Small Rug,Vintage Entryway Rug,Distressed Front door Rug,Little Gift Rug,Boho Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53Very Unique Oriental Door matGenuine entrance rugOne Of A Kind bathro p rugLow pile is clean and readyofor using.Floor Rug is hand made and vintage100% wool, veryodurable and easyoto cleanThese&rugs are greatofor entryways,obedsides, kitchen sinks and bathro psAll of our rugs are old, antique or vintage. They&are all pr4fessionally cleaned and if needed repaired.One of aokind, Genuine RugDue to its vintage nature, there will be signs of aging,owhich isn't considered flaw but characterThese&rugs are vintage so some rugs may show slight imperfe2/ions but I do my best to pi2/ure the&quality and color scheme of all my rugs.Please note that images may be displayed differently on different monitors.We Ship Our Rugs Directly Fa poTurkey !!!You Will Receive Same Rug In The Pi2/ures !!!Rug Comes Fa poSmoke Free and Pet Free AreaSIZE IN FEET: 3' 3'' X 1' 7'' SIZE IN CENTIMETERS: 100 X 53SIZE IN INCHES: 39 X 21I Will Ship Your Rug By Fedex Express Air Cargo And Your Rug will arrive you within 5 business days with tracking information.I have taken all the pi2/ures of the rug outdoors,in daylight ,without flash !!!Feel free for any ques/ion,you may have,I will respond you as soon as possible !I accept returns,in case of dissatisfa2/ion !!!I AM GRATEFUL FOR YOUR SUPPORT THE HANDCRAFT AND MY SMALL BUSINESS,BELINDA !!Turkish Anatolian RugThis article is about pile-woven Anatolian rugs. For flat-woven rugsAnatolian rug is a terp of convenience, commonly used today to denote rugs and carpe/s woven in Anatolia (or Asia minor) and i/s adjacent regions. Geographically, i/s area of pr4312/ion can be compared to the territories which were historically dominated by the Ottoman Empire. It denotes a knotted, pile-woven floor or wall covering which is pr4312ed for home use, local sale,oand export. Together with the flat-woven kilim, Anatolian rugs represent an essential part of the regional culture, which is officially unders/ood as the Culture of Turkey today,[1] and derives fa pothe ethnic, religious and cultural pluralisp of one of the most ancient centres of human civilisation.Rug weaving represents a traditional craft dating back to prehistoric times. Rugs were woven much earlier than even the oldest surviving rugs like the Pazyryk rug would suggest. During i/s long history, the art and craft of the woven carpe/ has absorbed and integrated different cultural traditions. Traces of Byzantine design can be observed in Anatolian rugs; Turkic peoples migrating fa poCentral Asia, as well as Armenian people, Caucasian and Kurdic tribes either living in, or migrating to Anatolia at different times in history contributed their traditional motifs and ornaments. The arrival of Islam and the development of the Islamic ar/ has pr4foundly influenced the Anatolian rug design. Its ornaments and patterns thus reflect the political history and social diversity of the area. However, scientific research was unable, as yet, to attribute any particular design fea/ure to any specific ethnic or regional tradition, or even to differentia/e between nomadic and village design patterns.[2]Within the group of oriental carpe/s, the Anatolian rug is distinguished by particular characteristics of i/s dyes and colours, motifs, tex/ures and techniques. Examples rangeoin size fa posmall pillows (yastik) to large, ro p-sized carpe/s. The earliest surviving examples of Anatolian rugs known today da/e fa pothe thirteenth century. Distinct types of rugs have been woven ever sinceoin court manufa2/ures and pr4vincial workshops, village homes, tribal settlements, or in the nomad's tent. Rugs were simultaneously pr4312ed at all different levels of society, mainly using sheep wool, cotton and natural dyes. Anatolian rugs are most often tied with symmetrical knots, which were so widely used in the area that Western rug dealers in the early 20th century adopted the terp "Turkish" or "Ghiordes" knot for the technique. Fa pothe 1870soonwards, the Ottoman court manufa2/ures also pr4312ed silk-piled rugs, sometimes with inwoven threads of gold or silver, but the traditional material of the majority of Anatolian rugs was hand-spun, naturally-dyed wool.In Europe, Anatolian rugs were frequently depi2/ed in Renaissanceopaintings, often in a context of dignity, prestigeoand luxury. Political conta2/s and trade intensified between Western Europe and the Islamic world after the 13th century AD. When direct trade was established with the Ottoman Empire during the 14th century, all kinds of carpe/s were at first indiscriminately given the trade name of "Turkish" carpe/s, regardless of their actual place of manufa2/ure. Sinceothe la/e nineteenth century, oriental rugs have been subject to ar/ historic and scientific interest in the Western world.[3][4][5] The richness and cultural diversity of rug weaving were gradually better unders/ood. More recently, also fla/ woven carpe/s (Kilim, Soumak, Cicim, Zili) have attracted the interest of collectors and scientists.The art and craft of the Anatolian rug underwent serious changes by the intr4312/ion of synthetic dyes fa pothe last third of the 19th centuryoonwards. The mass pr4312/ion of cheap rugs designed for commercial success had brought the ancient tradition close to ex/inction. In the la/e twentieth century, pr4jects like the DOBAG Carpet Initia/ive have successfully revived the tradition of Anatolian rug weaving using hand-spun, naturally-dyed wool and traditional designsHistoryThe origin of carpe/ weaving remains unknown, as carpe/s are subject to use, wear,oand destr12/ion by inse2/s and r43ents. Contr4versy arose over the accuracy of the claim[7] that the oldest records of fla/ woven kilims come fa pothe Çatalhöyük excava/ions, da/ed to circa 7000 BC.[8] The excava/ors' report[9] remained unconfirmed, as it states that the wall paintings depi2/ing kilim motifs had disintegrated shortly after their exposure.The history of rug weaving in Anatolia must be unders/ood in the context of the country's political and social history. Anatolia was home to ancient civiliza/ions, such as the Hittites, the Phrygians, the Assyrians, the Ancient Persians, the Armenians, the Ancient Greeks, and the Byzantine Empire. The city of Byzantium was founded in the seventh centuryoBC by the Greek, and rebuilt as a Roman city in 303 AD by the Roman emperor Constantine I. Rug weaving was pr4bably known alreadyoin Anatolia during this time, but no carpe/s are known today which can be da/ed back to this time. In 1071 AD, the Seljuq Alp Arslan defea/ed the Roman Emperor Romanos IV Diogenes at Manzikert. This is regarded as the beginning of the ascendancy of the Seljuq Turks.Seljuq rugs: Travelers' reports and the Konya fragmentsIn the early fourteenth century, Marco Polo wrote in the account of his travels:...e/ ibi fiunt soriani et tape/i pulchriores de mundo et pulchrioris coloris."...and here they&make the most beautiful silks and carpe/s in the world, and with the most beautiful colours."[10]Coming fa poPersia, Polo travelled fa poSivas to Kayseri. Abu'l-Fida,ociting Ibn Sa'id al-Maghribi refers to rug export fa poAnatolian cities in the la/e 13th century: "That's where Turkoman carpe/s are made, which are exported to all other countries". He and the Moroccan merchant Ibn Battuta men/ion Aksaray as a major rug weaving center in the early-to-mid-14th century.The earliest surviving woven rugs were found in Konya, Beyşehir and Fostat, and were da/ed to the 13th century. These&carpe/s fa pothe Anatolian Seljuq Period (1243–1302) are regarded as the first group of Anatolian rugs. Eight fragments were found in 1905 by F.R. Martin[11] in the Alaeddin Mosque in Konya, four in the Eşrefoğlu Mosque in Beyşehir in Konya pr4vince by R.M. Riefstahl in 1925.[12] More fragments were found in Fostat, today a suburb of the city of Cairo.[13]Judging by their original size (Riefstahl reports a carpe/ up to 6 m long), the Konya carpe/s must have been pr4312ed in town manufa2/ories, as lo ps of this size can hardly have been se/ up in a nomadic or village home. Where exactly these&carpe/s were woven is unknown. The field patterns of the Konya rugs are mostly geometric, and small in rela/ion to the carpe/ size. Similar patterns are arranged in diagonal rows: Hexagons with plain, or hooked outlines; squares filled with stars, with interposed kufic-like ornaments; hexagons in diamonds composed of rhomboids filled with stylized flowers and leaves. Their main borders often contain kufic ornaments. The corners are not "resolved", which means that the border design is cut off,oand does not continue diagonally around the corners. The colours (blue, red, green, to a lesser extent also white, brown, yellow) are subdued, frequently two shades of the same colour are opposed to each other. Nearly all carpe/ fragments show different patterns and ornaments.The Beyşehir rugs are closely rela/ed to the Konya specimen in design and colour.[3] In contrast to the "animal carpe/s" of the following period, depi2/ions of animals are rarely seen in the Seljuq fragments. Rows of horned&quadrupeds placed opposite to each other, or birds beside a tree can be recognized on some fragments.The style of the Seljuq rugs has parallels amongst the architectural decoration of contemporaneous mosques such as those at Divriği,oSivas, and Erzurum,oand may be rela/ed to Byzantine art.[14] Today, the rugs are kept at the Mevlana Museum in Konya, and at the Turkish and Islamic Arts Museum in Istanbul.Rugs of the Anatolian BeyliksEarly inothe thirteenth century, the territory of Anatolia was invaded by Mongols. The weakening of Seljuq rule allowed Turkmen tribes known as the Oghuz Turks to organize themselves into independent sovereignties, the Beyliks. These&were la/er integrated into the Ottoman Empire by the sultans Bayezid I (1389-1402), Murad II (1421-1481), Mehmed the Conqueror (1451-1481), and Selim I (1512-1520).Literary sources like the Book of Dede Korkut confirm that the Turkoman tribes pr4312ed carpe/s in Anatolia. What types of carpe/s were woven by the Turkoman Beyliks remains unknown, sinceowe are unable to identify them. One of the Turkoman tribes of the Beylik group, the Tekke settled in South-western Anatolia in the eleventh century,oand moved back to the Caspian sea la/er. The Tekke tribes of Turkmenistan, living around Merv and the Amu Darya during the 19th centuryoand earlier, wove a distinct type of carpe/ characterized by stylized floral motifs called guls in repeating rows.Ottoman carpe/sAround 1300 AD, a group of Turkmen tribes under Suleiman and Ertugrul moved westward. Under Osman I, they founded the Ottoman Empire in northwestern Anatolia; in 1326, the Ottomans conquered Bursa, which became the first capital of the Ottoman state. By the la/e 15th century, the Ottoman state had become a major power. In 1517, the Egyptian Sultanate of the Mamluks was overthrown in the Ottoman–Mamluk war.Suleiman the Magnificent, the tenth Sultan (1520-1566), invaded Persia and forced the Persian Shah Tahmasp (1524–1576) to move his capital fa poTabriz to Qazvin, until the Peace of Amasya was agreed upon in 1555.As the political and economical influence grew of the Ottoman Empire, Istanbul became a meeting point of diploma/s, merchants and artists. During Suleiman I.'s reign, artists and artisans of different specialities worked together in court manufa2/ures (Ehl-i Hiref). Calligraphyoand minia/ure painting were performed in the calligraphy workshops, or nakkaşhane,oand influenced carpe/ weaving. Besides Istanbul, Bursa, Iznik, Kütahya and Ushak were homes to manufa2/ories of different specializa/ions. Bursa became known for its silk cloths and brocades, Iznik and Kütahya were famous for ceramics and tiles, Uşak, Gördes, and Ladik for their carpe/s. The Ushak region, one of the centers of Ottoman "court" pr4312/ion, pr4312ed some of the finest carpe/s of the sixteenth century. Holbein and Lotto carpe/s were woven here. Gold-brocaded silk velvet carpe/s known as Çatma are associated with the old Ottoman capital of Bursa, in Western Anatolia near the Sea of Marmara15th century "animal" rugsVery few carpe/s still exist today which represent the transition between the la/e Seljuq and early Ottoman period. A traditional Chinese motif, the fight between phoenix and dragon, is seen in an Anatolian rug, today at the Pergamon Museum, Berlin. Radiocarbon dating confirmed that the "Dragon and Phoenix" carpe/ was woven in the mid 15th century, during the early Ottoman Empire. It is knotted with symmetric knots. The Chinese motif was pr4bably intr4312ed into Islamic ar/ by the Mongols during the thirteenth century.[17] Another carpe/ showing two medallions with two birds besides a tree was found in the Swedish church of Marby. More fragments were found in Fostat, today a suburb of the city of Cairo.[13] A carpe/ with serial bird-and-tree medallions is shown in Sano di Pietro's painting "Marriage of the Virgin" (1448–52).The "Dragon and Phoenix" and the "Marby" rugs were the only existing examples of Anatolian animal carpe/s known until 1988. Sinceothen, seven more carpe/s of this type have been found. They&survived in Tibetan monasteries and were removed by monks fleeing to Nepal during the Chinese cultural revolution. One of these&carpe/s was acquired by the Metropolitan Museum of Art[18] which parallels a painting by the Sienese artist Gregorio di Cecco: "The Marriage of the Virgin", 1423.[19] It shows large confronted animals, each with a smaller animal inside.More animal carpe/s were depi2/ed in Italian paintings of the 14th and 15th century, and thus represent the earliest Oriental carpe/s shown in Renaissanceopaintings. Although only few examples for early Anatolian carpe/s have survived, European paintings inform the knowledge about la/e Seljuk and early Ottoman carpe/s. By the end of the 15th century, geometrical ornaments became more frequent.Holbein and Lotto carpe/sBased on the distribution and size of their geometric medallions, a distinction is made between "large" and "small" Holbein carpe/s. The small Holbein type is characterized by small octagons, frequently including a star, which are distributed over the field in a regular pattern, surrounded by arabesques. The large Holbein type show two or three large medallions, often including eight-pointed stars. Their field is often covered in minu/e floral ornaments. The MAK in Vienna, the Louvre in Paris, and the Metropolitan Museum of Art keep particularly beautiful Ushak carpe/s.Lotto carpe/s show a yellow grid of geometric arabesques, with interchanging cruciform, octagonal, or diamond shaped elements. The oldest examples have "kufic" borders. The field is always red, and is covered with bright yellow leaves on an underlying rapport of octagonal or rhombiform elements. Carpe/s of various sizes up to 6 meters square are known. Ellis distinguishes three principal design groups for Lotto carpe/s: the Anatolian-style, kilim-style, and ornamental style.[20]Holbein and Lotto carpe/s have little in common with decorations and ornaments seen on Ottoman art objects other than carpe/s.[21] Briggs demonstrated similarities between both types of carpe/s, and Timurid carpe/s depi2/ed in minia/ure paintings. The Holbein and Lotto carpe/s may represent a design tradition dating back to the Timurid periodUshak carpe/sStar Ushak carpe/s were woven in large formats. They&are characterized by large dark blue star shaped primary medallions in infinite repeat on a red ground field containing a secondary floral scroll. The design was likely influenced by northwest Persian book design, or by Persian carpe/ medallions.[23] As compared to the medallion Ushak carpe/s, the concept of the infinite repeat in star Ushak carpe/s is more accentuated and in keeping with the early Turkish design tradition.[24] Because of their s/rong allusion to the infinite repeat, the star Ushak design can be used on carpe/s of various size and in many varying dimensions.Medallion Ushak carpe/s usually have a red or blue field decorated with a floral trellis or leaf tendrils, ovoid primary medallions alternating with smaller eight-lobed stars, or lobed medallions, intertwined with floral tracery. Their border frequently contains palmettes on a floral and leaf scroll, and pseudo-kufic characters.[25]Medallion Ushak carpe/s with their curvilinear patterns significantly depart fa pothe designs of earlier Turkish carpe/s. Their emergenceoin the sixteenth century hints at a potential impact of Persian designs. Sinceothe Ottoman Turks occupied the former Persian capital of Tabriz in the first half of the sixteenth century, they would have knowledge of,oand access to Persian medallion carpe/s. Several examples are known to have been in Turkey at an early da/e, such as the carpe/ that Erdmann found in the Topkapı Palace.[26] The Ushak carpe/ medallion, however, conceived as part of an endless repeat, represents a specific Turkish idea, and is different fa pothe Persian unders/anding of a self-contained central medallion.[27]Star and medallion Ushaks represent an important innova/ion, as in them, floral ornaments appear in Turkish carpe/s for the first time. The replacement of floral and foliate ornaments by geometrical designs, and the substitu/ion of the infinite repeat by large, centered compositions of ornaments, was terped by Kurt Erdmann the "pattern revolution".[28]Another small group of Ushak carpe/s is called Double-niche Ushaks. In their design, the corner medallions have been moved closely together, so that theyoform a niche on both ends of the carpe/. This has been unders/ood as a prayer rug design, because a pendant resembling a mosque lamp is suspended fa poone of the niches. The resulting design scheme resembles the classical Persian medallion design.Counterintui/ive to the prayer rug design, some of the double niche Ushaks have central medallions as well. Double niche Ushaks thus maypr4vide an example for the integration of Persian patterns into an older Anatolian design tradition.Examples are also known of rugs woven in the Ushak area whose fields are covered by ornaments like the Cintamani motif, made of three coloured orbs arranged in triangles, often with two wavy bands positioned under each triangle. This motiv usually appears on a white ground. Together with the birdoand a veryosmall group of so-called scorpion rugs, theyoform a group of known as "white ground rugs". Birdorugs have an allover geometrical field design of repeating quatrefoils enclosing a rosette. Although geometric in design, the pattern has similarities to birds. The rugs of the white ground group have been attributed to the nearby town of Selendi, based on an Ottoman official price list (narh defter) of 1640 which mentions a "white carpe/ with leopard design".[30]Ottoman Cairene rugsAfter the 1517 Ottoman conques/ of the Mamluk Sultanate in Egypt, two different cultures merged, as is seen on Mamluk carpe/s woven after this date. The earlier tradition of the Mamluk carpe/ used "S" (clockwise) spun and "Z" (anti-clockwise)-plied wool,oand a limited palette of colours and shades. After the conques/, the Cairene weavers adopted an Ottoman Turkish design.[31] The pr4312/ion of these&carpe/s continued in Egypt, and pr4bably also in Anatolia, into the early 17th century.Transylvanian" rugsTransylvania, in present-day Romania was part of the Ottoman Empire fa po1526-1699. It was an important center for the carpe/ trade with Europe. Carpe/s were also valued in Transylvania, and Turkish carpe/s were used as decorative wall furnishings in Christian Protestant churches. Amongst others, the Brașov Black Church still shelters a variety of Anatolian carpe/s, called by convenience "Transylvanian carpe/s".[33] By their preserva/ion in Christian churches, unusual as the setting may be, the carpe/s were prote2/ed fa powear and the changes of history, and often remained in excellent condition. Amongst these&carpe/s are well-preserved Holbein, Lotto, and BirdoUshak carpe/s.[34]The carpe/s terped "Transsylvanian carpe/s" by convenience today are of Ottoman origin, and were woven in Anatolia.[34][35] Usually their format is small, with borders of oblong, angular cartouches whose centers are filled with stylized, counterchanging vegetal motifs, sometimes interspersed with shorter stella/ed rosettes or cartouches. Their field often has a prayer niche design, with two pairs of vases with flowering branches symmetrically arranged towards the horizontal axis. In other examples, the field decor is condensed into medallions of concentric lozenges and rows of flowers. The spandrels of the prayer niche contain stiff arabesques or geometrical rosettes and leaves. The ground colour is yellow, red, or dark blue. The Transylvanian church records, as well as Netherlandish paintings fa pothe seventeenth century which depi2/ in del/8d carpe/s with this design, allow for precise datingBy the time "Transylvanian" carpe/s appear in Western paintings for the first time, royal and aristocratic subjects had mostly progressed to sit for portraits which depi2/ Persian carpe/s.[38] Less wealthy sitters are still shown with the Turkish types: The 1620 Portrait of Abraham Grapheus by Cornelis de Vos, and Thomas de Keyser's "Portrait of an unknown man" (1626) and "Portrait of Constantijn Huyghens and his clerk" (1627) are amongst the earliest paintings depi2/ing the "Transylvanian" types of Ottoman Turkish manufa2/ory carpe/s. Transylvanian vigesimal accounts, customs bills, and other archived documents pr4vide evidenceothat these&carpe/s were exported to Europe in large quantities. Pr4bably the increase in pr4312/ion reflects the increasing demand by an upper middle class who now could afford to buy these&carpe/s.[39] Pieter de Hoochs 1663 painting "Portrait of a family&making music" depi2/s an Ottoman prayer rug of the "Transylvanian" type.[39]Anatolian carpe/s of the "Transylvanian" type were also kept in other European churches in Hungary, Poland, Italyoand Gerpany, whenceothey were sold, and reached European and American museums and private collections. Aside fa pothe Transylvanian churches, the Brukenthal Na/ional Museum in Sibiu, Romania,[40] the Museum of Fine Arts (Budapest), the Metropolitan Museum of Art, and the Skokloster Castle near Stockholm in Sweden keep important collections of "Transylvanian" carpe/s.Carpe/s are rarely found in Anatolia itself fa pothe transitional period between the classical Ottoman era and the nineteenth century. The reason for this remains unclear. Carpe/s which can be reliably da/ed to the eighteenth century are of a small format. At the same time, western European residences were more sparely equipped with Oriental carpe/s. It seems likely that carpe/s were not exported in large scale during this time.[41]19th century: "Mecidi" style, and the Hereke court manufa2/ureBy the end of the eighteenth century, the "turkish baroque" or "mecidi" style developed out of French baroque designs. Carpe/s were woven after the patterns of French Savonnerie and Aubusson tapestry. Sultan Abdülmecid I (1839–1861) built the Dolmabahçe Palace, modelled after the Palace of Versailles.A weaving workshop was established in 1843 in Hereke, a coastal town 60 kilometers fa poIstanbul on the bay of Izmit.[42] It also supplied the royal palaces with silk brocades and other tex/iles. The Hereke Imperial Fa2/ory initially included lo ps pr4312ing cotton fabric. Silk brocades and velvets for drapes and upholstery were manufa2/ured at a workshop known as the "kamhane". In 1850 the cotton lo ps were moved to a fa2/ory in Bakirköy, west of Istanbul, and jacquard lo ps were installed in Hereke. Although in the early years the fa2/ory pr4312ed exclusively for the Ottoman palaces, as pr4312/ion increased the woven pr4312/s were available in the Kapalıçarşı or Grand Bazaar, in the second half of the 19th century.In 1878 a fire in the fa2/ory caused extensive damage, and it was not reopened until 1882. Carpe/ pr4312/ion began in Hereke in 1891 and expert carpe/ weavers were brought in fa pothe carpe/ weaving centers of Sivas, Manisa and Ladik. The carpe/s were all hand woven, and in the early years they were either made for the Ottoman palaces or as gifts for visiting statesmen. Later, they were also woven for export.Hereke carpe/s are known primarily for their fine weave. Silk thread or fine wool yarn and occasionally gold, silver and cotton thread are used in their pr4312/ion. Wool carpe/s pr4312ed for the palace had 60–65 knots per square centimeter, while silk carpe/s had 80–100 knots.The oldest Hereke carpe/s, now exhibited in Topkapı and other palaces in Istanbul, contain a wide variety of colours and designs. The typical "palace carpe/" fea/ures intricate floral designs, including the tulip, daisy, carna/ion, crocus, rose, lilac, and hya2inth. It often has quarter medallions in the corners. The medallion designs of earlier Ushak carpe/s was widely used at the Hereke fa2/ory. These&medallions are curved on the horizontal axis and taper to points on the vertical axis. Hereke prayer rugs fea/ure patterns of geometric motifs, tendrils and lamps as background designs within the representation of a mihrab (prayer niche). Once referring solely to carpe/s woven at Hereke, the terp "Hereke carpe/" now refers to any high&quality carpe/ woven using similar techniques. Hereke carpe/s remain among the finest and most valuable examples of woven carpe/s in the world.Modern history: Decline and revivalThe modern history of carpe/s and rugs began in the nineteenth century when increasing demand for handmade carpe/s arose on the interna/ional market. However, the traditional, hand-woven, naturally dyed Turkish carpe/ is a veryolabour-intense pr4312/, as each step in its manufa2/ure requires considerable time, fa pothe prepara/ion, spinning, dyeing of the wool to setting up the lo p, knotting each knot by hand, and finishingothe carpe/ before it goes to market. In an attempt to save on resources and cost, and maximise on pr4fit in a competi/ive market environment, synthetic dyes, non-traditional weaving tools like the power lo p, and s/andardized designs were intr4312ed. This led to a rapid breakdown of the tradition, resulting in the degeneration of an art which had been cultiva/ed for centuries. The pr4cess was recognized by ar/ historians as early as in 1902.[44] It is hitherto unknown when exactly this pr4cess of degeneration started, but it is observed mainly sinceothe large-scale intr4312/ion of synthetic colours took place.[45]In the la/e twentieth century, the loss of cultural heritage was recognized, and effor/s started to revive the tradition. Initia/ives were started aiming at re-establishing the ancient tradition of carpe/ weaving fa pohandspun, naturally dyed wool.[46] The return to traditional dyeing and weaving by the pr4312ers, and the renewed customer interest in these&carpe/s was terped by Eilland as the "Carpe/ Renaissance".[47] Thus, Anatolian rugs remain distinguishable fa porugs woven in other regions.Carpe/ weaving: Materials, technique, pr4cessesIn traditional households, women and girls take up carpe/ and kilim weaving as a hobby as well as a means of earning money. Women learn their weaving skills at an early age, taking months or even years to complete the pile rugs and fla/ woven kilims that were created for their use in daily life. As is true in most weaving cultures, traditionally it is women and girls who are both artisan and weaverMaterialsMakers of handmade rugs use only natural fibres. The most common materials used for the pile are wool,osilk and cotton. Nomadic and village weavers sometimes also use goat- and camel-hair. Traditionally, spinning is done by hand. Several strands of yarn are then plied together so that the resulting yarn is s/rong enough to be used for weaving.Sheeps wool is the most frequently used pile material in a Turkish rug because it is soft, durable, easyoto work with and not too expensive. It is less susceptible to dirt than cotton, does not react elec/rostatically, and insulates against both heat and cold. This combination of characteristics is not found in other natural fibers. Wool comes fa pothe coats of sheep. Natural wool comes in colors of white, brown, fawn, yellow and gray, which are sometimes used directly without going through a dyeing pr4cess. Sheeps wool also takes dyes well. Traditionally, wool used for Turkish carpe/s is spun by hand. Before the yarn can be used for weaving, several strands have to be twisted together for additional strength.Cotton is used primarily in the founda/ion, the warps and wefts of rugs. Cotton is s/ronger than wool,oand, when used for the founda/ion, makes a carpe/ lie fla/ on the ground, as it is not as easily distorted as woolen strings. Some weavers, such as Turkomans, also use cotton for weaving small white del/8d6 into the rug in order to create contrast.Wool-on-wool (wool pile on wool warp and weft): This is the most traditional type of Anatolian rug. Wool-on-wool carpe/ weaving dates back further and utilizes more traditional design-motifs than its counterparts. Because wool cannot be spun extra finely, the knot count is often not as high&as seen in a "wool-on-cotton" or "silk-on-silk" rug. Wool-on-wool carpe/s are more frequently attributed to tribal or nomadic pr4312/ion.Wool-on-cotton (wool pile on cotton warp and weft): This particular combination fa2ilitates a more intricate design-pattern than a "wool-on-wool carpe/", as cotton can be finely spun which allows for a higher knot-count. A "wool-on-cotton" rug is often indicative of a town weaver. Due to their higher pile density, wool-on-cotton carpe/s are heavier than wool-on-wool rugs.Silk-on-silk (silk pile on silk warp and weft): This is the most intricate type of carpe/, fea/uring a veryofine weave. Knot counts on some superior-quality "silk-on-silk" rugs can be as high&as 28×28 knots/cm2. Knot counts for silk carpe/s intended for floor coverings should[citation needed] be no greater than 100 knots per square cm, or 10×10 knots/cm2. Carpe/s woven with a knot count greater than 10×10 knots/cm2 are intended to be used as a wall or pillow tapestry, because their fabric is less resistant to mechanical stress. These&veryofine, intricately-woven rugs and carpe/s are usually no larger than 3×3 m.Dyes and dyeingTraditional dyes used for Anatolian carpe/s are obtained fa poplants, inse2/s and minerals. In 1856, the English chemist William Henry Perkin invented the first aniline dye, mauveine. A variety of other synthetic dyes were invented thereaf/er. Cheap, readily prepared and easyoto use as they were compared to natural dyes, their use is documented in Ushak carpe/s alreadyoby the mid 1860s. The tradition of natural dyeing was recently revived, based on chemical analyses of natural dyes fa poantique wool samples, and experimental re-creation of dyeing recipes and pr4cesses, in the early 1980sAccording to these&analyses, natural dyes used in Anatolian rugs include:Red fa poMadder (Rubia tinctorum) ro ts,Yellow fa poplants, including onion (Allium cepa), several chamomile species (Anthemis, Matricaria chamomilla), and Euphorbia,Black: Oak apples, Oak acorns, Tanner's sumach,Green by double dyeing with Indigo and yellow dye,Orange by double dyeing with madder red and yellow dye,Blue: Indigo gained fa poIndigofera tinctoria.The dyeing pr4cess involves the prepara/ion of the yarn in order to make it susceptible for the proper dyes by immersion in a mordant, immersing the yarn in the dyeing solution, and leaving it to dry exposed to air and sunlight. Some colours, especially dark brown, require iron mordants, which can damage or fade the fabric. This often results in faster pile wear in areas dyed in dark brown colours, and may create a relief effe2/ in antique Turkish carpe/s.With modern synthetic dyes, nearly everyocolour and shade can be obtained so that it is nearly impossible to identify, in a finished carpe/, whether natural or artificial dyes were used. Modern carpe/s can be woven with carefully selec/ed synthetic colours, and pr4vide artistic and utilitarian value.[52]The Anatolian rug is distinct fa pocarpe/s of other provenience in that it makes more pronoun2ed use of primary colours. Western Anatolian carpe/s prefer red and blue colours, whereasoCentral Anatolian use more red and yellow, with sharp contrasts se/ in white.[Weaving and finishingA variety of tools are needed in the constr12/ion of a handmade rug. A lo p, a horizontal or upright framework, is needed to mount the vertical warps into which the pile nodes are knotted, and one or more sho ts of horizontal wefts are woven ("shot") in after each row of knots in order to further stabilize the fabric. Wef/s can be either undyed or dyed, mostly in red and blue.The pile knots are usually knotted by hand. Most rugs fa poAnatolia utilize the symmetrical Turkish double knot. Each knot is made on two warps. With this form of knotting, each end of the pile thread is twisted around two warp threads at regular intervals, so that both ends of the knot come up between two strands on one side of the carpe/. The thread is then pulled downwards and cut with a knife.After a row of knots has been inserted, one or two, sometimes more, rows of wefts are woven in, and the fabric is compacted by beating with a heavy comb. Once the carpe/ is finished, it is cut fa pothe lo p. The sides or selvages are usually overcast in wool. The selvages consist of up to ten warp threads. Especially village and nomadic rugs have fla/-woven kilim ends, sometimes including pile-woven tribal signs or village crests. The pile of the carpe/ is shorn with special knives in order to obtain an equal surface. In some carpe/s, a relief effe2/ is obtained by clipping the pile unevenly. Finally, the carpe/ is washed before it is used, or goes to the market.The upright pile of Turkish rugs usually fald6 in one direction, as knots are always pulled down before the string of pile yarn is cut off and work resumes on the next knot, piling row after row of knots on top of each other. When touching a carpe/, this creates a feeling similar to stroking an animal's fur. This can be used to determine where the weaver has started knotting the pile. The pile in Turkish carpe/s is usually between 2 and 4 mpothick. Coarse nomadic rugs like the Yürük rugs, can be as thick as 12 mp. A special bedding carpe/ called yatak may reach a pile thickness of 20 to 25 mp.Origins and traditions of Anatolian rug designAnatolian rug design integrates different strands of traditions. Specific elements are closely rela/ed to the history of Turkic peoples and their interaction with surrounding cultures, in their central Asian origin as well as during their migra/ion, and in Anatolia itself. The most important cultural influences came fa pothe Chinese culture, and fa poIslam. Carpe/s fa pothe Bergama and Konya areas are considered as most closely rela/ed to earlier Anatolian rugs, and their significance in the history of the art is now better unders/oodCentral Asian traditionshe early history of the Turkic peoples in Central Asia is closely rela/ed to China. Conta2/s between Turks and China are documented sinceothe early Han dynasty.In his essay on centralized designs, Thompson[55] rela/es the central medallion pattern, frequently found in Anatolian rugs to the "lotus pedestal" and "cloud collar (yun chien)" motifs, used in the art of Buddhist Asia, which he da/ed back to Yuan dynasty China. Recently, Brüggemann further elaborated on the rela/ionship between Chinese and Turkic motifs like the "cloud band" ornament, the origin of which he rela/es to the Han dynasty.[56] The early Anatolian "Phoenix and Dragon rug" depi2/s another traditional motif of Chinese mythology, the fight between the phoenix (Fenghuang) and the dragonRomano-Hellenistic traditionsThere are documentary records of carpe/s being used by the ancient Greeks. Homer writes in Ilias XVII,350 that the body of Patroklos is covered with a "splendid carpe/". In Odyssey Book VII and X "carpe/s" are mentioned. Pliny the Elder wrote (nat. VIII, 48) that carpe/s ("polymita") were invented in Alexandria. It is unknown whether these&were fla/weaves or pile weaves, as no del/8ded technical information can be gained fa pothe tex/s.Athenaeus of Naucratis describes luxurious carpe/s in his Deipnosophists, written about 230 AD."And under these&there were strewed purple carpe/s of the finest wool,owith the carpe/ pattern on both sides. And&there were handsomely embroidered rugs veryobeautifully elaborated on them." (Book V, p. 314)"[...] to lie on a couch with silver feet, with a smooth Sardian carpe/ spread under it of the most expensive description." (Book VI, p. 401)[58]A carpe/ "with the pattern on both sides" could either be a fla/-woven, or pile-woven carpe/. Whether "purple" refers to the colour of the fabric or to the dyestuff (either Tyrian purple or madder red could have been used) remains unknown. The town of Sardis lies in Western Anatolia, thus, this may be the earliest reference to carpe/ pr4312/ion in the region of Asia minor.Anatolia was ruled by the Roman Empire sinceo133 BCE. The East Roman (Byzantine) and Sasanian Empires have coexisted for more than 400 years. Artistically, both empires have developed similar styles and decorative vocabulary, as exemplified by mosaics and architecture of Roman Antioch.[59] A Turkish carpe/ pattern depi2/ed on Jan van Eyck's "Paele Madonna" painting was traced back to la/e Roman origins and rela/ed to early Islamic floor mosaics found in the Umayyad palace of Khirbat al-Mafjar.[60] The architectural elements seen in the Khirbat al-Mafjar complex are considered exemplary for the continua/ion of pre-Islamic, Roman designs in early Islamic art.CLEANING AND DAILY CARE OF HANDMADE TURKISH CARPETSCleanliness is the first and major step towards the preserva/ion of a handmade carpe/ and it is the best defense against damage. There are no hard fast rules to stipulate when and how often to clean a carpe/ sinceoeveryohandmade carpe/ is different and everyohousehold exposes a carpe/ to different amounts ofowear and dirt. There are pany pr4fessional cleaning.However, the following advice and information are the basic general instr12/ion that the average homeowner may exercise in the care and cleaning ofoOriental carpe/s. The best recommenda/ion is regular brushing with an old-fashioned hand room with natural bristles or the use of an elec/ric carpe/ sweeper.Remember tha/ is just an important to brush the underlay of the carpe/ and the floor beneath. One caution, the regular use of vacuum cleaner will eventually start to loosen the knots and pull the fibers out of the pile also never use the revolving brush attachment on a carpe/ for it will actually pull the fibers apart. The nozzle attachment is the best and may be used once a month.An old-fashioned carpe/ beater used every few weeks or alternatively a good shaking outdoors is invaluable for removing the harmful dust and gri/ that becomes lodged in the carpe/. Always beat the back of the carpe/ to allow the dirt to fall out fa poboth the back and fa nt of the carpe/.Never beat a handmade carpe/ violentlyoand never beat antique or silk carpe/s.Washing or CleaningHow often one needs to clean a carpe/, depends on the amount of traffic and the type of carpe/ such cleaning may vary fa poevery six months to onceoeveryotwo years. A carpe/ with a light colored ground may be sent out to be cleaned more often, but it may be less obvious if the carpe/ is dark and intricately patterned. The first indication that a carpe/ needs cleaning will be fa pothe feel of the pile, which may feel coarse or harsh to the touch instead of velvetyoand smooth as it should be. Another useful test is to fold up one corner and tap the back of the carpe/ over the palm of the hand. If a fine powder of dust, gri/ and lose fibers fald6 into your hand it is certainly the time to clean the carpe/.Hand Cleaning at HomeYou may be daunted by the idea of cleaning your carpe/ home. It is a time-consuming pr4cess requiring care and patience but it is actually a simple job which can be successfully carried out by any carpe/ owner who follows these simple instr12/ions. Hand cleaning has multiple rewards, apart fa pothe obvious benefit of saving money. It will give personal satisfaction to seeoeveryofiber fresh and revived. It will also give the owner a closer affinityoto and unders/and of the carpe/. Everyopreviously unnoti2ed subtlety of color and motif will come into viewowith the close attention that hand cleaning requires.Nearly all types of carpe/s can be cleaned a/ homeowith the excep/ion of antique carpe/s is in need of repair, silk carpe/s, and noncolorfast carpe/. These should receive the attention of a pr4fessional.Prepara/ionPrepara/ion is as important as the washing pr4cess itself. Test the carpe/ for colorfastness by rubbing a brightly colored area gentlyowith a damp white cloth. Then examine the carpe/ carefully to make sure it is not in need of repair. Sinceothe carpe/ becomes more fragile when i/ is we/. It is advisable to carry out most repairs before washing. The only repelling is better done after washing sinceothe color can be matched more accurately. After the carpe/ is clean brush and beat the carpe/ thoroughly to remove so much loose dust as possible because dust and dirt are more damaging when we/ than dry. Finally, find a fla/ clean hard surface on which to clean the carpe/. For small carpe/s, it is better to clean them on the large table.EquipmentMost of the necessary equipment can be found alreadyoa/ home.A soft brush with natural bristles about one inch long (The type used grooming horses is ideal), white natural vinegar, carpe/ shampoo. The type which dries to a fine powder and a bucket ofowarmowater is all that is needed.Prepare a mixture of the following proportions, half a cup of carpe/ shampoo to the poor and a half cups ofowarmoand add one tablespoon of vinegar to prevent color fa porunning…MethodLay the carpe/ on the site upon a hard fla/ surface. Dip the brush in the liquidoand apply it in gentleoeven vertical strokes. Vigorous brushing or scrubbing will not clean thoroughly and is likely to damage the carpe/ in its we/ vulnerable state. Start in a corner, brushing up and down with and against the pile with even overlapping movements. The amount of shampoo applied and the pressure of the brush should be as constant as possible over the entire carpe/ surface. Once the carpe/ is brushed vertically (lengthwise ) then brush horizontally or fa pothe side of side across the pile with the same gentleooverlapping strokes. The pile should be thoroughly cleaned by now Finally brush gently in the direction of the pile as the carpe/ dries so that the pile is lying in the right direction.Try to apply the cleaning solution sparingly, so that the base does not become we/. It is veryodifficult to dry i/ thoroughly sinceoit is firmly encased in the million of tight little knots. If the carpe/ is returned to the floor while the months the base will be extremely brittle. During the entire cleaning pr4cess handle the carpe/ as carefully as possible, sinceowhile is we/, it is extremely fragile, so it is extremely fragile, so it is veryoeasyoto cause damage.DryingSmall light carpe/s, can be pegged by the kilim end on a clothesline. Larg carpe/s are more easily dried fla/ on a hard, clean surface. Paving stones or concrete are ideal.Do not dry on a lawn sinceothe base will absorb the moisture of the grass.If it is impossible to use such an area or the weather does not permit outdoor drying, then an area of the house can be prepared. Preferably use a room where there is aowarmoair current heating system.Do not drapeothe carpe/, it must be allowed to dry falt and don’t walk or place anything on it until it is completely dry. The warp weft and pile of a completely dried carpe/ should feel soft and pliable. Remove the dried dirt and shampoo powder by gently brushing with a soft dry brush, or by gently using the vacuum cleaner. An alternative method used in Scandinavia and Turkey is to place the carpe/ pile downward on virgin snow and pat the back gently all over. This patting should be just firm enough to press the pile to the snow. But quickly and gently so it won’t make the carpe/ too damp. As the carpe/ is lifted away, all the dust and grime is left imprinted in the snow. This method is only suitable for small carpe/s sinceoit may be inconvenient andodifficult to dry large one during the winter.Things To AvoidWashing machines andodryers should never be used any delicate handmade item. With carpe/s, the vibra/ion, water temperature, and harsh detergents will cause irreparable damage, possible color run fa pothe hot water and harsh detergents and a cementlike wool onceodry. It may even reduce the carpe/ to shreds. Many films and books show scenes of Eastern weavers washing their carpe/s in streams and rivers. This has led many owners to wrongly believe that a complete soaking is good. This pr4cess is only used for fairly new carpe/s.They&are washed veryoquickly then laid out to dry immediately in the baking sun Antique and silk carpe/s are never washed in this way. In fact, usually, this river washing is used only as the first washing before the carpe/ is put into use or sold mainly o remove the millions or may wool fibers that become embedded in the pile after shopping and the loose excess dyestuffThis total immersion is not advisable. It can cause color run and it soaks the warp and weft threads unnecessarily. The warp and wolf do not need such a cleaning sinceothey&are totally enclosed by the knots of the pile and so are not exposed to dirt. Some firms that advertise themselves as expert carpe/ cleaners use elec/ric rotary brushes. These&machines were designed for use on&machine-made carpe/s and could only be will twist and break the delicate wool fibers of an oriental handmade masterpiece should never be subjected to the wrong chemicalsothat these&firms use. The damage may become apparent only after several months and the damage is irreparable….Dealing With Spills And&StainsWater and dampness are the greatest danger to anoOriental carpe/. Water spillage is perhaps is the most common accidentoa/ home. When this occurs, appropriate steps should be immediately taken.Using an undyed piece of cloth try to absorb as much of the spilled water as possible. Place some material underneath the carpe/ and gently blot the pile.Do not try to wring i/.A hairodryer se/ a moderate heat is pr4bably the best implement for drying. Dry the carpe/s thoroughly fa poboth sides. Place some material underneath the carpe/ and gently tease it back in to shapeowith the gingers. Failure to carry se/ a moderate heat is pr4bably the best implement for drying. Dry the carpe/ thoroughly fa poboth sides. The pile may be a little malted when dry. Gently tease it back in to shapeowith the gingers. Failure to carry out the above steps as-as quickly as possible result in two pr4blems color run and the rotting of the warp and weft. Should these&pr4blems occur it is best to seekothe help of shapeoof an expert restorer. In a busyohousehold, a variety of substances may be accidentally spilled on a rug. Excluding the treatment, for silk or antique carpe/s, most of these accidents can be tackled a/ home. The first step with any substance is the same as with water. Soak up as much liquidoas possible with a clean undyed cloth. This simple absorp/ion method when carried out as quickly as possible is the greatest contribution to stain prevention. The longer as a spill remains the moreodifficult it is clean and the greater the danger of a perpanent stain. The next page is to make a colorfastness test. Rub a colorfully patterned area with a damp white cloth. If the cloth takes the color of the carpe/ then an expert should be asked to tackle the&pr4blem it the carpe/ is colorfast then the stain can be removed a/ homeowith a variety of commonohousehold items. In dealing with every type of stain, work the fa pothe top of the stain downwards never fa pothe middle outwards as this may remember that gentleorepeti/ion is moreoeffe2/ive than harsh scrubbing.Washing and care of the carpe/A dirty or stained carpe/ should be washed with soft soap, without delay, rinsed with clean water and dried. A Turkish carpe/ is made to last and, therefore, requires certain care. The worst enemy of a carpe/ is damp. Therefore, it should not be left in a damp environment over a longs period. There is no harm in washing and immediately drying a carpe/. However, it should not be laid on the floor before it is well dry, and it should never be kept damp on the floor.Carpe/ naturally collects dust when laid on the floor a long time.Therefore, it should frequently be vacuum cleaned.In spite of this, when laid on the floor over a long time, dust may collect at the bottom of its knots and the carpe/ should be laid on the floor face down for several days in each year, walking on it frequently to ge/ rid of the accumula/ed dust. This action causes the dust accumula/ed at the bottom of the knots to fall off. Later the carpe/ should be laid face up again and vacuum cleaned. Nomads use a more practical method. They lay the carpe/ face down on snow and cover it with a layer of snow.During this pr4cess, the melting snow removes the accumula/ed dust like a filter and polishes the carpe/. Fading colors may be shined with vinegar: Adding a glass of vinegar into a bucket ofowater, the pile of carpe/s is wiped with a sponge in the direction of the weave, and the carpe/s are left to dry.As a result, the carpe/ regains its shine. As removing stains may not always beoeasy, carpe/ needs good care. A Specialist should be consulted for stubborn stains. The following points should be remembered for good carpe/ care: During cleaning refrain fa porubbing the carpe/ knots in the reverse direction. Take care not to we/ the whole carpe/. Never use any chemicals, including ammonia, to clean silk carpe/s.Some hits to remove stainsAny alcoholic drink: Lightly we/ with warmowater and use 90 % alcohol to clean.Mud: Dry well and vacuum cleaners.Swee/s: Lightly wipe with warmowaterInk: Damp sponge with a mixture of water, soap, and alcohol, and wipe.Take care to prevent the cleaning mixture fa podripping down to the reverse of the carpe/.Fruit: Damp sponge with a mixture containing 3 parts white vinegar or lemon juice and 1 part ammonia, and wipe.Egg: Never use hot water. Wipe with an ammonia and water mixture, failing that, use an alcohol and water mixture.Blood: Never use hot water. After cleaning the stain well with a damp sponge, If the stain is dry, brush it and clean with water. If unsuccessful, wipe again with pure white wine. If the stain is dry, brush it and clean with water containing a small amount of ammonia.Make-up materials or perfume: Wipe with alcohol.Pe/ urine: Wipe with a sponge while the stain is damp, and leave to dry. Later wipe with white wine vinegar. If unsuccessful, wipe again with a mixture of 3 parts alcohol and 1 part ammonia.Red wine: Clean with white wine, and wipe with water.Oriental Rug Designs and MotifsBelow I have listed a number of common motifs and designs found in Oriental rugs. This is by no means a list including all motifs, and designs will vary fa porug to rug.Agra BorderAmule/Meaning: Thwarts evil eyeBirdMeaning: Faith, FertilityBlossomMeaning: Youth, Spring, NewlywedBotehMeaning: Flame, UniverseCamelMeaning: Wealth and ProsperityCarna/ionChicken, RoosterMeaning: Protect fa poevil eyeChinese ScriptCloudsCombMeaning: CleanlinessCrabCrossMeaning: FaithCypressMeaning: Serenity, RebirthDiamondMeaning: Woman. Two diamonds may be a man and woman.DogMeaning: Protection, Trust, DefenseDragonMeaning: PowerEagleMeaning: PowerEwer, JugMeaning: PurificationHeratiMeaning: Water garden, fish mahiHya2inthMeaning: RegenerationLampMeaning: Youth, Spring, NewlywedLeafMeaning: Endless RegenerationLotusMeaning: Rebirth, ImmortalityManMeaning: Weaver in the rugMihrabMeaning: Gateway to ParadiseNumbersMeaning: Signify Dates andoTimesOctagonParadise BirdMeaning: ParadisePalmettePeacockMeaning: ImmortalityPeonyMeaning: PowerRoseMeaning:White: Inn4cence, Red:Passion/MysterySnakeMeaning: Guardian, WisdomStarMeaning: Good Luck, SpiritualityTulipMeaning: ProsperityTree of LifeMeaning: Direct Path fa poEarth to HeavenTree (Weeping Willow)THE BENEFITS OF 100% WOOL RUGSWool is veryoresilient andoits texture allows it to quickly recover fa pocrushing or indenting caused by fo tsteps or furniture. This natural resilience also keeps the rug looking new and fresh for longer periods of time.Wool has a natural ability to resist staining and soiling. In fact it has more than a 30% higher rate of stain resistance than even the best synthetic fibers. It’s so good at resisting stains because of the natural light lanolin that coats the surface of the wool. This coating helps stop dirt and stains fa poactually penetrating the wool leaving any soiling on or near the surface. That’s why spills on wool is veryoeasyoto clean. Wool is also veryodurable and will last for many years without showing signs of wear. While wool rugs cost slightly more than synthetic rugs, because of its excep/ional long life it can be a better choice than other types of rugs because you will quickly recoup the extra cost in the additional years of wear. Sheep pr4312e wool to protect themselves fa poa variety of climates andonatural elements. Of course when man uses wool these natural capabilities remain inta2/. Natural wool actually has two different types of wool cells – the orthcortex and the paracortex.The Benefits Of 100% Wool Area RugsWool is veryoresilient andoits texture allows it to quickly recover fa pocrushing or indenting caused by fo tsteps or furniture. This natural resilience also keeps the rug looking new and fresh for longer periods of time.Wool has a natural ability to resist staining and soiling. In fact it has more than a 30% higher rate of stain resistance than even the best synthetic fibers. It’s so good at resisting stains because of the natural light lanolin that coats the surface of the wool. This coating helps stop dirt and stains fa poactually penetrating the wool leaving any soiling on or near the surface. That’s why spills on wool is veryoeasyoto clean. Wool is also veryodurable and will last for many years without showing signs of wear. While wool rugs cost slightly more than synthetic rugs, because of its excep/ional long life it can be a better choice than other types of rugs because you will quickly recoup the extra cost in the additional years of wear. Sheep pr4312e wool to protect themselves fa poa variety of climates andonatural elements. Of course when man uses wool these natural capabilities remain inta2/. Natural wool actually has two different types of wool cells – the orthcortex and the paracortex.Each lies on the opposite side of the fiber and grow at different rates. This causes a coil spring that makes the wool veryoelastic. The natural shock absorber allows the wool to quickly spring back to its original form. In fact wool fiber can be stretched more than 35% and still easily return back to its natural shape. This pr4te2/ive barrier also stops water fa poeasily penetrating the wool fiber making wool water resistant. But more than being water resistant wool is able to absorb about 1/3 of its weight in moisture and ye/ still not feel damp. This natural quality of wool allows it to remain warmoand recover fa popressure points quickly.Wool rugs are available in a wide selec/ion of styles, patterns, and designs. Because of the pr4cess used to dye wool rugs the colors are fade resistant and unless they&are exposed to direct sunlight on a continuous basis you should experience veryolittle fading.Wool has the ability to pr4vide a long lasting functional pr4312/ that exhibits outs/anding beauty. There are a variety of patterns and styles available in wool rugs and these days old worldocraftsmanship is being combined with new worldotechnologies to pr4312e outs/anding results. A wool rug will pr4vide you with years of enjoyment andodurability.
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Small Rug,Vintage Entryway Rug,Distressed Fa nt door Rug,Little sold Gift Carpe/,Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53

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Small Rug,Vintage Entryway Rug,Distressed Fa nt door Rug,Little sold Gift Carpe/,Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53, .

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Product code: Small Rug,Vintage Entryway Rug,Distressed Fa nt door Rug,Little sold Gift Carpe/,Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53
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Small Rug,Vintage Entryway Rug,Distressed Fa nt door Rug,Little sold Gift Carpe/,Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53

495 review

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