Creating a Bohemian living room means creating an absolutely different and personalized atmosphere to your liking. In addition, the best feature of this boho style is that you can use any art pieces. Include your own work of art and mix colors you wish. Bohemian style often resembles a fun Eastern interior. For instance, Moroccan, so enjoy bright colors and patterns if that is what your into. You want to include wood, fur, different fabrics, leather and silk plants. Most importantly choose a oriental rug that will go with your bohemian design. Your options are endless when it comes to rugs and with a boho interior you can use pretty much any style rug. Have fun and enjoy the variety of materials you can use to create a wonderful Bohemian design. Personalized in various ways, get inspired!
This Shirvan Kilim is a flat tapestry-woven carpet traditionally produced in countries of the former Ottoman Empire, Iran, Azerbaijan and Turkic countries of Central Asia. Kilims can be purely decorative in any home especially in this design. These bohemian decorating ideas have colorful collections, unconventional displays, and design inspired by free expression as its core elements. It draws a portrait of your living room as individualistic as you.
With this Victorian style living room that has a quirky take with a boho-chic look, you are sure to come out of your comfort zone when you are in the home. These bohemian decorating ideas have heavy wood furniture with gorgeous decor that stand testament to the craftsmanship that has gone into designing this. The palette of colors range from the more soft and decorative to more bold and rich. Many will have stronger and more geometric patterns or drawings.
Antique Khotan Rugs– The vast majority of the antique rugs which were woven in the East Turkestan city of Khotan have a style that is all their own. Khotan is an oasis and an age-old center for international design. From the ornate borders and grand medallions to the stunning repeating patterns, each carpet from Khotan captures a cosmopolitan style that is different than all the other rugs produced in East Turkestan.
Antique Serapi rugs were made by small workshops and families, which resulted in formal Persian carpets as well as those with rustic tribal influences. Local production methods contributed to the characteristic abrash that adds a textural appearance to the stark field and contrasting decorations seen in many Persian Serapi rugs. These fine antique carpets were made in many sizes and shapes ranging from elongated corridor carpets to highly desirable room-size rugs. Persian Serapi rugs feature clear colors, creamy un-dyed fleece beautifully tempered reds, warm earth tones and concentrated blues
Furthermore, this bohemian room features a Serapi rug full of vibrant colors and various cultural designs. The attractive design of the oriental carpet blends well with the overall scheme of the bedroom. These bohemian decorating ideas are the perfect mix of eclectic design and fun with colors that are chosen wisely.
Anything that has a backing is no good because it hides what they had done underneath it. Which is latex glue that lets out toxins.
Buying rugs over the Internet can be easy and inexpensive, but when it arrives they almost smell like gasoline or deisel because they do not let the latex cure. On top of that they shed quite a lot due to the wool being cheap because the rugs need to be inexpensive to sell.
Eventually, it will start coming apart and will end up in our landfill. This is why hand tufted rugs are no good! We highly recommend that you buy a rug that is hand knotted. The way to tell that it is hand knotted is by checking the back of a rug and seeing that the knots are done individually. You will also find that each knot is slightly different then the next.
Rugs & More is recognized as the ultimate shopping destination for the world’s finest rugs. Our rugs are sourced internationally and are hand selected and surveyed to ensure the highest quality.
Santa Barbara Design center
410 Olive St Santa Barbara, CA 93101
The Forbidden Stitch. Why is it forbidden? The standard answer is that its so small and difficult to work. Making this stitch causes the needle worker to go blind. Young girls loose their eyesight when they make this stitch! stitches used along with satin stitches and couching on highly decorative, finely-worked silk costume items. One romantic view suggests that this label appeared when such work was forbidden among young girls because its fineness contributed to eyestrain.
Certain terms consistently refer to small knots made on the fabric surface by wrapping a heavy embroidery thread. Usually silk floss, around a needle and then stitching it down. This has been done with varying numbers of wrappings and degrees of complexity.
Among actual Chinese embroideries, it is unusual to find the knots so widely spaced or scattered. The spacing is dependent upon the length of the connecting stitch on the under side of the fabric. Each knot is indeed separate, however, this distinguishes the stitch most clearly from the Pekinese Stitch. The medieval nobles of Europe loved this stitch and they were making a version of it under the name French Knot. A French Knot is basically the same as a Pekin Knot (aka Forbidden Stitch), only the thread is wrapped at least twice around the needle.
The name comes from a forbidden city. The Emperors of China lived in the Forbidden City from the 1400’s until the 1900’s and they had hordes of needle workers making costumes and tapestries and table clothes and a zillion other things. The Forbidden Stitch was for the Emperor and his court and not for the rest of us mere mortals. It wasn’t supposed to leave the Forbidden City but of course it did.
The sampler rugs are also known as wagireh. Made as a template with many pattern and carpet design. Production of larger rugs, they are generally small pieces the size of a scatter rug or mat.
Although these rugs do not show the entire design, they only show the basic or fundamental portion of the various larger decorative elements of the field and borders. As well as, selected individual motifs, which could then be expanded according to established symmetrical repetitions to produce the complete composition.
The answer probably lies in the completeness of the wagireh as a holographic shorthand for the finished carpet in all its aspects, not only the pattern and the knot count, but all the structural detail the spin of the yarns, the number of wefts, the thickness of the pile, the precise color and texture of the wool, and most of all, the exact relative proportion of all the elements, in one concise package.
As such the sampler / wagireh evolved as more than just a pattern. It was to all intents and purposes a shorthand rug, abbreviated and abstracted to be sure, but a rug nonetheless. That is why wagirehs so often have the visual impact or effect of a complete rug, even though their designs are sometimes off-center, ignoring the rules of symmetry that normally govern ornamental rug design.
The fact that complete borders, no matter how small, enclose the whole array induces us to read the wagireh as a framed composition rather than as a fragment or something incomplete. It is not difficult to see how this sampler, whose size is comparable to many a scatter-size rug, could readily serve as a beautiful piece of floor covering when it was not being used to guide the production of room-sized medallion garden carpets. The richness of its coloration and the tactile velvety quality of its wool would only facilitate this double function.
When we consider the case of this particular Bidjar wagireh, it is no longer difficult to see why sampler rugs of this kind were made in lieu of colored sketches.
Rugs were produced by people who loved rugs, people for whom rugs were a fundamental feature of daily life. The wagireh, or at least exceptional wagirehs like this one, helped to maintain a seamless continuity between the manufacture of rugs as an economic industry and the enjoyment of rugs as integral part of cultural experience.
A Yomut Asmalyk is a unique collectable that may be pile or embroidered. They are usually five-sided.
Yomut asmalyks are the most common, followed by those of the Tekke tribe. In addition, they were made in pairs to decorate the flanks of a bride’s wedding camel, and were then hung in her domed, felt-covered tent.
Rugs & More of Santa Barbara provides California and the West Coast with the most comprehensive collection of new and antique oriental rugs, modern carpets and contemporary floor covering. Furthermore, For three generations, Rugs & More has become the most trusted and reliable source for rugs and floor coverings for home decor.
Voted best rug store of Santa Barbara, California for 25 years!
Any type of area Rugs, Antique Rugs, Vintage Rugs, Modern Rugs, Traditional Rugs, Transitional Rug, Contemporary Rugs, Tapestries and wall hangings, Shag Rugs, Woven Rugs, Flat Rugs, Hand Braided, Hand Woven, Hand Hooked – we offer them all! We help you to roll out the decorating groundwork in each room with one or more of our rugs! Our rugs are only of the highest quality.
Shapes: we carry all shapes and sizes. Round, Square, Rectangular, Oval, and Custom Sizes. Furthermore, We offer the following Services at Rugs and More: Stain Removal; Rug Washing; Rug Repair and Restoration; Surging; Binding; Re-sizing; Rug Appraisals; and Rug Installation.
Materials: we have silk, cotton, wool, blended, synthetic, outdoor, leather, and fur rugs!
Colors: we can customize the rug to the colors you need to make your home the style and comfort that you are looking for with your home decor.
We have rug pads that we can size for under any rug, which extend the life of your rugs and protect your floors.
The beauty of Chinese woman was based on the size of her feet. As painful as it may sound the ideal size was 3 inches and shaped as a lotus flower.
Foot binding at a young age
Foot binding was the custom of applying tight binding to the feet of young girls to modify the shape of their feet. It was practiced in China from the Song dynasty until the early 20th century, and bound feet were considered a status symbol as well as a mark of beauty.
Foot binding limited the mobility of women, and resulted in lifelong disabilities for most of its subjects, although some women with bound feet working outdoors have also been reported. Feet altered by binding were called lotus feet.
The practice possibly originated among upper class court dancers during the Five Dynasties and Ten Kingdoms period in 10th century China, then became popular among the elite during the Song dynasty, eventually spreading to all social classes by the Qing dynasty. Foot binding was practiced in different forms, and the more severe form of binding may have been developed in the 16th century. It has been estimated that by the 19th century, 40–50% of all Chinese women may have had bound feet, and up to almost 100% among upper class Chinese women. The prevalence and practice of foot binding however varied in different parts of the country.
Chinese Binding Shoe
To view any of these Chinese binding shoes stop by Santa Barbara Design Center located at 410 Olive St Santa Barbara, CA 93101 or call us at (805) 962-8555
The Navajo (Native American Indian Tribe) reside in the Southwestern United States in the 4 Corners region encompassing large areas of present-day Arizona, Utah and New Mexico. Transitional weavings, circa 1885 to 1910, represent an under appreciated class of Navajo textiles often overlooked as being made during a less important time of Navajo weaving. Trading posts started to pay weavers by the weight of the weaving instead of the quality or design of the textile. Many weavings produced during this time frame were loosely woven to increase weight and hence value. These heavier blankets were called “pound blankets.” The traders figured out very quickly that paying for weavings in this manner decreased blanket quality eventually causing them to abandon this practice. Until recently, what has not been recognized is the incredible artistic exploration that occurred during this time forced by economic pressures on Navajo weavers to stop making blankets for wear and shift to producing floor rugs. Before the turn of the century, the Navajo switched from making traditional Native American blankets to weaving thick, brilliantly colored rugs with hand-spun wool. The development of eye dazzler designs woven with commercial yarn, known as Germantown blankets, were named for the Pennsylvanian mills that manufactured the four-ply yarn. These tightly woven weavings, which often used cotton warp, did not hold up well on the floor and soon lost favor as floor rugs.
Though not always considered the epicenter of the Navajo culture, Eye Dazzlers offer weavers the chance to express their individual artistry, freedom and ceremonial musings. With little or no guidelines as to what constitutes a rug, other than a border around the edge, creativity gave way to unique designs that appealed to the weaver’s sense of what was beautiful. Thus inspire those who purchase them to be influenced by the weavers infusion of spirit into their designs, creating a common bond with the artist and collector. This dramatic shift featured “eye dazzling” geometric shapes and color palettes never before seen in such a medium, giving birth to what is now known as the Eye Dazzler rug. Elaborate weavings boasting gorgeous jelly bean colors, Eye Dazzlers became one of the very first Navajo weaving styles beyond blankets and serapes. These weavings used simple stripes, rectangles, squares, triangles and chevrons for their main focal designs. While the weavings were exquisitely woven and designed, the motifs were often similar in composition. This rare textile is woven of native hand-spun wool with natural indigo and aniline dye with the finest yarn, which has been pressed hard to create this fine work of art. Between the change in hues and tones, geometric patterns, and even wool’s available for weaving, this groundbreaking rug style set the stage for weavings, tapestries and Navajo weaving expansion for more than a century. Transitional blankets are undervalued for what they truly represent; wearing blankets made by a culture prized for their weaving abilities, which this current example clearly sets itself apart from the ordinary into the realm of world class woven art.
Navajo rugs and blankets of the Germantown style originate from a period in the 1860’s, when over 8,000 Navajo Indians were forcibly located to an area in New Mexico called Bosque Redondo. As the Santa Fe railroad brought settlers to the West, and trading posts carried synthetic dyes and commercial yarns in beautiful colors from Germantown Pennsylvania, eventually settling down in an internment site of eastern New Mexico . It was at this internment site that the Navajo weavers began using manufactured yarns dyed with brighter ranges of colors than were available through natural wool dying methods. The use of these dyes provided Navajo weavers with the opportunity to experiment with new designs and styles, including the famous “eyedazzler” blankets, easily recognizable by the trademark diamond and cross patterns.
This historic piece of woven art is currently on public view at Santa Barbara Design Center.
The ashes of Thomas Fires are highly acidic and will Ruin your valuable rugs.
You need to professionally wash your rugs soon to minimize the damages!
call us now ( 805 ) 962-2166 and we will take care of them for you.
Smoke and ash in the air from the Thomas Fire can easily affect rugs and carpets. Particulates are dangerous for humans and any sort of natural fabric. If your rug smells like smoke, most standard washes will take care of it by washing away soot particulates. After this, the rugs should be vacuumed regularly. In addition, heavily fire or smoke damaged rugs require both washing as well as professional deodorizing with specific odor removing solutions. Heavy ash and soot can be eliminated from rugs by professional rug washers at Rugs & More.
The longer that acidic ash from Thomas Fires and residue stays on your valuable rugs, the more damage it causes to the rug fibers and dyes. In addition, small amounts of direct fire damage burns can be re-knotted and restored. We are the foremost experts in Oriental rug cleaning and can remove black soot, restore the vibrant colors of your rug and neutralize any remaining odors of smoke. You should always consult with us at Rugs & More to determine how it can be cleaned best. Especially if the rug is a hand made, an antique, a heirloom or of significant value to you.
If flames or embers have damaged your rug, reweaving and re-knotting will repair actual fire damage. Due to high moisture contents, wool rugs will generally not ignite, and therefore may only have minimal damage. Even if you believe your Oriental rug is damaged beyond repair, it is always worth it to consult with our oriental rug cleaning professionals at Rugs & More to see what, can be done.
At Rugs & more we are dedicated to helping those affected in Santa Barbara’s recent tragedies, the Thomas fire and Montecito Mud slides. We are offering our services on Hand Wash and Cleaning , repair and restoration of rugs to everyone effected by the Thomas Fire and Mud Flood . Furthermore, as a small community it’s important that we take care of each other. We also wish to offer our appraisal services for insurance or legal needs at no charge. Lastly, if you have items lost or damaged beyond repair we can assist in highly personalized redesigning of your home.
We are the foremost experts in hand-made cleaners. You wouldn’t take your fine watch to a mechanic, so why take your fine rugs to a carpet cleaner?
We are proud to offer personalized chemical free cleaning, using our special soap and water bath and traditional pure water rinse and drying technique. The safe, organic process is backed by our family heritage of three generations of rug makers. In addition, our thorough five step inspection service allows us to recommend needed repairs that restore and preserve your investment.
Repair and Restoration
For your convenience, timely pick up and delivery is available. We offer professional repair and restoration, re-fringing, binding, reweaving as well as rentals, padding, appraisals and we buy old rugs.
Mafrash – Manufactured in eastern Turkey, northwestern Persia and the Caucasus. Featuring three-dimensional rectangular “boxy” bags hand made by nomads. In addition, they became used for storage and bedding in their tents, for use as cargo. Furthermore, balanced over the backs of camels on migration they were mainly created in pairs.
In the marketplace, these are often dubbed beşik, or cradles. In addition, made in the largest numbers, Bedding bags have been created by Shahsevan tribal people. As well as, other groups in NW Iran and across the border in Azerbaijan. Others were made in Georgia and Armenia.
Furthermore, woven soumak are the majority. Others are slit-tapestry, sometimes with narrow contrasting soumak bands. As a result, Western collectors have found that these bags make striking small tables or ottomans when up-ended over wooden boxes or blocks of heavy foam rubber.
Antique salt bag ‘s are specialized in limited quantities, and were made in just a few areas. Primarily Persia and Afghanistan. As a result, these durable little bags where made with a variety of techniques, but most often brocading, Soumak or weft substitution.
With narrow necks that prevented their contents from spilling, they posed special design challenges for the weaver. Furthermore, not all salt bags have been used for salt, but that label has stuck. True salt bags, tightly woven and made in both flat weave and knotted pile. Sometimes woven across the bottom of the bags, presumably to make them sturdy enough to haul heavy pieces of rock salt.
Halite – Rock Salt
Rock salt– A mineral formed from sodium chloride known as Rock salt. In addition, the industrial name used is Halite. It forms as isometric crystals and is typically colourless or white, but may also be other colours depending on the amount and type of impurities contained within it. The salt occurs in beds of sedimentary evaporite minerals. In conclusion, this is caused by large lakes and seas drying up.
Now a day’s salt bags have become collectors’ items. Persian salt bags were originally used by shepherds. They carried the bags filled with rock salt on their backs. Doling out the salt at watering holes, so the thirsty sheep would drink, as well as retain, more water. As a result, this meant the flock could travel without stopping to hydrate on their journey to find patches of thick grass to eat, which was few and far between. Furthermore, among other uses for the salt bags making dough, holding seeds, fruit, nuts, etc.; and turning milk into cheese.
Bagfaces are probably the most familiar collectable tribal utilitarian objects in the western hemisphere. Which can also be known as saddlebags with two decorated pouches. Created in various sizes, with the smallest examples used on donkeys. Known as heybe in Turkey and Khorjin in Iran. The larger bags were used to transport goods or house holds are called Mafrash. They appear in a wide variety of woven structures. For instance, tapestry, soumak, brocading, knotted pile, weft substitution, and even occasionally warp substitution.
These Bag’s were commonly made with a long center bridge with a slit down the center. Known as Saddlebag’s that men sometimes slipped these over their heads to serve as convenient shopping bags when in the marketplace.
Larger saddlebag’s were made for use on horses and camels. In addition, these are normally woven in one long piece. First the face for one pouch was woven, then a long section that formed the back and center bridge, then the second pouch face. Furthermore, the bag was assembled by folding each end panel inward. Then stitching along the sides.
With the earliest pieces, often only the bagfaces have survived, or just half a bagface being a single pouch with both face and back intact. These can be important collectors pieces. There are growing number of collectors in this field and specially bags and bag faces, because they are smaller and don’t take much space.
To see the largest collection of Antique Tribal Bags, bag faces and Mafrashs come to Rugs and More and for the finest Examples ask to see the ones from the Kourosh Collection.
Featuring these Beautiful Antique Embroidered Shawls at Rugs & more. We have the greatest collection of unique antiques. Learn more about some of Michael’s greatest treasures on “Design Santa Barbara Presents Antiquities With Michael Kourosh“.You will learn about these three beautiful Shawls and where they came from. As well as the history behind them.
Antique Shawls – Throughout the 19th century, Kerman a province in southern Iran was celebrated for its exquisite Persian / Kerman shawls rather than for carpet weaving. These Beautiful Antique Embroidered Shawls are real works of art. They became complex in their use of traditional Persian floral patterns. Furthermore, French red roses known as Gol Farangue, Botteh, Sarri Botteh, tree of life, vase, nightingale, and garden design.
The tight overall pattern and fineness of the weave is complimented by a delicate. As well as, harmonious color palates. Not surprisingly, the primary designs of Kerman carpets were adapted from these shawls. Because when the growing demand for oriental rug production increased these experienced weavers turned their attention and talents to the carpet weaving.
As a result, What is unique about the three antique shawls is that despite them having a very similar design. They come from vastly different regions. Furthermore, Giving the age of these textiles it is highly unlikely that the weavers ever cross pass each other.
Nobody Beats Our Prices.
Nobody Beats Our Selection.
We want to earn your business! At Rugs and more we will beat any competitor’s price, even online retailers. We offer the lowest price guarantee. If you find a similar item for less we will refund you 110% of the difference. Simply bring any competitors price in and we will beat it. We are the largest source of home furnishings. As well as rugs on the Central Coast and our purchasing power guarantees you the lowest price. Come in and visit our showroom today.
Santa Barbara Design Center is a premiere home decor and furniture store. Furthermore, We offer lasting quality paired with style all under one roof and committed to offering excellent customer service. Our goal is to help you complete your dream home that shows off your unique personal style. Whether you are furnishing an entire room or simply adding an accent of home decor. We have something to offer every room, taste and budget.
From ancient antiquity to traditional modernity. Complete any custom home style at Santa Barbara Design Center. For over 20 years, we have been offering Santa Barbara the best in rugs and home furnishings. Voted “Best Of” for over 20 years by the Santa Barbara News Press. Whether you are a designer or a couple decorating your first home. We remain passionate about serving your home needs.
Simultaneous with the ascending pattern of the northern Caucasus, which seems to have reached its climax at the beginning of the eighteenth century. The Finest wool and the finest weave were used in the rigidly styled floral patterning light blue, white and green with the bade of splendid light yellow, all on a brilliant red ground. In the white border we find “S” motifs alternating with angular leaf pattern. The accompanying border is in the usual trefoil design. An extract dating of this piece is very difficult. Taking all aspect into account, it was probably woven around the begging of the eighteenth century, at the latest but it was equally possible that the rug belongs tot he rare pieces which have been preserved from the seventeenth century. 17th-18th Century Caucasian Rug.
17th-18th Century Caucasian Rug get their name from the area in which they were made – the Caucasus. The Caucasus is a region that produces distinctive rugs since the end of the 18th century and the antique Caucasian rugs are primarily produced as village pieces rather than the fine and intricate city productions. Caucasian rugs are best known for featuring bold geometric and tribal designs in primary colors.
Come and see hundreds of fine rugs at Rugs & More in the Santa Barbara Design Center or give us a call today at (805) 962-2166
Restoring and Repairing Rugs doesn’t take a lot to help preserve the wellness of a rug since we at Rugs & More at Santa Barbara Design Center are here to help you. We take the time and liberty to fix your rug. We are the third generation of rug merchants and are the four most experts in repair and restoration of your rugs. Our master weavers can fix everything that could be an issue with your rug, ranging from re-knotting any damaged or missing parts of the rug, repairing the fringes, and we could also clean your rug.
We guarantee that your rug will have the best treatment possible, at the most reasonable prices around. We have been voted number one oriental rug store for twenty-five years.
Your satisfaction is 100 percent guaranteed.
It is important to take care of your rugs because they are pieces of art and will become treasured heirlooms for generations to come. We will give your rugs the best care possible. Fixing rugs takes a skill we, at Rugs & More in Santa Barbara Design Center have mastered. Bringing your rugs to us will not only help your rugs but also help you recognize the importance of taking care of your rugs.
We would be glad to be the ones who make a difference in fixing your rugs. Depending on the rug, restoring it could eventually increase the value of the rug. Repairing your rug could make a huge difference in looks and appearance of them.
Give us a call at (805) 962-2166 or visit us at Rugs & More in the Santa Barbara Design Center
Although there are many available options to conduct oriental rug cleaning using machines, many rug owners prefer hand cleaning because of its efficiency and because of the special attention given to the rugs that makes them cleaner. It is clear that fine rugs deserve high quality and gentle care-something that only hand washing experts can provide. With our approach you can rest assured of proper care for fine oriental rug cleaning. Rugs made from natural fibers, cotton, silk or fine wool is expensive and worth all the care they can get. There are two major reasons that compel owners to choose hand washing over machine washing for oriental rug cleaning. Natural fibers have a unique ability to hide dirt. Hence, hand washing allows cleaning experts to provide the necessary attention required to make them really clean. Also, conventional cleaning using machines apply high pressure and special chemicals to the rags, that can leave your carpet damaged from high PH or the associated pressures. Persian and Oriental Rug Cleaning Hand Wash, on the other hand efficiently removes damaging gritty soil from oriental rugs, leaving them colorful, clean and beautiful. The following steps are used when using the hand washing process for oriental rug cleaning. While hand washing is a great option, you’ll be surprised to learn how much dirt vacuums miss — and how simple the best cleaning methods really are. The pitch was simple. In the 1950s, a vacuum salesman would come to the door, spill dirt on the carpet, and ask the lady of the house to clean it with her machine. Then he would load a fresh bag into his model, run it over the “clean” carpet, and open the bag to reveal what it had picked up. Frequently that was all he needed to close the deal. Had the salesman reversed the order, however, using his machine first, the results might have been the same. Often the problem wasn’t the old vacuum. It was the fact that once dirt goes into carpet, it doesn’t easily come out. The old fashioned method of removing dirt and cleaning by hand still works best. We have shallow, sudsy pools in which the rugs can be washed by hand. This is a very labor intensive procedure but it’s the best way to thoroughly clean both the top fibers and the underlayment. Most homeowners who use our service are probably washing Oriental, Persian, Moroccan rugs or other hand woven, hand dyed rugs; their value is such that a service like this is the best way to maintain them over decades. Hand cleaning won’t tear or damage the fibers or the weave, and a professional can adjust the cleaning method according to the age and condition of the rug.
Q.What are common mistakes?
A. Putting a plant on a rug. Years later, you take the rug up, and a perfect circle drops out. The pad doesn’t allow air to circulate. A wool rug may feel dry, but moisture has seeped to the bottom. First mildew, then dry rot, and you have to repair.
Q. You say rugs should be washed every two to three years. Why?
A. Even if a rug doesn’t look dirty, it slowly gets duller and the fringe starts to look bad. If you wait, dust, especially silica, sinks down. Whether the base is cotton or wool, when it’s walked on, those pieces saw away at the fiber. That’s what makes a rug go bare, not foot traffic. It’s foot traffic on a rug that hasn’t been swept, beaten and washed — even if it has a good rubber rug pad underneath, which cushions compression.
Q. Can you vacuum too much?
A. Today’s vacuums may be too aggressive, especially if there is hard floor underneath. You need to sweep a wool rug with a carpet sweeper. When you vacuum, once a week or two, use a canister vacuum, and set the beater bar high for less abrasion. Vacuum from side to side, not end-to-end, so you don’t grab the fringe. Take the rug outside once a year and vacuum the back to get embedded dirt out that causes fiber wear. Then vacuum the top again. If you whack a corner and see a dust poof, it needs to be washed.
His Holiness the Dalai Lama giving a talk of peace through compassion on a Rugs & More rug.
The rug rental service at Rugs & More boasts the largest collection of antique rugs, vintage rugs and antique tapestries in California. We have been providing exceptional customer service and rug rentals for those who are in need of a rug. Whether you are a decorator doing a home staging project and need rugs for rental or a customer planing a big event and in need of a beautiful rug to put the final touch on your event or a movie company in need of rugs for the shoot. Rugs & More provides the best rugs in the central coast at the most reasonable rates.
Rugs & More is Proud to Be Able to Offer Short and Long Term Rug Rentals
Set decoration and staging
Photo shoots and magazine publications
Television and broadcast
Special events and occasions
Weddings and Celebrations
Red Carpet Events
UCSB Art & Lectures, Carol Burnett Show, Christopher Cross, Paramount Studios, Ostad Shajarian
Yo Yo Mah and Ravi Shankar are few of our rug rental clients.
We are proud sponsors of University of California Santa Barbara Arts & Lecture events.
We make sure that your rug is properly wrapped and protected to ship world wide. We have been shipping rugs around the world for many decades and know how to protect your valuable rugs and make sure they arrive well and cared for. We ship them via UPS , FedEx and many different freight forwarding companies based on the package and speed it needs to arrive. We gladly ship your rugs to any destination in the US or aboard. please simply contact us for further information.
In Rug appraisals we consider a wide range of factors. Therefore to determine the value of an antique rug or vintage carpets. Furthermore, Knowing where a rug or carpet was made. As well as its age, design, coloration, condition, and size. These are just a few of the many characteristics which aid in establishing price.
Our educated and helpful staff will be happy to assist you when it comes to rug appraisals. Buying, selling and appraising rugs is what we do every single day. Because we are pleased to provide you with our knowledge and experience. If you would like more general information about evaluating rugs and the different criteria that we use to determine the price then please be kind enough to contact us.
Finest Ziegler Oushak Montecito Rug Collection designed by Micheal Kourosh and woven by Ziegler & Company are decorative, functional and unique in design. They are sought after by successful interior designers and discerning home owners alike. These rugs are desirable as highly decorative pieces of floor art. They are hand woven with natural dyes, and hand spun wool. All over patterns of smaller medallions or scattered sprays of vine scroll and palmettos create a timeless and transitional look. These high-quality pieces are a testament to superior craftsmanship and are notable for the grand, monumental scale of the designs, whose pleasing qualities are enhanced by their soft and lustrous wool and the low shear to create the antiqued look. These rugs will become family treasures that can be passed down from one generation to the next.
Finest Ziegler Oushak Montecito Rug Collection
This finest Ziegler Oushak rug is woven just like an antique Oushak would have 150 years ago. We use the highest quality wool and natural dyes. Hand made from around the world. We shear, wash and put them in the sun to dry several times. These Ziegler and Company Montecito Oushak Rugs get the look and feel of antique Oushaks with the new color palettes, which is most desirable for today’s interiors and they have been a hit with high end interior designers. Specially in Southern California. Add a beautiful Oriental rug to bring your home together to feel warm and welcoming.
President Trump Meets Pope, But What Really Stands Out Is This Beautiful Antique Bidjar Rug. This beautiful Antique Bidjar rug bellow their feet is handmade in Northwest Iran. It is the finest of Persian rugs with beautiful design and woven with Kurdish knot technique. It is rich in colors and its amazing pattern creates a highly desirable rug
Bidjar is a town in Persian Kurdistan located in north-west Persia. Bidjar lies between the city of Senneh or Sanandaj to the south and the legendary weaving center of Tabriz to the north. Over the centuries, the city of Bijar has been home to many different tribes, from the Azerbaijanis and Turks to the Kurds. Kurdish culture and artistic ability are clearly visible in the quality of the region’s antique carpets. Kurdish tribes have traditionally been the region’s endemic people.
Bidjar name is also used to describe the antique rugs that were produced in the many villages in the surrounding vicinity. The Bidjar is noted as being the stiffest carpet made; they are very heavy in relation to their size, and very thick and durable, hence they are called Iron Rugs of Iran. All of them are symmetrical and the rows are beaten down during the weaving process producing a dense compact fabric. Given their thickness and construction Bidjar rugs can be difficult to fold. Known for producing some of the most important Persian rugs, Bidjar weavers have perfected a style of rug weaving that results in what are called “Iron Rugs.” Bidder weavers are also responsible for the so-called “Man’s Rug.” The many designs depict the Kurdish influence of the area and often floral and classical geometric motifs are employed as well as the use of large, whimsical medallion designs and air loom in the making.
As oriental rugs age, repair becomes an important part of their regular maintenance. Whether your rug has been slowly unraveling throughout the years as a result of high foot traffic or it has been damaged overnight by a teething dog and your cat scratching on the carpet. It’s extremely vital to repair any damaged areas to keep them from getting worse. We have our in house master weaver and restorer working on site in our store, who does all repairs by hand – never by machine – using hand spun wool in all colors to preserve the natural and unique look of your rug.
Oriental rugs are known for there durability and these collectibles quickly become family treasures that can be passed down from one generation to the next. Through out the years rugs may have fadings from the sun or show wear spots from foot traffic. When restoring your Persian and Oriental rug, our team of professionals accurately duplicate the materials and construction of the original piece.
Our team work patiently on your rugs using their skill, knowledge, and expertise to replace fibers, repair fringe, rebind edges, cut out and replace sections, dye or tint to restore your rug as closely as possible to its original beauty. We treat your rugs as floor art and take care of them as such.
At Rugs & More we walk you through and discuss thoroughly the processes we recommend to repair your rug, and make suggestions to avoid future damages from occurring. Using only the very best craftsmen , we specialize in a traditional hand rug repair service for Persian, Afghan, Kilim, Turkish, Silk and Antique rugs, carpets, runners and tapestries. From small new rug repairs to a full antique Persian carpet restoration service, we offer the complete service.
At Rugs and More we carry the largest Selection of antique hand made rugs. Origin of Antique Mohtasham Rugs is just one of the multiple various and distinguishable pieces. From Persian, Classical, Modern, Antiques and much MORE ! Rugs pay tribute to the beauty of their countries of origin. Whether exotic or traditional, tribal or modern, our rugs weave stories through intricate patterns, compelling colors, and touchable materials. These museum quality pieces are a testament to superior craftsmanship. Our rugs, textiles, tapestries, flat woven rugs, Kilims, and needlepoints are hand-knotted and woven in silk and wool of the highest quality. Both rare and unique in design, these collectibles quickly become family treasures that can be passed down from one generation to the next
One of the sign of Origin of Antique Mohtasham Rugs which named “Mohtasham Father” and also showing in this particular rug is the silk edge rapping. Other indications are the fine weave and fine short cut pile, also the special magnificent colors. . “Mohtasham Father “ refers to Kashan rugs made from c.1882 until 1914 woven in a particular atelier with a specific quality wool like English and Australian Merino wool, made by Hajji Mollah Hassan Mohtasham and his skilled weaver. These rugs had a velvety short pile and tight knotting. Around 1900, his son, Mohtasham the Younger took over the work shop and continued the practice of fine knotting. The design and colors radically changed, although the wool remained the same until 1930 when Persian sourced yarn was used.
Mohtasham is one of the most revered weavers of Kashan. His rugs are some of the highest quality Persian weavings. The town of Kashan located in central Iran between Isfahan and Tehran is often referred to as the greatest weaving center in western Persia. Mohtasham Kashans ranges from 200 to 300 knots per square inch, with the older ones tending towards the upper end of the scale. An interesting thing about Mohtasham Kashans is that the oldest examples tend to have the highest knot counts but a certain crudeness of design.
Since the 3rd quarter of the 19th century and for about 30 years, the finest and most delicate rugs of wool and silk were woven by arguably the most respected ustadan (master weaver), Ed Din Mohtasham. These rugs are noted for their use of purple and ruby red silk bindings for the selvedges. They are characterized by a particular style, color and use of imported merino wool. Whether signed or unsigned, antique Mohtasham Kashan rugs are considered the crème de la crème of all antique Kashan rugs.
The Moroccan rugs are most famous for their dynamic color designs and bold geometric patterns. Today, the Moroccan rug is one the industry’s hottest design trend. Each piece is a sliver of history, a slice of true folk art, and is an heirloom that may be passed down for generations. These beauties are the birth-child of a cross between central and western Turkish rugs during the mid 1800’s. Notoriously distinct for their geometric designs, the Moroccan rug features bold designs that differ from traditional traditional Persian rugs adding an element of timelessness.
We provide the West Coast of California, Santa Barbara and its Surrounding with the most comprehensive collection of new, oriental, and antique rugs. For over three generations, we have been the most trusted and reliable source for rugs and home decor. Take advantage of our award winning customer service on your next interior design project and enjoy all of the benefits we provide our loyal clients. Rugs & More is proud to have earned the Santa Barbara News Press’ Readers Choice Award for eighteen years running! We would like to thank our loyal patrons for helping us accomplish this.
Rugs & More is recognized as the ultimate shopping destination for the world’s finest rugs. Our rugs are sourced internationally and are hand selected and surveyed to ensure the highest quality. We also offer rugs that have been produced in collaboration with renowned interior designers, including Kathryn Roberts and Barbara Barry. Additionally, Rugs & More supplies rugs for high-profile hotels. It is an honor to have created exclusive collections for the Four Seasons Biltmore, San Ysidro Ranch, and other famous getaways.
Rugs and More has the largest Selection of Moroccan rugs
Contemporary Rugs Designed by Maraya Droney at Rugs & More
Contemporary Rugs Designed by Maraya Droney. Collaboration of Interior Designer/ Artist Maraya Droney and Michael Kourosh of Santa Barbara Design Center.
Maraya’s focus for interior design is to create a place of relaxation – for families and friends to gather their energies together, as well as to receive inspiration. She enjoys designing in a variety of styles. She says, “Any particular style can become true art and outstanding design. The key is to listen to your client and find out what really moves them emotionally. Once you understand that, you can turn their preferences into any style: from an inspiring, beautiful estate to an outrageous, cutting-edge penthouse or peaceful, simple retreat.” Maraya loves to travel and to use her imagination and passion for design to help her clients create a lasting, personal space in this fast paced world!
Also check out Maraya, Ariel and Michael on design Santa Barbara. Maraya has designed a beautiful modern home that she started from scratch with the help of her husband. See how she designs this home with beautiful art work, accesories, furniture, rugs, and much more. Get ideas on how you can create your living space into a Modern home.
Maraya and her partner Ariel have a beautiful line of rugs that are custom made at Rugs & More. Hand knotted rugs made in Tibet and Kashmir of natural dyed wool . Both with modern and extraordinary geometric designs. Rugs & More is proud to offer customization options. Creating a custom rug from a variety of styles is the perfect solution when you can’t find exactly what you want.
Rugs pay tribute to the beauty of their countries of origin. Whether exotic or traditional, tribal or modern, our rugs weave stories through intricate patterns, compelling colors, and touchable materials. These museum quality pieces are a testament to superior craftsmanship.
Our rugs, textiles, tapestries, flat woven rugs, Kilims, and needlepoint are hand-knotted and woven in silk and wool of the highest quality. Both rare and unique in design, these collectibles quickly become family treasures that can be passed down from one generation to the next.
The History of The Finest Kazak Rugs was bounded by the rugged mountains and lush valleys of Armenia, Azerbaijan and Georgia. This cultural melting pot was populated by Armenian dyers and weavers, Azeri Turks, groups from the Northern Caucasus and minorities from the surrounding areas. The Kazak rugs of the Caucasus are distinctive and individual. Iconic design traditions featured in regional rugs include Memling guls, geometric people and animals, symbolic motifs, dramatic medallions, crenelated fence borders, angular cloud-bands and graphic latch hook. These spectacular hand knotted, Oriental rugs each incorporate a distinctive piece of Kazak culture. Antique Kazak carpets and rugs are filled with vivid colors and a rich assortment of deeply meaningful symbols that continue to delight collectors and traditional rug connoisseurs.
The antique Kazak rugs, with their beautiful vegetable dyes and tribal patterns, are among the most prized and exciting Caucasian rugs. Famed for their rich colors, assertive, geometric drawing, and bold, large scale designs, they are sought after by collectors for their rugged authenticity, but they also make excellent accent rugs in a contemporary decorative setting. While Kazak rugs may have allover patterns, they are best known for their monumental and graphic medallion compositions, especially the Sevan and Karachopf types. When they are preserved with their original knots and thick pile, the beauty of the color and the lustrous quality of the wool really allows the powerful design of these charming rugs to shine through.
Kazak Design Characteristics
Kazak rug weavers are faithful to color and design. The original designs were predominantly bold and typical with large geometrical motifs and figures upon abrash fields of magnificent green or red. The construction technique that was used ensured that the designs and colors were capable of withstanding more than half a century of wear and exposure. Scattered throughout the field are detached figures that included parti-colored squares, diamonds and circles, crosses, medallions and disproportionate representations of animals, birds, trees and human beings.
Persian rugs made with extra high pile and very simple, graphic designs focused on the use of color, which can be vibrant or soft and earthy. As pieces made for domestic use rather than commercial value in the marketplace, Gabbeh rugs have a cultural authenticity that renders them highly desirable to collectors. Nevertheless, with their lustrous soft wool and emphasis on color over design detail, they are extremely usable today as decorative rugs, especially in informal modern settings.
A Gabbeh is a type of traditional tribal carpet originally made by the Qashqai tribe in the Zagros Mountains of Iran. The word can be translated as uncut or unfinished, and refers to the fact that Gabbeh rugs have a rough, primitive look. Gabbeh designs are characterized by broad fields of color with playful geometric forms and animal or human figures.
The Qashqai have always been renowned weavers, and even today the weaving of Gabbeh rugs and other wool items form a significant part of their culture and economy. They are an ancient people who arrived in Iran in a wave of nomadic migration roughly coinciding with the invasion of Genghis Khan in the 13th century. Traditionally, weaving of these rugs is done by the women on portable looms that are easily assembled, in keeping with a nomadic lifestyle.
A well-made vintage rug from Gabbeh has a deep pile, often an inch thick, and a relatively low knot density. Since Gabbehs have traditionally been made for informal home use, their designs usually are not stylized and the full creativity of the maker can be expressed. Designs sometimes tell a story, depict a certain place or show an everyday situation. Colors are not subtle; there is no attempt to be subdued!
Those who are shopping for Gabbehs should beware of mass-produced knock-offs from India, called “Indo-Gabbehs.” These are often made from inferior wool and do not have the softness and comfort of traditional Gabbehs. Beware of Gabbehs with white fringe, as this is a sign of non-traditional origin.
Different from other antique carpets old Persian Gabbeh rugs were not influenced by commercial demand. These works of art were not created to order, but to fulfill the weaver’s own artistic endeavors, and for their own personal use.
A Turkomen rug is a type of handmade floor-covering textile traditionally originating in Central Asia. It is useful to distinguish between the original Turkomen tribal rugs and the rugs produced in large numbers for export mainly in Pakistan and Iran today. The original Turkomen rugs were produced by the Turkomen tribes who are the main ethnic group in Turkmonistan and are also found in Afghanistan and Iran. They are used for various purposes, including tent rugs, door hangings and bags of various sizes.
A few centuries back, almost all Turkomen rugs were produced by nomadic tribes almost entirely with locally obtained materials, wool from the herds and vegetable dyes, or other natural dyes from the land. They used geometrical designs that varied from tribe to tribe; most famous are the Yomut, Ersari, Saryk, Salor, and Tekke. Irregularities considered part of the charm by many rug collectors were fairly common since natural materials varied from batch to batch and woolen warp or weft may stretch, especially on a loom that is regularly folded up for transport and set up a new at another camp.
More recently, large rug workshops in the cities have appeared, there are fewer irregularities, and the technology has changed some. Since about 1910, synthetic dyes have been used along with natural ones. The size of nomadic rugs is limited to what can be done on a nomad’s portable loom; larger rugs have always been produced in the villages, but they are now more common. Using cotton for warp and weft threads has also become common.
The rugs produced in large numbers for export in Pakistan and Iran and sold under the name of Turkomen rugs are mostly made of synthetic colors, with cotton warps and wefts and wool pile. They have little in common with the original Turkomen tribal rugs. In these export rugs, various patterns and colors are used, but the most typical is that of the Bukhara design, which derives from the Tekke main carpet, often with a red or tan background. Another favorite is derived from the Ersari main carpet, with the octagonal elephant’s foot design. The Turokmen Carpet Museum, which preserves examples of the original Turokmen tribal rugs, is located in Ashgabat.
Many Afghan rugs bear a strong resemblance to Turkomen rugs. Afghanistan produces a lot of relatively cheap and coarse rugs, mainly for export, and many of those are in a “Bokhara” design. However, there are also some very fine Afghans including many using Turkomen designs.
Antique Peking carpets represent a newer antique production that began in China immediately following World War I, when carpet manufacturing moved from Ningxia and other interior centers to the capital. Peking carpets were now made in larger sizes intended to be more usable as decorative room-size rugs in the Europe and the United States.
Peking rugs could adhere to the traditional patterns derived from Ningxia production. But at times the designs became simpler and asymmetrical, often tending toward modern western Art Deco taste, and the weaving technique became thicker and tighter to make the rugs more durable for western use.
Traditional Chinese rugs and carpets are immediately recognizable by their simple, classic motifs and unusual colors. These rugs often feature a center, circular medallion; familiar objects seen in nature such as animals, flowers, and clouds; stylized Chinese ideographs; and even entire scenes. They’re usually framed with a simple, wide border. Chinese rugs are woven with a 5-ply yarn, in contrast with the 2-ply yarns used in Persian rugs and carpets. Many Chinese rugs and carpets are sculpted where contrasting colors meet to provide interest and texture to the simple patterns. These rugs are usually of high quality and extremely durable.
Antique Bijar Rugs is a town in Persian Kurdistan located in north-west Persia. The Bijar name is also used to describe the antique rugs that were produced in the many villages in the surrounding vicinity. The Bijar is noted as being the stiffest carpet made; they are very heavy in relation to their size, and very thick and durable. All of the knots are symmetrical and the rows are beaten down during the weaving process producing a dense compact fabric. Given their thickness and construction Bijar rugs can be difficult to fold. The many designs depict the Kurdish influence of the area and often floral and classical geometric motifs are employed as well as the use of large, whimsical medallion designs. The color palate is rich and jewel toned making the Bijar a highly desirable rug sought after by designers.
Bijar rugs, produced in Northwest Iran are among the finest of Persian rugs by virtue of their design and technique. They cannot be identified readily by their patterns, for their repertoire is quite rich and varied. They are distinguished by primarily by their weave, which is perhaps the densest and most durable of all oriental rugs. Bijar carpets were produced in a classical medallion format as well as in allover designs and pictorial or garden patterns. The quality of their wool is lustrous and soft, the drawing at times classically precise or wildly tribal. Some are attributable to Kurdish weavers living in the Bijar region.
Known for producing some of the most important Persian rugs, Bijar weavers have perfected a style of rug weaving that results in what are called “Iron Rugs.” Bidder weavers are also responsible for the so-called “Man’s Rug.”
The city of Bijar is located in the province of Kurdistan in the heart of Northwest Iran. Bijar lies between the city of Senneh or Sanandaj to the south and the legendary weaving center of Tabriz to the north. Kurdish tribes have traditionally been the region’s endemic people. However, the Afshari tribe also produced many Bijar’s workshop rugs using patterns borrowed from Heriz, Tabriz and other great weaving centers of Northwest Persia.
Geography plays a tremendous role in the history of the production of antique rugs from Bidjar. Although the Kurdish tribes have always been a dominant group in the region, they are one of the few cultures in the world who have never had their own country. Bijar’s carpet weaving traditions were formed through a combination of cultural isolation and assimilation that is evidenced in the diverse range of designs used in the region as well as the continued use of natural dyes throughout the 1920s when many other regions adopted modern methods. The rugs of Bijar encompass a broad range of styles and patterns that makes them difficult to define or distinguish from other regions.
Although Bijar was first mentioned in the 1500’s when the region was annexed with Armenia by Safavid forces, archeological evidence of domestic technology and weaving implements dating back approximately 10,000 years has been found throughout Kurdistan.
Situated in a corridor between the border of Persia, Anatolia and the Caucasus, Bijar has been at the mercy of invading cultures for thousands of years. Military invasions from Russia and Europe have influenced Kurdish culture as early as 500 BC when Cyrus the Great launched a large-scale incursion into the region. The turmoil across Northwest Persia and neighboring countries continued through the 1800s with ongoing fighting related to the Russo-Turkish War.
Over the centuries, Kurdish influence has waxed and waned as neighboring empires were distracted with their own wars. At the height of Kurdish power, the group claimed parts of neighboring Turkey and Azerbaijan. However, the Kurdish people had almost always been a subordinate tribal group that was part of a larger empire. The city’s untimely establishment on the world’s maps coincided with the re-establishment of shipping ports and the gradual decline of the Silk Road. This shift changed the course of events in Bidjar and allowed the city to maintain its weaving traditions into the early 20th century.
Influences from Persia, Russia and the Caucasus can be seen in Bijar’s diverse rugs, which include European roses, curvilinear arabesques, inset-lozenges featuring intricate Herati and Mina-Khani patterns, and Serapi-style medallions set on a stark background. The designs used on Bijar rugs often include sophisticated patterns with small details that highlight their origin in the village workshops of tribal weavers.
Examples of weavings from Bidjar include small-format rugs as well as long corridor carpets. However, large-format pieces are relatively rare. Rugs from Bidjar are known for their durable construction and strong, raised pile. Weavers in Bidjar used double weft or double knot construction along with a number of implements to create an extremely firm pile using the symmetric Turkish or Ghiordes knot.
A small number of Bijar rugs were also produced using the asymmetric Persian knot along with traditional curvilinear patterns from Persia. Goat hair is another fiber that is occasionally seen in rugs from the region. Weavers in Bijar used a unique combination of yarns for the weft to create the signature look and feel of the firm pile. First, a dampened shoot of thick weft is inserted and tamped down with tools to secure the knots. The weaver follows this with a second shoot of finer yarn to secure the entire row in place. Wool is the most common foundation found in antique Bijar rugs. However, cotton was also used. Many of the oldest Bijar rugs are extremely coarse and incapable of being folded while later pieces and rugs produced in the neighboring village of Halvai tend to be thinner and finer.
Rugs signed by the legendary master weaver Tajhavi (Taghavi) are among the finest and most prized carpets from the Kurdistan province displaying impeccable workmanship. Bijar is a small city in a sparsely populated province with a rich carpet weaving tradition. The resulting pieces are as diverse as the groups who first created them and their varied designs make antique Bijar rugs equally fitting for traditional and modern interiors.
History of Antique Bijar Rugs
Bijar is a town in Persian Kurdistan located in north-west Persia. The Bijar name is also used to describe rugs produced in the many villages in the surrounding vicinity. The Bijar is noted as being the stiffest carpet made; they are very heavy in relation to their size, and very thick and durable. All of the knots are symmetrical and the rows are beaten down during the weaving process producing a dense compact fabric. Given their thickness and construction Bijar rugs can be difficult to fold. The many designs depict the Kurdish influence of the area and often floral and classical geometric motifs are employed as well as the use of large, whimsical medallion designs. The color palate is rich and jewel toned making the Bijar a highly desirable rug sought after by designers.
Hereke rugs represent the ultimate in finesse and delicacy within the antique Turkish rug production of the later nineteenth and early twentieth centuries. Inspired by the court carpets of Safavid Iran and Ottoman Turkey, the workshops maintained a gold standard of design and weaving technique, above all in their silk rugs, which truly preserved the opulent splendor of the classical past. They are very decorative antique rugs suited well for today’s design market.Centuries later, the town of Hereke still has a flawless reputation for producing elegant, high-quality carpets.
In the mid-1800’s, Sultan Abdulmecid of the Ottoman Empire established an imperial manufactory in the town of Hereke. He recruited the best weavers and artists in the land to produce fine carpets, including several that are still displayed in Turkey’s Dolmabahce Palace. The fine antique carpets of Hereke feature more curvilinear and Persian influenced patterns than other Turkish carpets. However, they continue to use the symmetric Ghiordes knot, but it is used in a double-knot configuration. This construction technique produces highly durable rugs with well-defined patterns. Designed to embody the level of imperial elegance that an Ottoman sultan would expect, Hereke carpets are traditionally made with a combination of silk, cotton and wool.
The extravagant materials and curvilinear patterns are often accented with shimmering gold and metallic silver threads. Hereke rugs are known for both small art carpets and opulent palace-sized rugs. Unlike earlier Turkish rugs that were produced in other cities, antique rugs fromHereke willingly accept Safavid Persian influences and occasionally mimic Persia’s most famous patterns. Antique Hereke rugs are elegant, distinguished and enduring design pieces. It’s estimated that even smaller rugs have taken weavers one year to complete. These magnificent rugs use the finest materials and the most exquisite patterns. Their familiar Persianate designs, Kufic accents, medallions and prayer-rug formats represent the elegant style and exceptional quality that imperial powers sponsored and popularized.
During the early seventeenth century, a weaver named Pierre DuPont traveled to the Levant. Upon his return, he claimed to have discovered the technique of creating Turkish rugs. Oriental rugs were extremely expensive during Bourbon times, and a French manufacturer that could create the same type of rug would lower the price significantly. Henri VI of France–the reigning monarch at the time–took advantage of DuPont’s skills and established a workshop for him at the Louvre. In 1627, King Louis XIII founded a manufactory for DuPont and his apprentice, Simon Lourdet, on the site of a defunct soap factory in the sixteenth arrondissement (also known as Quai de Chaillot). The name “Savonnerie” was born from the French word “savon” meaning “soap.” DuPont and Lourdet worked together, weaving rugs under a royal patent for the king and other nobles, until they had a falling out and split up. Lourdet remained at the Chaillot location while DuPont went to his workshops in the Louvre, though both continued to make Savonnerie rugs.
DuPont’s discovery was an ancient weaving technique called the Ghiordes knot. The Ghiordes is the oldest known knot used in carpet production. It consists of a symmetrical structure achieved by passing a single weft yarn over two warp yarns, pulling through between before severing the yarn to create the pile. The Giordes knot is characteristic of Turkish rugs. This weaving technique created a more durable structure than the tapestries created by European weavers. Tapestries were hung on walls, while the Turkish style French rugs were sturdy enough for foot traffic.
When Louis XVI came to the French throne in 1643, he was a mere five years old, but in 1659 he began a phase of renovations for the Palais de Louvre, at which he commissioned 274 carpets–all of a length of twenty-nine feet with varying widths–from the Savonnerie manufactory. The process was grueling and did not end until 1697 when the final carpet for the Louvre was woven. His favorite artist, Charles Le Brun, drew up cartoons of rug designs for the Louvre’s Grande Galerie. The designs consisted of a dark-colored background, filled with motifs of scrolls, cornucopias, flowers, arms of France, and the monogram of Louis. Inventories of Louis’ possessions show that in the early years of his reign, he had a number of Turkish and Persian rugs, though they were gradually superseded by Savonnerie carpets. At the same time, King Louis was hard at work supervising the construction of his grand new palace at Versailles, and he moved his residence at the Louvre for Versailles in 1678.
Savonnerie carpets also served as grand diplomatic gifts from Louis to foreign ambassadors and other notables. He gifted a collection of music-themed Savonnerie creations to the ambassador of Siam, where they stayed intact and in use for hundreds of years.
The legacy of the Savonnerie manufactory was a great one. The carpets remained the exclusive property of the French rulers until 1768. In the same century, the classic Savonnerie designs were updated with lighter, brighter colors and Rococo elements. The production of Savonnerie rugs declined in the latter half of the eighteenth century, until 1805 when the designs were revived by Napoleon. Twenty years later, the Savonnerie workshop merged with the Gobelins tapestry manufactory. This marked the end of its independence, though the production was ever steady. A number of the first Savonnerie designs still exist today, having survived the Fronde, the French Revolution, and two World Wars. They have avoided going out of fashion by reinventing themselves from Louis XIV style to Rococo to French Empire to Art Deco and beyond.
Antique French Savonnerie rugs exemplify the formal grace and elegance of classical European design. Like Aubusson tapestry rugs, Savonneries originated in France when European taste turned away for a time from Oriental carpets in the later eighteenth and earlier nineteenth centuries. Named for nearby factories that produced soap or “savon,” Savonnerie rugs shared with Aubussons a Neo-Classical taste for naturalistic flowers and swags or garlands in soft colors on a dominant ivory field, except that they were made in knotted pile rather than tapestry technique. Later, carpets of this kind were made in other European centers, most notably in Spain.
Oushak rugs are some of the finest Oriental Rugs, so much so that many of the masterpieces of the 15th and 16th centuries have been attributed to Oushak. The popular star and medallion carpets originated in Oushak.
Oushak rugs are known for the silky, luminous wool they work with. The dyes tend towards: cinnamons, terracotta tints, gold, blues, greens, ivory, saffron and grays.
The late 19th century saw the rejuvenation of Oriental rug production, at this time Oushak re-surfaced as a preeminent center of weaving industry. The new Oushak industry saw two major shifts in design, floral patterns in the Persian tradition were incorporated into design and room size, decorative carpets were woven as European standards demanded.
The late 19th century weavers came from villages outside of Oushak and employed tribal techniques. Paramount to these techniques was the use of larger knots (sometimes less than 30 knots per square inch) and an all-wool foundation. The tribal style fused with the older Oushak designs. The merger of the two styles created a new style simply known as late 19th/early 20th century Oushak carpets. The new decorative Oushak, commercially woven, employed a soft red, as its primary color offsetting the large-scale floral motifs from the field in a bright blue. The luxurious quality of the wool (for which Oushaks had always been known) aided the colors luminosity.
After the 17th century, Oushaks, development of Oushak rug weaving is less well known. Late 17th century saw a decline in the Oriental rug market as European consumers tended to purchase rugs of European origin – primarily Aubusson, Savonnerie and Axminster. The wane in the European market meant that Oushak production declined. Those that were still made throughout the late 18th and early 19th centuries were manufactured for upper-class people in the Turkish territories on Eastern Europe.
Towards the end of the 19th century, when the European market began to be interested in Persian carpets once again, the Oushak Oushak population did not have enough weavers still skilled in the traditional Oushak craft. Manufactories had to turn to neighboring villages and their craftsmen who still maintained traditional techniques.
Oushak carpets, particularly those known as Lotto carpets, are among the later types of Oriental carpets in Renaissance painting, as they were imported by Europeans, where they adorned cathedrals, churches, and the homes of the wealthy and powerful.
Kurdish rugs are as diverse as the ethnic weavers who created them. The presence of Kurdish weavers in the northwestern area of Persia and the Iranian Kurdistan region has led to some stylistic overlap. Antique Kurdish rugs are one of the few under-recognized rug types to emerge in the past 30 years. Kurdish groups traditionally populated the eastern edge of Turkey, northern Iraq, western Persia and small areas near Persia’s eastern borders. Although these antique Kurdish village carpets feature motifs that are reminiscent of Caucasian designs, Kurdish weavers were a very small minority in areas north of Persia.
As their designs reflect, Kurdish weavers aren’t part of a homogeneous group. There are many clans and sub-groups, such as the Jaff and Sanjabi, who produce individual designs. Antique Kurdish rugs feature elegant curvilinear shrubs, superb Herati motifs, Memling guls and exquisite floral. Their style ranges from formal to whimsical. The designs are varied and the colors are exuberant. The rug patterns and symbols used by Kurdish weavers have been absorbed by neighboring weavers and have become part of the larger culture. From the graphic style and the fine fleece to the beautiful colors and iconic patterns, antique Kurdish rugs have innumerable traits that make them highly desirable.
Kurdish Rugs: Long mistaken as Northwest Persian or Caucasian village weaving of indeterminate type, antique Kurdish rugs and carpets have only recently come to be recognized for their distinctive sense of design and fine color. Many of those produced in the Sauj Bulagh region are extremely early, possibly dating before 1800. Kurdish rugs were produced in medallion patterns and more commonly in allover designs, either floral, Mina-Khani patterns, or geometric, like the so-called “Jaff” type. The color of Kurdish rugs is at times astounding, with transparent terracotta and burnt orange tones, gorgeous blues and greens, and vibrant saffron yellows. These color effects are greatly enhanced by the lustrous, silky wool that Kurdish weavers commonly used.
Agra has been a major center of carpet production since the great period of Mughal art in the sixteenth and seventeenth centuries. When the carpet industry was revived there under British rule in the nineteenth century, the great Mughal tradition got a new lease on life, accompanied by a new interest in the sorts of classically derived designs current in Persian rug production during the same period. Because of this, nineteenth and early twentieth century Agra carpets enjoyed a varied and eclectic background that could draw on all the great achievements of Oriental carpet weaving. Antique Agra rugs present elegant allover designs alongside medallion or centralized patterns. They have the rich pungent palette of classical Indian and Persian carpets as well as soft, cool earthy tones.
Located in the Uttar Pradesh state in northern India, Agra is most widely recognized for the Taj Mahal, the Mughal Emperor Shah Jahan’s mausoleum for his third wife. Less widely known is that it has also been a large center for rug weaving since the 16th century. When Agra first became the Mughal capital in 1566, it too did it establish its presence as a rug weaving center. The Indians themselves had never had much need for large carpets and the craft was introduced relatively late. During the 17th century, a number of skillful Persians were called in to impart their weaving knowledge in India. Large carpet factories were started in Lahore; the patterns as well as the knotting closely resembled Persian work. A number of antique carpets from this time are now found in museums throughout Europe and America. Production of fine rugs continued here through the decline of the Mughal Empire in the 17th century after which most antique Agra rugs were categorized as Indo-Isfahan weaving.
Since the end of the 19th century rugs in India have been primarily woven to order and have been made with the finest quality in mind. Although later rugs do derive patterns from their predecessors, the changing style of Agra carpets can be most clearly seen during the British rule of the 19th and 20th centuries. Production ceased after the 1920’s but resumed again in more recent times. Now, Agra carpets are considered some of the most decorative pieces internationally.
Agra Rugs are difficult to classify as they vary in size, design, and composition. Although they often exhibit open fields with smaller medallions and guards, they can also be woven with all-over designs. Similarly, the fields are usually composed of olive greens, blues, fawns, and tans, but can also be red or other colors. They are usually woven with wool, but can also be found with cotton. The older Mughal pieces are relatively rare (they are usually found in fragments or are re-sized and heavily restored) and as such are much more valuable. The weight of an Agra is one telling factor between Mughal Agras and the Agras from the 19th and 20th century; newer Agras are heavier.
It is also difficult to tell Agras apart from other Indian rugs such as Amritsars. Many times dealers will label a piece as an Agra as the connotation is much better than Amritsar, but this is a misnomer. While the definite location of any one piece is hard to distinguish, one can be sure that real antique Agra carpets are fine pieces and great for collectors and designers alike.
These northwestern districts were home to dozens of villages and niche communities tucked away in mountainous regions and plunging valleys. Together, these distinct settlements and isolated communities formed a strong carpet-producing network that has maintained its international notoriety centuries later. The distinctive northwest Persian geometry of antique Heriz Serapi and Bakshaish Rugs is one of many iconic traits that these regional creations share.
The district of Heriz has always stood out for its aesthetically appealing antique rug creations. These elegant, softly colored and richly patterned carpets continue to attract new generations of consumers and collectors. Antique Heriz carpets are prized for their elegant patina and rich colors that are often attributed to the area’s copper-rich water. Regal terra-cotta reds, clear Persian blues and creamy accent colors are synonymous with the region’s unmistakable coloration. Weavers in Heriz used the finest wool and deeply depressed Turkish knots to produce durable, long-lasting carpets. Antique Persian Heriz Serapi rugs have many of the same physical attributes as the famous iron carpets of Bidjar.
Serapi Heriz antique rugs, which are attributed to the village of Serab, are considered to be some of the finest examples from this region. These elegant carpets feature strongly depressed Turkish knots, distinguished rectilinear patterns and angular interpretations of traditional Persian designs. While regional compositions in Serab and the greater Heriz region tend to favor broad armorial medallions and articulate botanical motifs, abstract rectilinear interpretations of arabesques and lush Persian florals are occasionally featured.
Elegant repeating patterns, cascading willow trees and rustic vine-scrolls are used with greater frequency in Bakshaish carpets. These softer and aesthetically subtle carpets tend to incorporate gentle earth-tone colors and larger more tribal design elements. While Bakshaish is part of the Heriz district, the area is also closer to the acclaimed carpet-producing city of Tabriz. Antique Bakshaish rugs may feature sublime repeating patterns with cascading shrubs and refined cypress trees. However, grand medallions set over strong monochromatic spaces and camel-colored backgrounds are regional hallmarks that are inextricably associated with Bakshaish.
The carpets produced in Heriz, Serab and Bakshaish are distinguished, iconic and elegant in a raw, unadulterated manner. These superficial traits and the impeccable physical construction have earned northwest Persian rugs an everlasting place in Western interiors.
Antique Turkish Oushak rugs have been woven in Western Turkey since the beginning of the Ottoman period. Historians attributed to them many of the great masterpieces of early Turkish carpet weaving from the fifteenth to the seventeenth centuries. However, less is known about what happened to production there in the eighteenth and early nineteenth centuries. When things become clearer toward 1900, the Oushak region re-emerges as a major center, this time for room-size decorative rugs. Antique Turkish carpets such as these are desirable today as highly decorative pieces. They come in central medallion designs as well as patterns of smaller allover medallions or scattered sprays of vine scroll and palmettes. They are notable for the grand, monumental scale of the designs, often a subdued palette in soft apricot and golden saffron tones whose pleasing qualities are enhanced by their particularly soft and lustrous wool.
Cosmopolitan and sophisticated are two words that aptly describe Oushak rugs. Although the Ghiordes knot and the quirky angular designs have a certain primitive air, the rugs from Turkey are exceptionally unique and attractive. Without compromising to appeal to Western consumers, weavers here managed to create one of the country’s most desirable rug styles. The angular arabesques and ornamental medallions are not dissimilar from Persian motifs but are executed in a more rectilinear manner and woven in a unique palette that includes bold Mediterranean-influenced colors and chic pastels.
The Oushak rugs have become the rugs of choice for many of the top interior decorators in the world today. For the most part they are not high quality rugs but that is what makes them so special. Since the knot count is considerably lower than the antique rugs made in Persia – antique Turkish rugs were woven with larger scale patterns. These carpets are also extremely desirable because of their colors – which are usually much lighter and “happier” in feel than rugs from other regions. So if you are looking for an antique or vintage rug with a large scale design and soft colors, theses should top your list.
It is generally believed that rug making in Anatolia began with the advent of the Seljuks in the 11th century. By the 15th century, rugs were being produced by factories and independent weavers in the environs of Oushak. The origins of of the rugs from Oushak must therefore be looked for between these two dates. The rugs of the 15th, 16th, and 17th centuries were widely acclaimed in Europe where they were appreciated and depicted in the paintings of many artists such as Lorenzo Lotto and Hans Holbein. During the 18th century the production of Oushak rugs had deteriorated and became much more commercial.
Although the Oushak rugs are made using less complicated methods, they are extremely decorative in nature. Their larger scale patterns along with their soft and decorative coloration make these rugs extremely sought after by the trend-setters and taste-makers in the interior design trade.
While originally woven by nomadic Bakhtiari, most authentic Bakhtiari rugs are woven in Bakhtiari settled communities in west central Iran southwest of Isfahan, Chahar Mahaal and Bakhtiari and parts of the provinces of Isfahan, Lorestan, and eastern Khuzestan, most notably in the town of Shahr-Kurd. Bakhtiari rugs were also known after their place of origin, such as Saman or Hureh (Hori). However, Bakhtiari patterns are copied in other weaving centers in Iran, Pakistan, India and China; so that a place name came to be used to refer to the place of origin of the pattern and quality of the rug, rather than to its place of actual manufacture. Saman and Hori are now regarded as grades of Bakhtiari rugs, rather than as geographical terms.
Bakhtiari carpets are based on a cotton foundation with a wool weft usually taken from the herds of the producing tribe. This leads to unique carpets that differ depending on the characteristics of each tribe’s wool. The wool can range from dull to extreme glossy and the resultant pile is clipped medium to high. The best carpets with the highest knot density are often known as Bibibaff. Prices range considerably with the highest knot density rugs generally being the most expensive, but price is also affected by criteria such as the pattern and the dyes used. Chapel Shotur and Saman pieces are rated slightly beneath Bibibaff productions, but are still considered to be good to excellent. Hori carpets are of looser weave and inferior quality and as such, are generally widely affordable.
The use of colors varies depending on styles of certain tribes. Generally they include shades of white, reds, browns, greens, and yellows. Blue does not appear to feature. Natural dyes produce variations in color, which are particularly obvious on older Bibibaffs.
Handmade runner rugs are often the first rugs one encounters when entering a home. Use runner rugs in hallways and on stairs to protect your flooring, absorbs noise, and create an inviting feel. Add pleasing texture, pattern and color to your home with these practical and stylish rugs. At Rugs & More we have a huge collection on runners whether they are for your living room, dining room, or bedroom.
A durable carpet runner can enhance your decor while protecting floors from wear and tear. Runner rugs come in a wide variety of lengths, so you can find a precise match for almost any hallway or stairwell in the home. Add a pile weave runner to a narrow galley kitchen to shield feet from cold tile in the morning. The dense, durable materials can handle plenty of foot traffic during your family’s morning routine. Match a soft beige shag runner to a set of khaki curtains, or add a patterned rug for extra style.
A rug runner will often match or complement larger rectangular rugs in adjacent rooms these “pass across” rugs are perfectly suited for inter-room hallways, entry halls, and just about anywhere else people traverse runners are especially long rugs and are therefore well-suited for use as hallway rugs. In particularly long hallways, though, a runner that is long enough to cover its entire span; consider splitting the difference by placing two runner rugs down the hall with a break in between. This option gives the illusion of a hallway-length runner while providing the flexibility to move one or both runners to a new location in either the instance of a move or a wish to change the look of a space by switching out the runner.
At Rugs & More we carry a huge selection of rugs whether you are looking for a living room, bed room, or even a dining room rug. Rugs & More is recognized as the ultimate shopping destination for the world’s finest rugs. Our rugs are sourced internationally and are hand selected and surveyed to ensure the highest quality.
Fall in love today with your area rug. A dining room rug can add comfort, style and color to your home. It also frames the dining room table making the whole room visually pleasing. But choosing the perfect rug can be a little tricky. It’s usually an investment, so we want to do everything we can to choose the right one!
Before you include a rug to your dining room you want to rearrange your dining room furniture in the placement that you want it. Doing so will make it a lot easier to measure and pick out the right area rug for your space. Measure your dining room table and adding 20-30 inches. Now you have a the perfect size rug for your dining room.
Make sure your rug is not so big that it covers your entire dining room. Let the edges of your room “breathe”! Make sure you have at least 6-18 inches of floor showing all the way around the room. This will define your eating space and supporting furnishings.
Afshar is a handwoven rug style produced by the Turkic Afshar tribe, a semi-nomadic group principally located in the mountainous areas surrounding the modern region of Iranian Azerbaijan. An additional population of Afshar tribes-people is located in the Kuchan area in Razavi Khorasan Province of Iran and city of Kerman. Carpets in the Afshar style are known for their striking and stylized floral geometric designs, sophisticated tribal artistry and a characteristic palette of rust and blue color tones.
Afshar Rug Design
Antique Afshar rugs from the 19th century are characterized by their unusually and consistently high quality of craftsmanship and wool. Colors are virtually always heavily saturated: deep indigo, carnelian, saffron and ochre tones predominate, giving a robust, vigorous character to their designs. While complex repeating all-over designs are prevalent, Afshar weavers also drew upon Southern Persian carpet imagery, with boteh motifs, shrub and occasionally “Tree of Life” compositions also encountered. Kurdish influences are evident in angular medallion format rugs, as well as in the general spontaneity encountered in several original flower and bird designs.
Afshar rugs are virtually always found in the area size format, ranging in size from 3 ft x 4 ft to 4-5 ft x 7 ft. Larger room size pieces are extremely seldom encountered. Longer corridor carpets (5 ft x 10 ft) are occasionally found, as are the small mats and bag faces consistent with their nomadic tribal heritage.
Since the Safavid period, the Afshar tribal group has been among the most preeminent Turkic tribal groups, migrating from their origins in Central Asia to settle in Iranian Azerbaijan, Azerbaijan republic, and Eastern Turkey. This background has led to the inclusion of numerous regional influences on Afshar weaving, resulting in a distinctive aesthetic that incorporates elements of several village and nomadic Persian rug styles, as well as Southern Persian design influences. Caucasian rug influences are also strongly felt, seen most notably in the direct parallels to Shirvan carpets woven in the village of Chajli.
The city of Mashhad has long been one of the centuries for production of famous Persian carpets. It is also one of the oldest centuries of carpet weaving. The Perez Topkapi prayer rug was woven between 1550 and 1556 most likely in Mashhad. The carpet manufacturing is extensive in Mashhad and mostly large carpets with medallions are made, which are also sold under the name Meshed. The quality changes and the wool from Khorasan is recognized by its softness.
Located in Northeastern Iran, Mashhad is an important center of the carpet weaving industry. It is also considered the most holy city of Iran. This is because it holds the shrine of Imam Reza who is very dear to Muslims around the world. Mashhad carpets are usually bright and cleverly colored therefore literally giving life to any dull room. Their color schemes are usually tones of red or blue. Mashad carpets are very well made and they will last a very long time, as would any other Persian rug.
Color & Texture of Mashhad Rugs
The wool used in Mashhad rugs is softer than that found in most other types of Persian rugs. The colors are non varying and most use exclusively red and blue as the dominating colors with ivory or khaki used to provide interesting contrast. The background is typically deep, dark red with dark blue highlights found in the center medallion, corner pendants and border. The red background is a distinguishing characteristic of Mashad rugs.
Antique Persian rugs range tremendously in style and design, a result of the long and important rug making tradition that has been part of Persian society for centuries. Almost every region of Persia has its own particular style and method for weaving fine rugs and carpets, and it can be amazing to behold this tremendous range. Among the traditional styles of Persian rugs, one of the most interesting is the Mashhad style, which is itself a Khorassan style. Mashhad itself is a holy city in the Iranian province of Khorassan, which is situated in eastern Iran. Mashhad is particularly important to practicing Muslims, as it was home the eighth Imam, who died and was buried there. Millions make the pilgrimage to Mashhad every year.
Rugs and carpets produced in Mashhad in the traditional style are notable for several reasons, and are relatively easily identified based on several different characteristics. First, Mashhad rugs tend to be larger pieces. They also tend to feature a large, elaborate central medallion – a characteristic that is not unique to Mashhad rugs, but that is nevertheless important. Further, Mashhad rugs tend to possess a certain softness, especially compared to other Khorassan rugs – the quality of the wool used by the rug-makers of Mashhad is second to none. Known for their beauty and their quality, which is assuredly second to none, Meshad rugs remain very desirable in the rug world of today, centuries after they were first woven.
Qashqai rugs are woven using large amounts of very bold shades of red. Providing a perfect complement to the prominent red are classic yellow and indigo blue. Qashqai rugs usually have different shapes and patterns, for example animal and bird drawings used both as part of the repeat patterns and as filler ornaments.
Qashqai rugs are named after the tribe in Persia who weave them. These rugs represent the talented weaving styles of the tribe. Combining unique details and texture with traditional family motifs, the rugs are heavily ornamented. They often feature geometric patterns and highly developed floral designs. The Qashqai rug colors incude red, saffron yellow and navy.
Qashqai rugs have several different types of medallion layouts and this is because of the different origins of the weavers who learn the different layouts from their families. The Qashqai rugs are woven by Qashgai tribe women, who came from different ethnic backgrounds including Turkoman, Arabs, Lurs and Kurds. Irrespective of their ethnic or cultural background, these weavers all descended from several generations of skilled weavers who passed their tradition down to their descendants.
In some layouts, the medallions appear shaped as hexagons or regular diamonds. Sometimes they appear as 3 diamonds that are vertically connected. Another common patterns is to have 4 hooks surrounding a small sized diamond or square shaped feature inside the medallion. Sometimes, this square or diamond surrounded by hooks appears in the rug as an all-over pattern.
At Rugs & More we have the most antique collectable Tribal Rugs on the west coast. For example we have hundreds of antique collectable hand made saddlebags. Learn More about woven arts with Michael Kourosh on “Appraisals Of The Week” on Design Santa Barbara. Saddlebags are made for horses, donkeys and camels from Asia Minor, Central Asia, North Africa, the Caucasian Mountains and the Western Hemisphere. Some Kurdish saddlebags are for camel size animals; khorjins from Iran were for donkeys. Baluch khirjin and a Juval are knotted pile with flat-woven backs. Probably the most familiar to Westerners are saddlebags with two decorated pouches. These were made in various sizes, with the smallest examples used on donkeys. Called heybe in Turkey, khorjin in Persia and the Caucasus, they appear in a wide variety of woven structures: tapestry, soumak, brocading, knotted pile, weft substitution, and even occasionally warp substitution.
Saddlebags were normally woven in one long piece. First the face for one pouch was woven, then a long section that formed the back and center bridge, then the second pouch face. The bag was assembled by folding each end panel inward, then stitching along the sides. The example at the right is as it came from the loom. This piece simply was never stitched up to make a bag, but had it been finished, it would have been folded over as shown below. Because of the construction sequence, the pile on knotted-pile saddlebags lies in opposite directions on the two decorated pouch faces.
With the earliest pieces, often only the saddlebag faces ( hence the name BAG FACE ) have survived, or just half a saddlebag–a single pouch with both face and back intact . These can be important collectors’ pieces. There is a big market for rare and unique bagfaces of early period and they command high prices and we predict that they will get more expensive over time, because compare to all other art forms these gems are very much under valued.
Jaf Kurd SaddleBag (Face)
We provide the West Coast with the most comprehensive collection of new, oriental, and antique rugs. For over three generations, we have been the most trusted and reliable source for rugs and home decor. Take advantage of our award winning customer service on your next interior design project and enjoy all of the benefits we provide our loyal clients.
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Tufted area rugs made in India, China, or Pakistan have been known to have an unpleasant odor that can vary from mild to offensive. The reason for this odor is the latex glue used to make them. The glue is usually low quality and sometimes mixed with fillers, such as marble dust, to make it spread further. The smell is permanent, no amount of professional cleaning or deodorizing products are able to remove it and the glue is made up harsh chemical substances, that are hazardous to your and your loved one’s health.
We do not sell tufted rugs at Rugs & More because of these reasons. Most national chains do sell tufted rugs, that look like a hand knotted rug, but they are not. They are just cheap imitation of hand knotted rugs. Do not buy a hand tufted rug.
At Rugs & More, we sell the rugs in the best quality hand knotted all natural wool and vegetal dyed rugs to last you a very long time to be enjoyed by your family and friends for generations. Come in and get advise on why our rugs are better than any Tufted rug.
Another thing to consider when buying a tufted area rug is where it will be used. In high traffic areas synthetic tufted area rugs get dirty looking quickly and the grey dinginess remains. Tufted area rugs are not a good choice if you have pets. If any pet accidents happen the smell is nearly impossible to remove because it gets absorbed by the glue.
Stains are harder to remove because they cannot be cleaned as thoroughly due to the fact that the area rug is glued together. Tufted area rugs can de-laminate if cleaned with too much moisture and/or heat.
Over time the edging on the back or fringes may become unglued or you may see rust colored stains around edges where the glue has oxidized. In older tufted area rugs the glue may dry out and start to break down making the rug limber. This causes you to see white sand like dirt come from the area rug. Those are good indicators it might be a time to replace your rug.
Rugs & More
Rugs pay tribute to the beauty of their countries of origin. Whether exotic or traditional, tribal or modern, our rugs weave stories through intricate patterns, compelling colors, and touchable materials. These museum quality pieces are a testament to superior craftsmanship. Our rugs, textiles, tapestries, flat woven rugs, Kilims, and needlepoints are hand-knotted and woven in silk and wool of the highest quality. Both rare and unique in design, these collectibles quickly become family treasures that can be passed down from one generation to the next.
Our goal is to help you make a rug truly yours! Rugs & More is proud to offer customization options. Creating a custom rug from a variety of styles is the perfect solution when you can’t find exactly what you want. We invite you to visit our showroom to meet our knowledgeable staff and get acquainted with our inventory. You can also learn more about the history of rugs, instructions for proper care, and general tips for a successful rug buying experience. We look forward to getting to know you.
Choose from our huge selection on antique rugs that will last you a life time to pass down from generation to generation. Rugs & More is proud to offer the highest quality repair and restoration services for antique and hand woven rugs on the west coast. We regularly achieve miraculous repair results on everything from priceless antiques to all purpose floor coverings. If you have a treasured rug in need of some TLC, do not hesitate to use our services, we guarantee you will be pleased with the results.
Handmade rugs are produced by an artist who is either a first generation weaver or comes from a long line of craftsmen and women who pass the skill down through ancestral or artisanal relationships. Because of this, rugs and tapestries frequently feature designs that are a continuation of motifs and story lines which have been translated over several generations, with each one making improvements on the last.
Handmade Rugs Have a Unique Origin
Like a rug’s story, a rug’s place of origin plays a vital role in both its inherent value and its value as an investment. Though machine-made rugs are sometimes produced in areas well-known throughout history for rug manufacturing, their method of construction effectively takes away from the true cultural and value-related significance of their origin.
At Rugs & More we carry Oriental, Persian and Turkish rugs produced by hand, however, are beautifully intertwined with the location where they were woven. Whether your carpet was handmade by a single weaver on the outskirts of Sultanabad, Pakistan, constructed by a family of artisans in India, or finely composed by hand in the Savonnerie workshop, your rug’s origin is distinctly attached to both its artist and story.
Handmade Rugs Exhibit Profound Workmanship
Many who purchase machine-made rugs aren’t usually aware of the quality of their rug’s materials and workmanship. Rugs produced on automated looms often contain knots so uniformly and tightly packed together that they lose their tractability, warmth and suppleness in the process. This results in a rug’s overall inflexibility when added to a home or office, causing it to wear much more quickly and provide an inferior visual and tactile appeal. Also, the materials utilized in machine-made rugs are often much poorer than those used in handmade rugs.
One of the reasons people choose handmade rugs over machine-made rugs is for their slight imperfections. Even the most skilled weavers make minor mistakes during the creation process; but like any great painting or sculpture, these tiny imperfections only serve to promote the unbreakable connection between an artist and their work. Beyond this, these types of rugs also exhibit a sinuous appeal as a consequence of being woven by hand and because of a weaver’s insistence on using only the best materials available for the finished piece. In essence, it is because of their love for the artistry itself that we, as Oriental rug appreciators and owners, have found such a profound interest in their craft.
Kerman Rugs – Since the seventeenth century, Kerman has been a major center for the production of high quality carpets. The so called Vase Carpets of the Safavid period are among the greatest masterpieces of Persian weaving. When Persian rug production moved into high gear in the later nineteenth century, Kerman once again emerged as a producer of the finest carpets in the best Persian tradition.
Kerman carpets of this period, particularly the Lavar type, are known for the fineness of their weave and for their elegantly drawn designs of classical derivation, both in allover and central medallion formats. The palettes of Kerman rugs are extremely varied and it ranges from examples which emphasize ivory, blue, and magenta rug tones to those with a more golden, saffron cast.
Kerman is a city and as well as a province in south central Iran. With its 60,000 inhabitants and surrounding villages, it is one of the major rug producing areas of Iran. Unlike other parts of Persia, Kerman existed with relatively no interference from invasions, mostly due to its provincial isolation. As a result, the arts in Kerman flourished. Antique Kerman rugs are easily recognizable with curvilinear graceful floral designs in a brilliant assortment of colors.
Dye’s For Kerman rugs
The dyes of Kerman are the most varied and imaginative. The dying process is done while the wool is still in the flock, before spinning, allowing for more uniformity of color. The dyers of Kerman are renowned for their skill in producing light shades of color. Kerman is also noted for its distinctive late 16th century to mid-17th century carpets called ‘vase carpets’. This term refers to a design of all-over stylized flowers and oversized palmettes with vases placed at intervals throughout the field. Kermans are woven in all rug sizes and the foundation is often cotton. To the north of Kerman is the village of Ravar where Laver Kerman rugs are made. These rugs are rarer than Kermans and the name is used as a distinction of quality.
Among all Persian rugs, none may be argued to be more elegant and refined as those produced in the city of Kerman. Kerman rugs often feature traditional Persian reds and blues or variations thereof and are nearly always floral and curvilinear in design. The fineness and quality antique rugs of Kerman weaves in combination with their traditional Persian floral designs make them ideal for those wishing to add grace and grandeur to the formal spaces of their home.
The main difference between jute and sisal rugs is that sisal is tougher than jute. Jute and sisal are natural fibers commonly used to make rugs; jute is a strong fiber that is used to make cordage, burlap and gunny, and it is derived from two species of plants in East India. Sisal is the tougher of the two, and it is used to make cordage, twine and hemp
There is a reason Jute and sisal rugs are a designer’s best friend. They look good with any dècor, deliver an updated look and our custom sisal rugs are highly durable. We also offer a huge selection with dozens of unique colors and patterns.
Despite the yarn durability sisal is known for, slight matting of sisal carpeting may occur in high-traffic areas. Sisal carpet does not build up static nor does it trap dust, so vacuuming is the only maintenance required. High-spill areas should be treated with a fiber sealer and for spot removal, a dry cleaning powder is recommended.
Depending on climatic conditions, sisal will absorb air humidity or release it, causing expansion or contraction. Sisal is not recommended for areas that receive wet spills or rain or snow. Sisal is used by itself in carpets or in blends with wool and acrylic for a softer hand
Jute and sisal rugs have a very rich cultural history. An Egyptian sisal rug is the one with the longest history and goes back all the way to the start of civilization. Sisal is a very durable and soft material whose fibers are spun into a thick and supple yarn that is woven into complex patterns used to create area rugs and broadloom. Sisal’s natural attributes make it fire retardant, sound absorbing and anti-static. Sisal is much stronger than most other natural fibers that are found in rugs, such as flax, jute, and hemp.
Jute rugs are a long, soft, shiny vegetable fibre that can be spun into coarse, strong threads. It is produced primarily from plants in the genus Corchorus, which was once classified with the family Tiliaceae, more recently with Malvaceae, and has now been reclassified as belonging to the family Sparrmanniaceae. The primary source of the fibre is Corchorus olitorius, but it is considered inferior to Corchorus capsularis. “Jute” is the name of the plant or fiber that is used to make burlap, Hessian or gunny cloth.
Jute, also called hessian or burlap, is a natural fiber found in clothing, luggage, and home furnishings. Jute carpets have some of the softest fibers in the world and feature a gold shine in their natural state. Jute may also be dyed a myriad of colors to provide different shapes and patterns in colorful carpets. Some manufacturers may mix jute fibers with synthetic fibers to create a stronger, more durable carpet. However, jute rugs can become discolored, stained, or mildewed and you may need to know how to clean a jute rug with proper care.
How to clean your Jute Rug
Use a soft bristle brush and a dab of water to immediately clean spills on a jute carpet. Once a spill is set, it may become a stain and become difficult to remove
Vacuum a jute rug twice a week to prevent dirt accumulating in the jute fibers. Vacuum both sides of the rug as well as the floor underneath.
Use a dry-cleaning powder to clean a jute carpet. Sprinkle the dry-cleaning powder onto the carpet, and use a stiff bristle brush to clean the jute fibers. Shake out the rug or vacuum as needed. A dry-cleaning kit may be available at carpet stores or online that contains the dry-cleaning powder, a spot remover, and a brush.
Scrape solid spills with a dull knife, and then brush with a stiff bristle brush. Follow by vacuuming.
Clean liquid spills on a jute rug by blotting. Avoid rubbing the spill. Club soda may be used to neutralize acidic spills such as red wine or tomato sauce.
Dry any wet spills immediately with a hair dryer or fan.
Remove mildew from a jute rug. Mix 1 part bleach to 6 parts water in a spray bottle. Test the mixture in an unseen spot on the rug. If discoloration occurs, dilute the spray and retest. Once the mixture is satisfactory, spray a little on the mildew, and work in with a soft brush. Rub with a dry cloth after 10 minutes.
Treat jute rugs with a jute sealer. This can minimize the jute fibers’ absorbency and protect the rug from stains. This will allow you a little more time to get any spills cleaned up before they set into the rug.
At Rugs and More you can choose from our huge selection of Sultanabad rugs. Characterized by their subtle color palettes and trellis designs, antique Sultanabads are frequently the choice of designers in search of allover rugs to serve as a more subtle complement to a design scheme. Come on in today and choose your Sultanabad rug for your Beautiful home.
Most similar to the Sultanabad rugs are Heriz and Serapi rugs; this similarity being attributed to the magnificent graphic character of the designs. Yet within this similarity, the line work of the Heriz/Serapis is always more curvilinear and classical. Sultanabad rugs share with Persian rugs all-over designs of palmettes and vinescrolls, but as they use a larger, suppler weave, the Sultanabad designs tend to be larger as well.
The most popular color of the Sultanabad rugs was a deep rose red. The red dye was created by bathing wool for two days in madder and whey after which it was scoured for nearly another two days with running water.
The term Sultanabad has come to distinguish the oldest and highest quality Mahal rugs which were produced in the Arak region. Sultanabad rugs and carpets were made in the same area as the earliest Farahans and Sarouks, but they are very different. Ultimately, Sultanabad rugs and carpets share a common classical Persian repertoire of floral motifs, whether they utilize medallion or overall designs of vinescrolls and palmettes.
However, Sultanabad rugs and carpets tend to have a larger, more supple weave. Indeed the design of Sultanabad rugs resembles that of Heriz or Serapi somewhat in its graphic and monumental character, but even so the linework is always more curve-linear and classical. Sultanbad rugs and carpets also often have a rich, warm palette like that of Farahans and the earliest Sarouks.
At Santa Barbara Design Center we have a great selection of outstanding Antique Bakhshayesh rugs with incredible designs by Rugs and More! Bakhshayesh rugs are considered among the finest examples of Persian rugs. Prized for their classical, abstract, bold, and large-scale designs, Bakhshayesh rugs are skillfully woven with all-over patterns while also including an abundance of negative space allowing each shape to be appreciated individually as well as part of the whole design.
Antique Bakhshayesh Rug
The Persian antique Bakhshayesh rugs are also admired for their lustrous wool and rich, transparent color, again in the tradition of the best tribal pieces. Bakhshayesh rugs were produced in North Iran, not far from the Caucasus, which helps to account for the qualities they share with the rugs of that region.
The drawing of antique Bakhshayesh rugs and carpets is always bold, geometric, dynamic, and abstract.
The talented weavers in the village of Bakhshayesh produce an impressive array of rustic carpets that highlight the region’s history and culture. By combining the larger sizes of city rugs with the rustic, tribal influences of village carpets, these regional rugs offer collectors the best of both worlds. Antique Bakhshayesh rugs are the oldest produced in the influential region responsible for Heriz rugs. Although the village of Bakhshayesh is not far from Tabriz, their designs and styles are worlds apart. The striking Bakhshayesh rugs have ancient roots that contribute to their rustic, rectilinear style that is reminiscent of Caucasian pieces.
Do you ever ask yourself these questions when choosing a tapestry!
What colors should I use? What design would suit me? And, often the biggest question, what size is best? At Rugs and More we will help you to understanding tapestries in general and your project in particular. At first, decorating with tapestries can seem intimidating. The old world meets the new, and whether our walls are to large or to small.
Choose the designs and colors you want first, then consider the size. As architectural detail, a tapestry should be scaled to the room and the wall – neither too large nor too small. A rule of thumb: it should occupy around 80% of the intended space.
When hanging your tapestry it will look better and age better if it is installed flat against a wall. If the tapestry wall hanging is mounted flat to the wall, it gains support from the wall and has one less direction in which to wave. Most good galleries and all museums display tapestries hung flat against the wall, creating magnificent wall art.
When hanging your tapestry make sure it is not in hot, direct sun. All textiles fade, and instant sun to your tapestry will increase fading and fiber deterioration faster. Most tapestries with colorfast dyes can be safely displayed in most areas of your home where indirect sunlight and humidity are normal. Bathrooms for instance may be too humid unless well vented. Displaying your tapestry in your kitchen may also have direct contact to excessive heat and fiber absorption of food odors.
A typical Oushak rug has designs of beautiful large scale floral elements. The colors tend to be soft and pastel. They have relatively larger knots of glossy wool or mohair. Overall, they display a relaxed look.
In response to the growing demand for antique oushaks, producers are now weaving wonderful versions which capture the look and spirit of the originals very accurately and most of these oushaks are woven in Turkey.
Explore our collection of antique Oushak rugs and much more.
Fine Ziegler Oushak Rug
A member of our San Ysidro Ranch Collection, this fabulous Oushak rug combines the classic Oushak motif with an updated color palette perfect for today’s design demands. Ziegler & Company have been weaving rugs for over 130 years, and this is a prime example of their mastery.
Antique Turkish carpets such as these are desirable today as highly decorative pieces. They come in central medallion designs as well as patterns of smaller allover medallions or scattered sprays of vine scroll and palmettes. They are notable for the grand, monumental scale of the designs, often a palette in soft apricot and golden saffron tones whose pleasing qualities are enhanced by their particularly soft and lustrous wool.
Get ideas on Design Santa Barbara how to furnish your home, an award winning interior decorating series promoting local interior designers. See how to add onto your rug with the best furniture from Santa Barbara Design Center and make your home come together.
At Rugs and More we have the largest collection of Moroccan Rugs! These rugs are the staple pieces needed in creating a modern chic style for any room. This new style in using Moroccan rugs is the hot trend coming out this Spring. At Rugs and More we have the rugs in all sizes, color and depth of pile.
Watch Designer Susan Shand Transform a beautiful family home with some of the best Furniture from Santa Barbara Design Center. And see how she Includes a fine Moroccan shag rug to her design. Susan has become fond of these antique rugs due to there lush cozy weave that brings warmth and comfort to its surroundings. Her homes are an expression of her life. Creative, calming, soft, yet sexy and vital. “Spaces you can live, love and play in”.
History of Moroccan Rugs
The Moroccan rugs have become “the rug of choice” for many interior designers as well as for private consumers. They don’t have a long history but are most notable for their dynamic colorful modernist designs as well as for their strong sense of geometric structure (and abstract designs). None so far have been dated to before the mid nineteenth century, when their production began as an adaptation of central and western Turkish rugs, whose repertoire was followed closely by the weavers in Morocco. Although today we use Moroccan Rugs to bring tactile comfort and aesthetic appeal to interiors, their original purpose was warmth and insulation. The Moroccan Rugs of the Atlas Mountains were hand-woven using the sheep’s wool provided by nomadic herds. And the rugs provided thick bedding, crucial for the inhospitable climate, for the nomadic people. The cream and neutral colors common to Moroccan rugs sold en mass today harken back to a time when dyes and colors were by no means a priority.
Historically women wove carpets for their families, and men traditionally produced carpets that were more specialized as professional master weavers. These inspiring designs have been motivation for more modern carpet fabrication. A fantastically native Berber geometric design meanders across the rug, bringing visual interest.
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At Rugs and more we carry a great selection of selections perfect for any home. Every one of our Suzanis is hand woven by needle workers. These unique antique rugs can be hung up on the wall to give the room a little pop of color. There are many different ways to decorate with a suzani rugs. Suzanis usually have a cotton fabric base, which is embroidered in silk or cotton thread. There is also extensive use of couching, in which decorative thread laid on the fabric as a raised line is stitched in place with a second thread. Suzani rugs are often made in two or more pieces, that are then stitched together.
Suzani Rug Design
Popular design motifs include sun and moon disks, flowers (especially tulips, carnations, and irises), leaves and vines, fruits, and occasional fish and birds. Graceful floral motifs dominate in Uzbek suzanis rugs–both in nineteenth century pieces and in modern work. In a bleak desert landscape, oasis and courtyard gardens are especially cherished, and so plants, blossoms and vines of all types appear in the needlework, as well as occasional fish and birds. Old traditional abstracted forms also appear: palmettes, rosettes, and pomegranates. Medallions are nearly always flower forms, although there is speculation that some large roundels may have represented the sun or moon in past times. Ottoman brocades and embroidery designs have always been highly regarded in Central Asia, and so dramatic Ottoman tulip designs have been appearing as well in the contemporary embroideries.
Suzanis were traditionally made by Central Asian brides as part of their dowry, and were presented to the groom on the wedding day. These hand-embroidered vintage suzanis are infused with the character that only comes from everyday use. Perhaps created by a bride-to-be to show her devotion to her betrothed and then in lean times bartered away to a traveling Gypsy for money or household necessities pulled from the depths of his donkey cart. The story of each of these suzani rugs is as rich as their colors, as intricate as the designs that cover their surfaces
Handmade Native American rugs and textiles are truly works of art; they are one-of-a-kind items that take many months to create. The handmade Navajo rugs are part of a sacred history that dates back more than 300 years, when weaving was introduced to the Navajo tribe. But the gorgeous Native American rugs, wall hangings, blankets, and other textiles available from just representatives of the past; they’re also emblems of “The Next Phase” of Navajo weaving.
Beautiful, handmade textiles, including American Indian rugs, wall hangings, blankets, and tapestries, are often overlooked as the brilliant works of art they are. Functional art, such as textiles and pottery, is too often devalued in comparison to fine art, such as painting and sculpture. Fortunately, this trend is changing, as crafts are finally being given their due in thousands of museums across the United States and the world at large.
Navajo textiles were originally utilitarian blankets for use as cloaks, dresses, saddle blankets, and similar purposes. Toward the end of the 19th century, weavers began to make rugs for tourism and export. Typical Navajo textiles have strong geometric patterns. They are a flat tapestry-woven textile produced in a fashion similar to kilims of Eastern Europe and Western Asia, but with some notable differences. In Navajo weaving, the slit weave technique common in kilims is not used, and the warp is one continuous length of yarn, not extending beyond the weaving as fringe. Traders from the late 19th and early 20th century encouraged adoption of some kilim motifs into Navajo designs.
Add A Splash Of Color With A Patchwork Vintage Rug
Our overdyed patchwork vintage rugs are just the thing to introduce a splash of color to any space. We select a Turkish hand-knotted patchwork vintage rug to create our collection of over-dyed rugs. We wash the colors, but care to keep the original patterns still alive. We then overdye them with a new color of choice, cut them into smaller pieces and hand sew the fragments together with a sturdy yarn. The rearrangement of the fragments transforms the ancient craft of rug making into unique artwork suited for contemporary settings at home or in offices. Patchwork rugs sew together cultures, traditions and history, creating beautifully unique rugs that should be treated as contemporary works of art. Combining pieces of vintage and antique hand-woven rugs and backed with a fabric as reinforcement, they showcase a wide variety of weaving traditions and are created to fit into both contemporary and traditional interior designs.
Patchwork Vintage Rug Uses
Patchwork is most often used to make quilts, but it can also be used to make bags, wall-hangings, warm jackets, cushion covers, skirts, waistcoats and other items of clothing. Some textile artists work with patchwork, often combining it with embroidery and other forms of stitchery. When used to make a quilt, this larger patchwork or pieced design becomes the “top” of a three-layered quilt, the middle layer being the batting, and the bottom layer the backing. To keep the batting from shifting, a patchwork or pieced quilt is often quilted by hand or machine using a running stitch in order to outline the individual shapes that make up the pieced top, or the quilting stitches may be random or highly ordered overall patterns that contrast with the patchwork composition. Patchwork Rug or “Pierced Pieces” is a form of needlework that involves sewing together pieces of fabric into a larger design. The larger design is usually based on repeat patterns built up with different fabric shapes (which can be different colors). These shapes are carefully measured and cut, basic geometric shapes making them easy to piece together.
Large Antique Turkish Usak Rug, 17th Century – This sublime antique 17th century Usak carpet showcases a fantastic Piece of art by octofoil stars. The lavish shield-like medallions Shows smooth curving quatrefoils, turtle-like pendants and lush emerald green swaths that are surrounded by protective latched . These distinctive Persianate medallions were adapted long ago and in Turkish as far back as the Renaissance. These precisely aligned medallions illustrate the principle of infinite rapport with precise lines of double symmetry. This richly colored carpet displays a vibrant red ground adorned with intricate blue scrolls. The wide, monumentally long field is enclosed by elaborate borders that display wild color variations and floral motifs accompanied by tribal lozenges. Worthy of a prized collection, this antique Usak rug is a stylistic forerunner that hints at the long history of this beloved art form. Usak rugs are known for the silky, luminous wool they work with. The dyes tend towards: cinnamon’s, terracotta tints, gold, blues, greens, ivory, saffron and grays.
Usak Rug Design
The late 19th century weavers came from villages outside of Usak and employed tribal techniques. Paramount to these techniques was the use of larger knots sometimes less than 30 knots per square inch and an all-wool foundation. The tribal style fused with the older Usak designs. The merger of the two styles created a new style simply known as late 19th/early 20th century usak carpets. The new decorative usak, commercially woven, employed a soft red, as its primary color offsetting the large-scale floral motifs from the field in a bright blue. The luxurious quality of the wool (for which usaks had always been known) aided the colors luminosity.
Brussel tapestry of the 15th century rivaled Arras and Tournai. As exemplified by the altarpiece Brussel tapestry, it was noticed for its outstanding reproductions of religious painting by late Gothic Flemish masters. Where they were employed either as an altar cloth or antependium and also placed on walls behind the altar, such pieces were designed for churches or private chapels. Used to obtain the greatest possible naturalistic detailed painting, Brussel altarpieces often included silk
Brussels Tapestrys continued to dominate large-scale, high-quality production throughout the first two-thirds of the sixteenth century, and other Netherlandish centers continued to export large quantities of lower grade tapestries all over Europe, a number of smaller enterprises were set up elsewhere in Europe. Documentation indicates that there was a considerable amount of independent weaving in France during the sixteenth century.
From a commercial point of view, the most successful French workshops were those in Paris, which managed to maintain an independent existence throughout the first three-quarters of the century, supplying Brussel tapestries to the French crown and nobility.
Brussels tapestry workshops produced tapestry from at least the 15th century, but the city’s early production in the Late Gothic International style was eclipsed by the more prominent tapestry-weaving workshops based in Arras and Tournai. In 1477 Brussels, capital of the duchy of Brabant, was inherited by the house of Habsburg; and in the same year Arras, the prominent center of tapestry-weaving in the Low Countries, was sacked and its tapestry manufacture never recovered, and Tournai and Brussels seem to have increased in importance.
Rare Antique Konya Rug: 2’4” x 4’3” – Wool pile on wool foundation. Woven Ca. 1800. west Anatolia
This small format Konya has saturated and magnificent colors, lustrous and soft wool, and supple handle. Rich and bold tribal drawing. It has four small medallions on surrounded by indigo Blue bird heads on a rich red madder field. It had the signature peach color border with the medallions of Ram’s horn.
In 1292, Marco Polo was the first to make mention of the Konya carpets in writing when he called them the most beautiful in the world. Konya carpets are named for the region in which they were made. Renamed from the Greek “Iconium” when the Seljuk Sultans of Rum made it their capital, Konya is one of the largest, oldest and continuously occupied cities in Asia Minor. When Polo wrote of the Konyas, he had probably seen them in manufactories that were attached to the Seljuk courts. In the early 20th century, large carpets were found in the Alaadin Mosque in Konya; they are now housed in the Museum of Turkish and Islamic Arts in Istanbul. Scholars and collectors alike, primarily for their bold tribal designs and magnificent color combinations not to mention their rarity, covet Konya rugs.
Older pieces are characterized by the restraint towards color combinations and their use of earth tones (most notably: soft yellow, terracotta and browns). The wefts of the Konya rugs are always red, distinguishing them from other Persian carpets. The Nomadic pieces within this genre usually have a foundation of dark wool or goat hair.
Finest collectable tribal rug at best with most saturated colors. Magnificent Rugs.