudal flourishing in the 18th century developed a very special Kurdish-Persian culture under the local Ardelan princes. This culture still survives in the poetry, dress, superior cuisine, and domestic architecture of the town. The latter crossed the border into other countries during the 19th century to the town of Halabja where Senna architects constructed several impressive mansions. In this refined atmosphere, Senna rugs are not out of place. The structure of Senneh rugs and carpets is sufficiently unique that additional points for identification are usually not needed. Nevertheless, Senna has its traditional designs that are sometimes reproduced in other weaving districts, but never with the same sandy- looking backs and frosty piles. The old Sehna kilims, usually in small rug sizes, are. This rug is ornamented with details of flower and leaf motifs (design) which are common in Senna rugs.

From the 1890s, about 120, 130 years old with perfect condition and vibrant, natural colors.

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The fine workmanship that has been going on for ye

The fine workmanship that has been going on for years in Afshar rugs can show itself better in newly made carpets, they have improved their craftsmanship from yesterday to this day and have been able to better reflect the art they have made on the carpet more magnificently, depicted in some way. The colors of the soumak are entirely natural root dyes and delicate yet busy work is at the forefront. When it comes to the decoration of their living areas some of the Persian tribal rugs, soumaks and kilims are known to the world. Afshar people are one of them. It is possible to see how finely multiple symbols, motifs, and ornaments had woven and work shows itself. Soumak rugs are embroidered, unlike knotted pile rugs or flatwoven kilims, it is surprising to see how Afshar people embellish those textiles with way more refined details as in this Persian soumak.

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Merry Christmas!!! 🎁🎄 #december #like #chris

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This rug was made by the Herki nomads, a great tri

This rug was made by the Herki nomads, a great tribe of Southeastern Anatolia and and the Middle East. These geometric motifs are unique to this tribe, and these nomads used this rug as the shepherd's bed or inside their yurt (nomadic people's tent).

Kurdish homelands straddle the busy east-west caravan routes and the weavers have assimilated and copied patterns from a multitude of sources. The obscure origins of their design and the spread of the Kurdish tribes across the whole of Asia Minor have effectively given puzzled collectors and experts an attributional safety-net: many unusual kilims have, over the years, been labeled as Kurdish for want of any other more final or accurate source.

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