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The author of this subject index, Ernst A. This directory lists about 2. It aims to intensify the relationship between carpet enthusiasts and collectors to their textile companions. It is difficult, however, to translate technical words from Farsi, Turkish, Armenian, Chinese or Turkmen perfectly. In many cases, these foreign languages have different sounds, spellings, and pronunciations than German or English. For understanding some striking examples: In Turkish, 'A' and 'I' have different speech variants: for example, a closed and an open 'A' and 'I'. A diphthong such as. In Farsi, 'gh' is a guttural sound. In addition, in this language the 'E' is often spoken, but not written. Therefore, in textbooks one finds different spellings for one and the same sound; the same is true for the transcription of Chinese, Indian or Tibetan names, places and terms. Furthermore, the spelling of many names and technical terms from the world of carpets is influenced by the phonetic language of English; because Englishmen were the former colonial masters and most important traders in most countries of origin of carpets, who helped to shape the tapitological technical language. Thus, for example, keywords beginning with 'Sh' may be classified under 'Sch' in the index or vice versa. In German, many English carpet terms have been adopted without hesitation in the past and are still used in English spelling by experts. To prevent the resulting confusion and misunderstanding, this directory adheres to the most common spelling or cites alternative, but meaning congruent spellings side by side. In case of any errors, the author hopes for the understanding of the readers; he will try to eliminate them in the next improved edition of this directory. He is, therefore, truly interested in error hints from readers. Keywords missing from this directory, as well as vivid illustrations of rug motifs, patterns, and geographic terms, can at best be found in the encyclopedia 'Oriental Rugs' by Peter F. Stone, ISBN , which the author recommends to readers and friends of rug science. Acrylic paints, for example. These are dyes or varnishes that are based on plastic dispersions. Acrylic is colored before it is extruded into filaments and spun. When this is done, acrylic is highly colorfast, electrostatic, and stain resistant. It is sometimes used as a substitute for wool, but it is not break-resistant. Oghli continued; his son Ali gave up the business in the s; see. As a result of the wars of recent decades, millions of Afghans have fled to Iran and especially Pakistan. In order to provide them with work, new carpet qualities and patterns were created on the initiative of European and American wholesalers. The civil wars also led to the production of war carpets, the export of which is now banned. Later, this carpet production withered away and was revived in new times in Afghanistan. Namely, in the last decade of the last century, Armenian-American wholesalers established manufactories in Egypt that produced carpets with light and delicate shades, but they were soon displaced by new Afghan carpets such as 'Choobi'. The city of a million people in the state of Punjab in northwestern India is the center of the Sikhs. Carpet manufacturing began there around to employ unemployed shawl weavers. As in Agra, rugs were made in prisons there. Earlier carpet production produced pieces with their own character. Today's carpet production is small. Such attempts are frowned upon. Safavid era from to and are the oldest Persian knotted works whose age and place of origin are precisely known. Today, inexpensive carpets with Keshan patterning come from there, which are often considered. By Turks, such knotted works are called odzhalik. Century bought out by OCM, London. Despite mechanization and low labor wages, the carpets were relatively expensive and therefore uncompetitive. In India and China cotton has been used for millennia; later it was brought to Spain by the Arabs; for carpet warp it is recommended by its strength, for carpet weft it is often mixed with sheep's wool; in carpet pile it rarely occurs. In Turkey, especially in Kayseri, mercerized cotton see 'Mercer' , called 'Flosh', came on the market until around Cotton is harvested close to production in carpet producing regions. The Beluchen are a people inhabiting the border area between Iran, Afghanistan and Pakistan, collectively called 'Baluchistan'. Beludj rugs usually have double wefts and predominantly symmetrical knots. Their traditional colors are dark brown, dark blue, orange red, dark red and black. Inscriptions on Bessarabian kilims are mostly in Cyrillic. Tibetan rugs usually lack a border. Persian carpets usually have one main border and two secondary borders, thus three parts. It is important that the border is finely coordinated with the interior field of the carpet; in more recent times, the proportions between borders and background are shifting. Border shapes are often a zigzag pattern symbolizing flowing water and thus eternity, the meander derived from the western Anatolian river Meandros thus serpentine winding; derived from this are the key border as well as the 'running dog' see this! See also 'Taoist Symbols'. Kilims and brightly colored, coarsely knotted carpets produced. Throughout the country, a down-to-earth domestic carpet culture never developed as it did in the rest of the Orient. Chinese carpets often play with the contrast between blue and yellow; meanwhile, China also skillfully imitates Turkish and Persian knotted carpets as well as French aubussons and savonneries. Rising wages are bringing much of China's carpet production to a halt in the 21st century. From Cumra come mainly small-format runners with red-green contrasts and Caucasian borders. Daghestan prayer rugs with a light background are highly sought after today. See also 'Kaitag'! Carpets produced in this vicinity in the 19th century were of coarse, loose quality and have a latticework or continuous patterns of geometric flowers. Their dimensions are enormous, measuring 6. A further development was carpet production with hand-spun, naturally dyed wool; see 'Woven Legends. Irregularities in pattern and measurement are not a disadvantage, although Europeans trimmed for precision often see it differently. Sloping rugs are not inherently a disadvantage. Often it testifies to the simple way of life and the natural intention of the weavers. It is only important that a carpet lies flat and does not wrinkle. Usually this can be remedied by professional tensioning. In Iran, the name of this weaving technique is written 'Djadjim', in Turkey 'Djidjim'. Many such pieces from the 19th century have a medallion consisting of horizontal rectangular rhombuses superimposed to form a sided figure; usually. Fall: the earth is yellow, the wood is green, the fire is red and the water is black. Green is the sacred color of the Prophet and the Mohammedans; yellow is a symbol of piety, white in the Orient the color of mourning. The meaning of colors in a carpet used to be more symptomatic than in modern pieces. Occasionally, flosh is referred to as 'Turkish silk'; this is also a name for carpets made with flosh; until , it was especially common for carpets from Kayseri. XIV they reached their peak. See 'aubussons', 'tapestry', 'savonnerie'. The coarsely knotted, little appreciated carpets of this name were hand-knotted from wool and have a sparsely simple pattern. They were used by nomads of the southwestern Persian Zagros Mountains as. Until the midth century, they were knotted only for home use and were rarely exported because of their often disheveled pile. The knotting density is low at 40, to , knots per square meter. Thanks to initiatives by the Iranian artist Parviz Tanavoli and the trader Zollanvari in Shiraz, there was a revitalization of this folk art around ; it experienced a surprisingly high demand, although its patterning remains modest to simple. Over time, finer qualities such as loribaft also emerged. Multicolored small-patterned, durable and inexpensive gabbehs are also currently coming from India. Their patterns and motifs are derived from the broad range of forms used by nomadic weavers. Geometric carpet motifs include. Saruk considered. Its wool is top-notch, and the relevant pieces are hard-wearing and considered 'noble Persians. Commentators say that it seems like a joke of history that the legendary 'Ghiordes knot' should have found its successor in carpet lore. In many Nains from the city of the same name on the edge of the great desert or from other places, one can find a signature, which is often also woven in afterwards to increase the price. He signed his works, giving them exclusivity and uniqueness; his carpets have muted colors; brown and yellow tones are typical of them and they were mostly exported to the USA. This refers to a shield-like leaf-embellished crab design used primarily in Indo-Herat carpets; it is largely found in Persian and Caucasian carpets of the 18th and 19th centuries. One of the most densely woven herekes known is one with a density of 50 by 50 knots per square centimeter, or 25 million knots on the area of square centimeters; this hereke, however, is torn at the left edge, but is nevertheless for sale. See 'Exner, Herbert'! They are often called Ferahan, show the Herati pattern and have a fineness of about. They partly imitate the Sultanabad pattern, partly Persian luxury carpet patterns. See also 'Ziegler'! India is currently the largest carpet producer in the world. The state controls more than half of the national economy; this and social capital have been shrinking for years, and the currency is steadily losing purchasing power internationally. Since the revolution, it has called itself the Islamic Republic of Iran. Next to or after the Caucasus, it is the oldest country in the world that has consistently cultivated carpet culture to this day. Persia is a world leader in the development of innovative naturalistic carpet designs, the combination of motifs into imaginative patterns, and in the development of sensational colors in the visual impact of carpets, but since the Iranian Revolution it has been in fashionable retreat on the carpet markets. For a more manageable structuring of Persian carpet making, the following division is usually made: the northwest with the center of Tabriz, central Persia with the centers of Kashan, Isfahan and Dschuschegan, southern Persia with the center of Kirman, eastern Persia with the centers of Herat and Maschad. Soviet rule in the Caucasus, this production was suppressed. The Kaitags are one of 33 distinct ethnic groups that live a secluded life around the city of Derbent, formerly al-Bab. The vivid designs and colors of the embroidered cloths made by the women of the Kaitags in domestic diligence combine Zoroastrian, Byzantine, Fatimid, Mongolian, Timurid, Mamluk, Chinese, Ottoman and Celtic traditions of a multi-religious mountain population. Further design influences of these embroidered cloths brought in their former use in ritual celebrations during weddings, births and funerals. Kaitags are dominated by rectangular fields and vividly colored silks. Scholars consider the creations of kaitags to be closely related to the ornaments that dominate the oldest physically preserved knotted carpet on Earth, the Pazyryk, as well as the embroidered felt curtains found in its ice tomb in the Altai Mountains. Kara is Turkish and means 'black' in German, 'Keceli' means 'goat. Such manufactories were grouped together during the reign of Shah Abbas I with the aim of creating an industrial state manufactory that served the court. The patterns were created by professional designers. The workers were socially secured; they received sick pay and a pension in old age. At present, there are only a few carpet manufactories in Iran and Turkey; most carpets there are made by home crafts. Many types of Caucasian carpets such as Karabagh, Ghendje and others are offered under this name. Today, this type of carpet is one of the most popular of Afghanistan. The most common quality has about , knots per square meter. Contemporary cashmere carpets are usually knotted on cotton ground, and in the better make they. F units of to knots per square inch, which is , to , knots per square meter. Today, the main products from there are silk carpets, which are exported in large quantities to Europe; they usually have cotton as warp and weft. All patterns and motifs of Caucasian carpets show strong colors and geometric rectilinear drawing. Most of the Caucasian carpets are made of wool and served for own use. They are the result of centuries of nomadic handicraft tradition as it developed in this region. Until about there have been village carpets, later good but soulless manufactured carpets; since about this production has become extinct. In the city, manufactory carpets with floral patterns similar to those from Tabriz with predominant use of silk from Bursa were and still are produced. Until , saphs see these with pile of mercerized cotton, called 'flosh', or artificial silk came from there. Incorrectly, all types of flatweaves are often called 'kilim'. Originally, they were made only for personal use as bridal offerings, room dividers, coverings, gate curtains, or transport wrappings. They originated in nomadic settlements or village communities. Later kilims were woven by almost all oriental peoples. Senneh kilims are the finest and softest, and Caucasian ones are considered the most beautiful. The patterns were intricate floral arrangements; there are medallion rugs, prayer rugs, and checkered patterns, and a wide range of colors. Kizil ajak carpets have asymmetrical knots that are open to the right. Through the vertically stretched and divided warp threads, horizontal weft threads are shot above a completed row of knots. Over time, a special type of carpet emerged. Kordi has become the collective name for Iranian carpets made by Kurds in the east of Iran The reputation of these carpets is very good, their composition beautiful, their durability great. Lamps are thus a symbol of the holy light and thus of Allah see 'domed column carpets'! Occasionally, but incorrectly, such carpets are called cemetery carpets. During the s, many such carpets were exported to the United States. Century medallion carpets with European roses in Mejid style have also been made there. Knotted works of extraordinary technical and artistic quality, named after the above dynasty, came from Cairo, Egypt. They were made between the middle of the 13th century and , when the Mamluks were defeated by the Ottomans. After that, they continued to be made under Ottoman influence until the early 17th century. They were produced in outstanding quality with very fine yarns. Mamluk style carpets currently come from Afghanistan. The basic material of this type of carpet was Australian sheep's wool merino wool , which was particularly suitable for luxury textiles due to high fineness and silk-like properties.. Persian carpet weavers made use of these then-new yarns to produce large-format carpets with mostly pinkish-red backgrounds, which were popular in the s. Besides the Berbers, the Beni Quarains also produce typical Moroccan carpets. Since , Moroccan carpets are traded with the designations 'M. See also 'Marrakech! In the 19th century, their models were made in narrow panels on old nomadic looms and then sewn together into wide panels. In the past, they were used exclusively for private purposes, as bridal outfits, for weddings or births. Their appearance ranges from warm earthy to strikingly bright tones, which lie close together in the finished kilim. Like their pre-midth century models, current pieces use hand-spun wool tightly woven together, making the pieces thin, yet strong and durable. Good old examples have thus become sought-after new creations. A carpet with approx. Ghaliceh or Seccadeh are rugs of about x cm. Ghali , in Turkish 'Hali'. In Iran, this means a larger carpet. Currently, there is often a mixture of the two types of paint, with a trend back to natural colors. Rugs with 'mehrab' or 'mihrab' are always considered prayer rugs. See also 'Erebuni'! Century in Manchester spun into yarn and made into high quality carpets by Iranian, Pakistani, Chinese and Indian weavers. See also. Originally, the backgrounds of Gothic tapestries were so called; later, Indian and Persian prayer rugs, showing a flood of flowers in the field and border. This place is located in the south of Afghanistan in Helmand province; however, many other places with the same name exist. At the end of the Century, many Mir had also been made in India. It is possible that carpets attributed to Mohtashem come from other manufactories, yet are offered at top prices. The elements of the carpet field were then no longer grouped around a central ornament, but arranged on either side of a central axis or distributed over the inner field according to a geometric arrangement. This is related to the decline of the Persian Empire due to the fall of the Safavid dynasty. Explanation and meaning of the individual motifs and symbols and their connection with the life and fate of the weavers or that of the users is a special science. Motifs and symbols are a common property, but their respective execution and combination with other symbols and motifs allow the assignment to certain tribes or peoples; see also 'Symbol'! Mudjur is the source of sapphas and prayer rugs with stair-like prayer niches pointed at the top; the main border may consist of rectangles studded with geometricized flowers. Pieces in which this motif is clustered are therefore often called 'Murgi rugs'. The warp is made of cotton, the weft of sheep's wool or cotton, the pile, Persian knotted, of sheep's wool. The creator of the Nain pattern was Fatollah Habibian, who also signed some of his works. The patterns are similar to those of Isfahan and Safavid respectively. The reason of Nain carpets is. An important quality characteristic for Nain carpets is the way the warp threads are made, measured in lah, which are twisted together from several yarns; the finer the warp, the finer the carpet. The density ranges from , to , knots per square meter. Nain have three qualities: Shish lah: there the warp consists of six twisted threads, each of which again consists of two threads. Noh lah: Here the warp consists of nine threads, each of which consists of triple twisted threads. Tjahar lah: the warp thread consists of two times two, thus four twisted threads; this is the least common type of Nain; see 'Lah'! It is a pyramid-shaped arrangement of isosceles triangles that is believed to have magical properties; the name derives from the shape of koran bags or pouches for religious-shamanistic relics. In Anatolia, a nuska is considered a defensive symbol against evil. The region of East Turkestan, unlike West Turkestan, has had important artistic and economic ties with Tibet, China, and India for many centuries. Regarding the motifs and patterns, experts speak of a union of Chinese, Buddhist and Islamic designs. Their formats were based on the perimeter of the Aivan estradas; these are square atrium rooms in which the inhabitants of the house live, receive guests, eat and sleep. Carpet sizes are about x centimeters, twice as long as they are wide. The pomegranate pattern is common, as is the three-medallion rug, in addition to the one- and two-medallion rugs. The particular meaning of this term usually depends on the practical use of the textile. Century smaller carpets, often with figural drawing, came from there. The often held view that only blue and white patterned carpets were made in the Baotou factories is not true. Since the 19th century, carpets in almost all colors and with a wide range of patterns were made in the local factories. Mishmash, pastiche, medley, hodgepodge, or pastiche. There are surprising artistic similarities between the Pazyryk and the ancient Persian capital Persepolis. Among puritan Sunnis, the depiction of people and animals is strictly forbidden; among the less puritan Shiites, this is less the case. Such carpets were made throughout the Middle East; kilims as well. The Saf pattern is more likely to date back to arcades of Islamic mosques than to the mihrab in the mosque. They are textile utensils of nomads or semi-nomads and consist of two transport bags or sacks each, connected by a bridge, usually flat woven, so that they can be carried over the backs of horses, donkeys or. Their outsides are usually knotted to show a pile, and the insides are usually flat woven. Saddlebags are usually equipped with loops for hanging inside the tent; they are miniature versions of all common carpet shapes and colors. With the decline of nomadism, most saddlebags have been cut up or stuffed as pillows, so few have come down to our time in their original state. Saddlebags from Tibet were made in two pieces, which were then sewn together; Persian and Turkish saddlebags were always made in one piece. A distinction is made between panniers for smaller items for hiking, storage bags in the tent or house, shopping bags for the village population and purely decorative objects. The name comes from the original production site of these textiles in Chaillot near Paris, which had previously housed a soap factory. Savonneries have existed since the early 17th century, the age of Louis XIII, and were always a product of state manufactories for the needs of rulers and royal households. Around , the high period of savonneries ended, but they continue to be produced for a middle-class clientele, but in modest numbers. Beautiful and high quality savonneries have also been made in China since the beginning of the 21st century. Another type of checkerboard or compartment carpets are a very rare group, which were once thought to be derived from the Mamluk or. Kairene Ottoman carpets. They are only 30 pieces in total, which have a similar pattern composed of squares, with triangles in the corners and enclosing a star pattern. Abrash; see this! In the city are also offered knotted works under the collective name of Shirazi, the quality of which is often inferior. See these! By a 'square' is meant the size of a prayer rug. This word is also used in Turkey. In Iran, for such carpet sizes, the term. Some carpets, most of which survive as fragments in Turkish mosques, were attributed to the Seljuks or their successors in the 20th century; they show stylized geometric floral designs, some with border motifs that correspond to Kufic models. The overall character of these pieces suggests later Turkmen models to the viewer. Senneh Kurds have very fine carpets, usually made with only one weft thread and with densities up to knots per square inch; the ground is cotton except for early specimens, which have silk grounds; the designs are reminiscent of Herati, covered with boteh motifs and with medallions with concentric hexagons. Senneh carpets are mostly in blue and red, have little conspicuous borders, the ground is patterned throughout, contains a large rhombus-shaped medallion, and the patterns are in strict rows. Fine woven horse saddle blankets also come from Senneh; more recent production has lower quality. Senneh kilims are also made in other parts of Persian Kurdistan. Toggle navigation.

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Shamakhi buying Cannabis