Bath Mat,Faded Distressed Turkish Small Vintage Doormat,Low Pile Wool&Welcome Mat,Boho Entrway Rug,Hand Knotted Little&Sink4Rug 3' 1'' x 1' 8'' 623Floor Rug4is hand made and4vintage100%owool,&very durable and easy&to cleanThese rugs are greatofor entryways, bedsides, kitchen sinks and bathroomsAll of our&rugs are old, antique or vintage. They are all pr4fessionally cleanedoand if needed repaired.One of a kind, Genuine RugDue to its vintageonature, there will be signs of aging, which isn't considered flaw but chara2/erThese rugs are vintageoso some rugs may&show slight imperfections but I do my best to picture the quality and color scheme4of all my rugs.Please note that images may be&displayed differently on different monitor6.We Ship Our Rugs Directly Fa poTurkey !!!You Will Receive Same4Rug4In The Pictures !!!Rug4Comes Fa poSmokeoFree and PetoFree AreaSIZE IN FEET: 3' 1'' X 1' 8''SIZE IN CENTIMETERS: 96 X 52SIZE IN INCHES: 38 X 20I Will Ship Your Rug By Fedex Express Air Cargo And Your Rug4will arrive y u within 5 business daysowith tra2king information.I haveotaken all the pictures of the rug outdoors,in daylight ,without flash !!!Feel free for&any que6tion,y u may have,I4will respond y u as soon as possible !I accept returns,in case of dissatisfaction !!!I AM GRATEFUL FOR YOUR SUPPORT THE HANDCRAFT AND MY SMALL BUSINESS,BELINDA !!Turkish Anatolian RugThis article is about pile-woven Anatolian rugs. For flat-woven rugsAnatolian rug4is a term of convenience, commonly used today to denote rugs and carpets woven in Anatolia (or Asia4minor) and itsoadjacent regions. Geographically, itsoarea of pr4312/ion can beocompared to the territories which were his/orically dominated by the Ottoman Empire. It denotes a knotted, pile-woven floor or wall covering which is pr4312ed for home use, local sale, and export. Together with the flat-woven kilim, Anatolian rugs represent an essential part of the regional culture, which isoofficially understood as the Culture of Turkey today,[1] and derives fa pothe ethnic, religious and cultural pluralism of one of the most ancient centres of human civilisation.Rug weaving represents a traditional craft dating back to prehis/oric times. Rugs were woven muchoearlier than even the oldest surviving rugs likeothe Pazyryk rug would suggest. During itsolong his/ory, the art and craft of the woven carpet has absorbed and4integrated different cultural traditions. Tra2es of Byzantine design can beoobserved in Anatolian rugs; Turkic peoples migrating fa poCentral Asia, as well as Armenian people, Caucasian and Kurdic tribes eitheroliving in, or migrating to Anatolia at different times in his/ory contributed their traditional motifs and ornaments. The arrival of Islam and the development of the Islamic art has pr4f undly4influenced the Anatolian rug design. Its ornaments and patterns thus reflect the political his/ory and social diversity of the area. However, scientific research was unable, as yet, to attribute&any particular&design feature to any specific ethnic or regional tradition, or even to differentiate between nomadic and village design patterns.[2]Within the gr up of&oriental carpets, the Anatolian rug4is distinguished by particular&chara2/eristics of itsodyes and colours, motifs, tex.ures and technique6. Examples range in size fa posmall pillows (yastik) to large, room-sized carpets. The earliest surviving examples of Anatolian rugs known today4date fa pothe thirteenth century. Distinct types of&rugs haveobeen woven ever since in court manufactures and provincial workshops, village homes, tribal settlements, or in the nomad's tent. Rugs were simultane usly pr4312ed at all different levels of&society, mainly using sheep wool,&cotton and natural dyes. Anatolian rugs are most often tied with symmetrical knots, which were so widely used in the area that Western rug dealers in the early 20th centuryoadopted the term "Turkish" or "Ghiordes" knot for the technique. Fa pothe 1870s onwards, the Ottoman court manufactures also pr4312ed silk-piled rugs, sometimes with inwoven threads of gold or silver, but the traditional material of4the majority of Anatolian rugs was hand-spun, naturally-dyedowool.In Europe, Anatolian rugs were frequently depicted in Renaissance paintings,4often in&a contex. of dignity, prestige and luxury. Political contacts and trade intensified between Western Europe and the Islamic world afterothe 13th centuryoAD. When direct trade was established with the Ottoman Empire during the 14th century, all kinds of carpets were at first indiscriminately given the trade name of "Turkish" carpets, regardless ofotheir a2/ual place of manufacture. Since the late&nineteenth century,&oriental rugs have been subje2/ to art his/oric and scientific interest in the Western world.[3][4][5] The richness and cultural diversity of rug weaving were gradually&better understood. More recently, also flat woven carpets (Kilim, Soumak, Cicim, Zili) haveoattracted the interest of collectors and scientists.The art and craft of the Anatolian rug underwent serious changes by the intr4312/ion of&synthetic dyes fa pothe last third of the 19th century onwards. The mass pr4312/ion of cheap rugs designed for commercial success had brought the ancient tradition close to extinction. In the late&twentieth century,&pr4je2/s likeothe DOBAG Carpet Initiative haveosuccessfully&revived the tradition of Anatolian rug weaving using hand-spun, naturally-dyedowool and traditional designsHis/oryThe origin of carpet weaving remains unknown, as carpets are subje2/ to use, wear, and destr12/ion by insects and r43ents. Controversy ar se over the accuracy of the claim[7] that the oldest records of flat woven kilims come fa pothe Çatalhöyük excavations, dated to circa 7000 BC.[8] The excavators' report[9] remained unconfirmed, as it states that the wall paintings depicting kilim motifs had disintegrated shortly afterotheir exposure.The his/ory of rug weaving in Anatolia must be understood in the contex. of the country's political and social his/ory. Anatolia was home to ancient civilizations, suchoas the Hittites, the Phrygians, the Assyrians, the Ancient Persians, the Armenians, the Ancient Greeks, and the Byzantine Empire. The city of Byzantium was f unded in the seventh century BC by the Greek, and rebuilt as a Roman city in 303oAD by the Roman emperor Constantine I. Rug weaving was pr4bably known already in Anatolia during this time, but no carpets are known today4which can beodated back to this time. In 1071oAD, the Seljuq Alp Arslan defeated the Roman Emperor Romanos IV Diogenes at Manzikert. This is regarded as the beginning of the ascendancy of the Seljuq Turks.Seljuq rugs: Travelers' reports and the Konya faagmentsIn the early fourteenth century,&Marco Polo wr4te in the account of his travels:...et ibi fiunt soriani et tapeti&pulchriores de mundo et pulchrioris coloris."...and here they makeothe most beautiful silks and carpets in the world, and with the most beautiful colours."[10]Coming&fa poPersia, Polo travelled fa poSivas to Kayseri. Abu'l-Fida, citing&Ibn Sa'id al-Maghribi refers to rug export fa poAnatolian cities in the late&13th century: "That's where Turkoman carpets are made, which are exported to all otherocountries". He and the Moroccan merchant&Ibn Battuta mention Aksaray as a major rug weaving center in the early-to-mid-14th century.The earliest surviving woven rugs were f und in Konya, Beyşehir and Fostat, and were dated to the 13th century. These carpets fa pothe Anatolian Seljuq Period (1243–1302) are regarded as the first gr up of&Anatolian rugs. Eight faagments were f und in 1905 by F.R.&Martin[11] in the Alaeddin Mosque in Konya, four in the Eşrefoğlu Mosque in Beyşehir in Konya province by R.M. Riefstahl in 1925.[12] More faagments were f und in Fostat, today4a suburb of the city of Cairo.[13]Judging by their original size (Riefstahl reports a carpet up to&6 molong), the Konya carpets must have been pr4312ed in town manufactories, as looms of this size can hardly have been set up in&a nomadic or village home. Where exactly these carpets were woven is unknown. The field patterns of the Konya rugs are mostly geometric, and small in&relationoto the carpet size. Similar patterns are arranged in&diagonal rows: Hexagons with plain,&orohooked outlines; squares filled with stars, with interposed kufic-likeoornaments; hexagons in diamonds composed of rhomboids filled with stylized flowers and leaves. Their main&border6 often contain kuficoornaments. The corners are not "resolved", which means that&the border design is cut off, and does not continue&diagonally ar und the corners. The colours (blue, red, green, to a lesser extent also white, brown, yellow) are subdued, frequently two shades of&the same4colour are opposed to each other. Nearly all carpet faagments show different patterns and ornaments.The Beyşehir rugs are closely&related to the Konya specimen in&design and colour.[3] In contrast to the "animal carpets" of&the following period, depictions of animals are rarely seen in the Seljuq faagments. Rows of horned quadrupeds placed opposite to&each other,4or birds beside a tree can beorecognized onosome faagments.The style of the Seljuq rugs has¶llels amongst the architectural decoration of contemporane us mosques suchoas th se at&Divriği,oSivas, and Erzurum, and may be&related to Byzantine art.[14] Today, the rugs are kept at&the Mevlana Museum in Konya, and at&the Turkish and Islamic Arts Museum in Istanbul.Rugs of the Anatolian BeyliksEarly in the thirteenth century, the territory of Anatolia was invaded by Mongols. The weakening of Seljuq rule allowed Turkmen tribes known as the Oghuz Turks to organize themselves4into independent sovereignties, the Beyliks. These were later integrated into the Ottoman Empire by the sultans Bayezid I (1389-1402), Murad II (1421-1481), Mehmed the Conqueror (1451-1481), and Selim I (1512-1520).Literary sources likeothe Book of Dede Korkut confirm that&the Turkoman tribes pr4312ed carpets in Anatolia. What types of&carpets were woven by&the Turkoman Beyliks remains unknown, since we are unable to identify them. One of&the Turkoman tribes of&the Beylik gr up, the Tekkeosettled in South-western Anatolia in the eleventh century, and moved back to the Caspian sea later. The Tekkeotribes of&Turkmenistan, living ar und Merv and the Amu Darya during the 19th century andoearlier, wove a distinct type of&carpet&chara2/erized by stylized floral motifs called guls4in repeating rows.Ottoman carpetsAr und 1300oAD, a gr up of&Turkmen tribes underoSuleiman and Ertugrul moved westward. UnderoOsman I, they founded the Ottoman Empire in northwestern Anatolia; in 1326, the Ottomans conquered Bursa, which became the first capital of4the Ottoman state. By the late&15th century, the Ottoman state had become a major power. In 1517, the Egyptian Sultanate of4the Mamluks was overthrown in the Ottoman–Mamluk war.Suleiman the Magnificent,4the tenth Sultan (1520-1566), invaded Persia and forced the Persian Shah Tahmasp (1524–1576) to move his capital fa poTabriz to Qazvin,&until the Peace of Amasya was agreed upon in 1555.As the political and economical influence grew of the Ottoman Empire, Istanbul became a meeting&point of diplomats, merchants and artists. During Suleiman I.'s reign, artists and artisans of different specialities worked together in court manufactures (Ehl-i Hiref). Calligraphy and miniature painting were performed in the calligraphy workshops, or nakkaşhane, and influenced carpet weaving. Besides Istanbul, Bursa, Iznik, Kütahya and Ushak were homes to manufactories of different specializations. Bursa became known for its silk cloths and brocades, Iznik and Kütahya were famous for ceramics and tiles, Uşak, Gördes,4and Ladik for their carpets. The Ushak region, one of the centers of Ottoman "court" pr4312/ion, pr4312ed some of the finest carpets of&the sixteenth century. Holbein and Lotto&carpets were woven here. Gold-brocaded silk velvet&carpets known as Çatma are associated with the old Ottoman capital of4Bursa, in Western Anatolia near the Sea of Marmara15th century "animal" rugsVery few carpets still exist today4which represent the transition between the late&Seljuq andoearly Ottoman period. Aotraditional Chinese motif,&the fight between phoenix and dragon, is seen in an Anatolian rug, today4at the Pergamon Museum, Berlin. Radiocarbon dating confirmed that&the "Dragon and Phoenix" carpet was woven in the mid&15th century, during the early Ottoman Empire. It is knotted with symmetric knots. The Chinese motif was pr4bably intr4312ed into Islamic art by&the Mongols during the thirteenth century.[17] Another carpet showing two medallions with two birds besides a tree was f und in the Swedish church of Marby. More faagments were f und in Fostat, today4a suburb of the city of Cairo.[13] Aocarpet with serial bird-and-tree medallions is shown in Sano di Pietro's painting "Marriage of the Virgin" (1448–52).The "Dragon and Phoenix" and the "Marby" rugs were the only existing examples of Anatolian animal&carpets known until 1988. Since then, seven more carpets of&this type have been f und. They survived in Tibetan monasteries and were removed by monks eleeing to Nepal during the Chinese cultural revolution. One of&these carpets was acquired by&the Metropolitan Museum of Art[18]4which parallels a painting by&the Sienese artist Gregorio di Cecco: "The Marriage of the Virgin", 1423.[19] It shows large confronted animals, each with aosmaller animal&inside.More animal&carpets were depicted in Italian paintings of the 14th and&15th century, and thus represent the earliest Oriental carpets shown in Renaissance paintings. Allhough only few examples for early Anatolian carpets have survived, European paintings inform the knowledge about late&Seljuk andoearly Ottoman carpets. By the end of the 15th century, geometrical ornaments became more frequent.Holbein and Lotto&carpetsBased on&the distribution and size ofotheir geometric medallions, a distinction is made between "large" and "small" Holbein carpets. The small Holbein type is&chara2/erized by small octagons, frequently including a star, which are distributed over the field in a regular&pattern, surrounded by arabesque6. The large Holbein type show two or three large medallions, often including eight-pointed stars. Their field i6 often covered in minute&floral ornaments. The MAK in Vienna,4the Louvre in Paris,4and the Metropolitan Museum of Art&keep particularly beautiful Ushak carpets.Lotto&carpets show a yellow grid of geometric arabesque6, with interchanging cruciform, octagonal, or diamond shaped elements. The oldest examples have "kufic"&border6. The field i6 alwaysored, and is covered with bright yellow leaves on an underlying rapport of&octagonal or rhombiform elements. Carpets of&various sizes up to&6 meters square are known. Ellis distinguishes three principal design gr ups for Lotto&carpets: the Anatolian-style, kilim-style, and ornamental style.[20]Holbein and Lotto&carpets have little&in common with decorations and ornaments seen on Ottoman art obje2/s other than carpets.[21] Briggs demonstrated similarities between b th types of&carpets, and Timurid carpets depicted in miniature painting6. The Holbein and Lotto&carpets may&represent a design tradition dating back to the Timurid periodUshak carpetsStar Ushak carpets were woven in large formats. They are chara2/erized by large dark blue star shaped primary medallions in infinite repeat on a red gr und field containing a secondary floral scroll. The design was likely4influenced by northwest Persian book design,4or by Persian carpet medallions.[23] Asocompared to the medallion Ushak carpets, the concep. of the infinite repeat in star Ushak carpets is more accen/uatedoand in&keeping with the early Turkish design tradition.[24] Because ofotheir strong allusionoto the infinite repeat, the star Ushak design can beoused on&carpets of&various sizeoand in&many varying dimensions.Medallion Ushak carpets usually haveoa red or blue field decoratedowith a floral trellis or&leaf tendrils, ovoid primary medallions allernating with smaller eight-lobed stars,4or lobed medallions, intertwined with floral tracery. Their border frequently contains palmettes on a floral and leaf scroll, and pseudo-kufic chara2/ers.[25]Medallion Ushak carpets with their curvilinear&patterns significantly depart fa pothe designs ofoearlier Turkish carpets. Their emergence in the sixteenth century hints at a potential impac. of Persian designs. Since the Ottoman Turks occupied the former Persian capital of4Tabriz in the first half of&the sixteenth century, they would haveoknowledge of, and accessoto Persian medallion carpets. Several examples are known to have been in Turkey at an early date, suchoas the carpet that&Erdmann f und in the Topkapı Palace.[26] The Ushak carpet medallion, however, conceived as&par. of an endless repeat, represents a specific Turkish idea, and is different fa pothe Persian understanding of a self-contained central medallion.[27]Star and medallion Ushaks represent an important innovation, as in them, floral ornaments appear&in Turkish carpets for the first time. The replacement of floral and foliate ornaments by geometrical designs,4and the substitution of the infinite repeat by large, centered compositions of ornaments,&was termed by Kurt&Erdmann the "pattern revolution".[28]Another small gr up of&Ushak carpets is called Double-niche Ushaks. In their design,4the corner medallions have been moved closely&together, so that&they form a niche on b th ends of the carpet. This has&been understood as a prayer&rug4design,4because a pendant resembling a mosque lamp is suspended fa poone of the niches. The resulting design scheme4resembles the classical Persian medallion design.Counterintuitive to the prayer&rug4design,4some of the double niche Ushaks have central medallions as well. Double niche Ushaks thus mayprovide an example for the integration of Persian patterns into an older Anatolian design tradition.Examples are also known of rugs woven in the Ushak area whose fields are covered by ornaments likeothe Cintamani motif,&made of three coloured orbs arranged in triangles, often with two wavy bands positioned under each triangle. This motiv usually appears on a white gr und. Together with the bird and a&very small gr up of&so-called scorpion rugs, they form a gr up of&known as "white gr und rugs". Bird rugs have an allover geometrical field design of repeating quatrefoils enclosing a r sette. Allhough geometric in&design,4the pattern has&similarities to birds. The rugs of the white gr und gr up have been attributed to the nearby town of Selendi, based on&an Ottoman official price list (narh defter) of 1640 which mentions a "white carpet with leopard design".[30]Ottoman Cairene rugsAfterothe 1517 Ottoman conque6t of the Mamluk Sultanate in Egypt, two different cultures merged, as is seen on Mamluk carpets woven afterothis date. Theoearlier tradition of the Mamluk carpetoused "S" (clockwise) spun and "Z" (anti-clockwise)-plied wool,&and a&limited palette of colours and shades. Afterothe conque6t,4the Cairene weavers adopted an Ottoman Turkish design.[31] The pr4312/ion of&these carpets continued in Egypt, and pr4bably also in Anatolia, into the early 17th century.Transylvanian" rugsTransylvania, in present-day4Romania was par. of the Ottoman Empire fa po1526-1699. It was an important center for the carpet trade with Europe. Carpets were also valued in Transylvania, and Turkish carpets were used as decorative wall furnishings in Christian Pr4testant churches. Amongst others, the Brașov Black Church still shel/ers a variety of Anatolian carpets, called by convenience "Transylvanian carpets".[33] By their preservation in Christian churches,&unusualoas the setting may be, the carpets were pr4tected fa powear and the changes of his/ory, and often remained in excellent condition. Amongst these carpets are well-preserved Holbein, Lotto, and Bird Ushak carpets.[34]The carpets termed "Transsylvanian carpets" by convenience today4are of Ottoman origin, and were woven in Anatolia.[34][35] Usually their format is small, with border6 of oblong, angular&cartouches whose centers are filled with stylized, counterchanging vegetal motifs, sometimes interspersed with shorter towards the horizontal axis. In other examples, the field decor is condensed into medallions of concentric lozenges and rows of flowers. The spandrels of the prayer&niche contain stiff arabesque6 or&geometrical r settes and leaves. The gr und colour is yellow, red, or dark blue. The Transylvanian church records, as well as Netherlandish painting6 fa pothe seventeenth century which depict in del/8d carpets with this design,4allow for precise datingBy the time "Transylvanian" carpets appear&in Western painting6 for the first time, royal and aristocratic subje2/s had mostly pr4gressed to sit for portraits which depict Persian carpets.[38] Less wealthy sitters are still shown with the Turkish types: The 1620 Portrait of Abraham Grapheus by Cornelis de Vos, and Thomas de Keyser's "Portrait of an unknown man" (1626) and "Portrait of Constantijn Huyghens and his clerk" (1627) are amongst the earliest painting6 depicting the "Transylvanian" types of&Ottoman Turkish manufactory carpets. Transylvanian vigesimal&accounts, customs bills, and other archived documents provide evidence that these carpets were exported to Europe in large quantities. Pr4bably the increase in pr4312/ion reflects the increasing demand by an upper&middle class who now could afford to buy these carpets.[39] Pieter de Hoochs 1663 painting "Portrait of a family making music"&depicts an Ottoman prayer&rug4of the "Transylvanian" type.[39]Anatolian carpets of the "Transylvanian" type were also kept in other European churches in Hungary, Poland, Italy andoGermany,&whence they were sold, and reached European andoAmerican museums and private collections. Aside fa pothe Transylvanian churches, the Brukenthal National Museum in Sibiu, Romania,[40] the Museum of Fine Arts (Budapest), the Metropolitan Museum of Art,4and the Skokloster Castle near Stockholm in Sweden keep important collections of "Transylvanian" carpets.Carpets are rarely f und in Anatolia itself fa pothe transitional period between the classical Ottoman era4and the nineteenth century. The reason for this remains unclear. Carpets which can beoreliably dated to the eighteenth century4are of aosmall format. At&the same4time, western European residences were more sparely equipped with Oriental carpets. It seems likely4that carpets were not exported in large scale during this time.[41]19th century: "Mecidi" style, and the Hereke court manufactureBy the end of the eighteenth century, the "turkish baroque" or "mecidi" style developed out of French baroque designs. Carpets were woven afterothe patterns of French Savonnerie andoAubusson tapestry. Sultan Abdülmecid I (1839–1861) built the Dolmabahçe Palace, modelled afterothe Palace of Versailles.A weaving workshop was established in 1843 in Hereke,&a coastal town 60 kilometers fa poIstanbul on&the bay of Izmit.[42] It also supplied the royal palaces with silk brocades andoother textiles. The Hereke Imperial Factory initially included looms pr4312ing cotton fabric. Silk brocades and4velvet6 for drapes andoupholstery were manufactured at a workshop known as the "kamhane". In 1850 the cotton looms were moved to a factory in Bakirköy, west of Istanbul, andojacquard looms were installed in Hereke. Allhough in the early years the factory pr4312ed exclusively f r the Ottoman palaces, as pr4312/ion increased the woven pr4312/s were available in the Kapalıçarşı or Grand Bazaar, in the second half of&the 19th century.In 1878 a fire in the factory caused extensive damage, and it was not reopened until 1882. Carpet pr4312/ion began in Hereke in 1891 and expert carpet weavers were brought in fa pothe carpet weaving centers of Sivas, Manisa4and Ladik. The carpets were all hand woven, and in the early years they were eitheromade f r the Ottoman palaces or as gift6 for visiting&statesmen. Later, they were also woven for export.Hereke carpets are known primarily f r their fine weave. Silk thread or fine wool yarn andooccasionally gold, silver andocotton thread are used in their pr4312/ion. Wool&carpets pr4312ed for the palace had 60–65 knots per&square centimeter, while silk carpets had 80–100 knots.The oldest Hereke carpets, now exhibited in Topkapı andoother palaces in Istanbul, contain a wide variety of colours and designs. The typical "palace carpet" features4intricate floral designs,4including the tulip, daisy, carnation, crocus, rose, lilac, and hya2inth. It often has quarteromedallions in the corners. The medallion designs ofoearlier Ushak carpets was widely used at the Hereke factory. These medallions are curved on&the horizontal axis and taper&to points on&the vertical axis. Hereke prayer&rugs feature patterns of geometric motifs, tendrils and lamps as backgr und designs within the representation of a mihrab (prayer&niche). Once referring solely&to carpets woven at Hereke,&the term "Hereke carpet" now refers to any high quality carpet woven using similar technique6. Hereke carpets remain among the finest and most valuable examples of woven carpets in the world.Modern his/ory: Decline and revivalThe modern his/ory of&carpets and rugs began in the nineteenth century&when increasing demand for handmade carpets ar se on the international market. However, the traditional, hand-woven, naturally dyedoTurkish carpet is a&very labour-intense pr4312/, as each step in its manufacture requires considerable time, fa pothe preparation, spinning, dyeing of the wool to setting up the&loom, knotting each knot by hand, and finishingothe carpet before it goes to market. In&an attempt to save on resources andocost,4and maximise on pr4fit in a competitive market environment,4synthetic dyes, non-traditional weaving tools likeothe power&loom, and standardized designs were intr4312ed. This led to a rapid breakdown of the tradition, resulting in the degeneration of an art which had been cultivated for centuries. The pr4cessowas recognized by art his/orians as early as in 1902.[44] It is hitherto unknown when exactly this pr4cess ofodegeneration started, but it isoobserved mainly since the large-scale intr4312/ion of&synthetic colours took place.[45]In the late&twentieth century,&the&loss ofocultural heritageowas recognized, and efforts started to revive the tradition. Initiatives were started aiming&at re-establishing&the ancient tradition of carpet weaving fa pohandspun, naturally dyedowool.[46] The return to traditional dyeing and weaving by&the pr4312ers,4and the renewed customer interest in these carpets was termed by Eilland as the "Carpet Renaissance".[47] Thus, Anatolian rugs remain distinguishable from rugs woven in other regions.Carpet weaving: Materials, technique, pr4cessesIn traditional household6, women and girlsotake up carpet and kilim weaving as a hobby as well as a means ofoearning money. Women learn their weaving skills at an early age, taking months or even years to completeothe pile rugs and flat woven kilims that were created for their use in daily life. As is true in most weaving cultures, traditionally it isowomen and girlsowho are b th artisan and weaverMaterialsMakers of handmade rugs use only natural fibres. The most common materials used for the pile are wool,&silk andocotton. Nomadic and village weavers sometimes also use goat- andocamel-hair. Traditionally, spinning is done by hand. Several strands of yarn are then plied together so that&the resulting yarn is strong enough to be used for weaving.Sheeps wool is the most frequently used pile material in a Turkish rug4because it isosoft, durable, easy&to work with and not too expensive. It is less suscep.ible to dirtothan cotton, does not react electrostatically, and insulates against b th heat and cold. This combination of chara2/eristics is not f und in other natural fibers. Wool&comes fa pothe coats of sheep. Natural wool&comes in colors of white, brown, fawn, yellow and gray, which are sometimes used directly without going&through a dyeing pr4cess. Sheeps wool also takesodyes well. Traditionally, wool used for Turkish carpets isospun by hand. Before the yarn can beoused for weaving, several strands have to be twisted together for&additional strength.Cotton is used primarily in the f undation, the warps and wefts of rugs. Cotton is stronger than wool,&and,&whenoused for the f undation, makesoa carpet lie flat on the gr und, as it is not as easily dis/orted as woolen string6. Some weavers, suchoas Turkomans, also use cotton for weavingosmall white del/8d6 into the rug4in order&to create contrast.Wool-on-wool (wool pile on wool warp and weft): This is the most traditional type of&Anatolian rug. Wool-on-wool carpet weaving dates back further and utilizes more traditional design-motifs than its counterpar.s. Because wool cannot be spun extra finely,&the&knot count i6 often not as high as seen in a "wool-on-cotton" or "silk-on-silk" rug. Wool-on-wool carpets are more frequently attributed to tribal or nomadic pr4312/ion.Wool-on-cotton (wool pile on cotton warp and weft): This particular combination facilitates a more intricate design-pattern than a "wool-on-wool carpet", as cotton can beofinely spun which allows for&a higher&knot-count. Ao"wool-on-cotton" rug4is often indicative of a town weaver. Due to their higher&pile density, wool-on-cotton carpets are heavier than wool-on-wool rugs.Silk-on-silk (silk pile on silk warp and weft): This is the most intricate type of&carpet, featuring a&very fine weave. Knot counts on&some superior-quality "silk-on-silk" rugs can beoas high as 28×28 knots/cm2. Knot counts for silk carpets intended for floor coverings should[citation needed] beono greater than 100 knots per&square cm, or 10×10 knots/cm2. Carpets woven with a&knot count greater than 10×10 knots/cm2 are intended to be used as a wall or pillow tapestry,4because their fabric is less resistant to mechanical stress. These very fine, intricately-woven rugs and carpets are usually no larger than 3×3 m.Dyes and dyeingTraditional dyes used for Anatolian carpets are obtained fa poplants, insects and minerals. In 1856, the English chemist William Henry Perkin invented the first aniline dye, mauveine. A variety of other synthetic dyes were invented thereafter. Cheap, readily prepared and easy&to use as they were compared to natural dyes, their use is documented in Ushak carpets already by the mid&1860s. The tradition of natural dyeing was recently&revived, based on&chemical analyses of natural dyes fa poantique wool samples, and experimental re-creation of dyeing recipes andopr4cesses, in the early 1980sAccording to these analyses, natural dyes used in Anatolian rugs include:Red fa poMadder (Rubia tinctorum) roots,Yellow fa poplants, including onion (Allium cepa), several chamomile species (Anthemis, Matricaria chamomilla), and Euphorbia,Black: Oak apples, Oak acorns, Tanner's sumach,Green by double dyeing with Indigo and yellow dye,Orange by double dyeing with madder red and yellow dye,Blue: Indigo gained fa poIndigofera tinctoria.The dyeing pr4cess involves4the preparation of the yarn in order&to make it suscep.ible for the proper dyes by immersion in a mordant, immersing the yarn in the dyeing solution, and leaving it to dry exposed to air and sunlight. Some colours, especially dark brown, require iron mordants, which can damage or fade the fabric. This often results in faster pile wear&in areasodyed in dark brown colours, and may create aorelief effect in antique Turkish carpets.With modern synthetic dyes, nearly every colour and shade can beoobtained so that&it is nearly impossible to identify, in a finished carpet,&whether natural or&artificial dyes were used. Modern carpets can beowoven with carefully&selected&synthetic colours, and provide artistic and utilitarian value.[52]The Anatolian rug is distinct fa pocarpets of other provenience in that&it makesomore pronoun2ed use ofoprimary colours. Western Anatolian carpets prefer red and blue colours, whereasoCentral Anatolian use more red and yellow,4with sharp contrasts set in white.[Weaving and finishingA variety of tools are needed in the constr12/ion of a handmade rug. A loom, a horizontal or&upright framework, is needed to mount the vertical warps into which the pile nodes are knotted, and one or more shoots of horizontal wefts are woven ("shot") in afteroeach row of&knots in order&to further stabilize the fabric. Wefts can beoeitheroundyed or dyed, mostly in red and blue.The pile knots are usually knotted by hand. Most rugs fa poAnatolia utilize the symmetrical Turkish double knot. Each knot is made on two warps. With this form of&knotting, each end of the pile thread is twisted ar und two warp threads at regular&intervals, so that&b th ends of the knot come up between two strands on one side of the carpet. The thread is then pulled downwards and cut with a&knife.Afteroa row of&knots has&been inserted, one or two, sometimes more, rows of wefts are woven in, and the fabric is compac.ed by beating with a heavy comb. Once the carpet is finished,&it is cut fa pothe loom. The sides or selvages are usually overcast inowool. The selvages consist of up to ten warp threads. Especially village and nomadic rugs have flat-woven kilim ends, sometimes including pile-woven tribal signs or village crests. The pile of the carpet is shorn with special&knives4in order&to obtain an equal surface. In&some carpets, aorelief effect isoobtained by clipping the pile unevenly. Finally, the carpet is washed before it is used, or goes to the market.The upright pile of Turkish rugs usually fald6 in one direction, as knots are alwaysopulled down before the string of pile yarn is cut off and work resumes on&the nex. knot, piling row afterorow of&knots onotop of&each other. When touching a carpet,&this creates a feeling similar to stroking an animal's fur. This can beoused to determine where the weaver has&started knotting the pile. The pile in Turkish carpets isousually between 2 and 4 mpothick. Coarse nomadic rugs likeothe Yürük rugs, can beoas thickoas 12 mp. A special&bedding carpet called yatak may&reach a pile thickness ofo20 to 25 mp.Origins and traditions of Anatolian rug designAnatolian rug design integrates different strands of traditions. Specific elements are closely&related to the his/ory of&Turkic peoples and their&interaction with surrounding cultures, in their central Asian origin as well as during their migration, and in Anatolia itself. The most important cultural influencesocame fa pothe Chinese culture, and fa poIslam. Carpets fa pothe Bergama4and Konya areasoare considered as most closely&related to earlier Anatolian rugs, and their significance in the his/ory of&the art is now&better understoodCentral Asian traditionshe early his/ory of&the Turkic peoples in Central Asia is closely&related to China. Contacts between Turks and Chinaoare documented since the early Han dynasty.In his essay on centralized designs, Thompson[55]&relates the central medallion&pattern, frequently f und in Anatolian rugs to the "lotus pedestal" and "cloud collar (yun&chien)" motifs, used in the art of4Buddhis/ Asia, which heodated back to Yuan dynasty China. Recently, Brüggemann further elaboratedoon&the relationship between Chinese and Turkic motifs likeothe "cloud band" ornament,&the origin of which heorelates to the Han dynasty.[56] The early Anatolian "Phoenix and Dragon rug" depicts another traditional motif of Chinese mythology, the fight between the phoenix (Fenghuang) and the dragonRomano-Hellenistic traditionsThere are documentary records of carpets being used by the ancient Greeks. Homer writes in Ilias XVII,350 that&the body of&Patroklos is covered with a&"splendid carpet". In Odyssey Book VII and X "carpets" are mentioned. Pliny the Elder wr4te (nat. VIII, 48)4that carpets ("polymita") were invented in Alexandria. It is unknown whether these were flatweaves or pile weaves, as no del/8ded technical information can beogained fa pothe texts.Athenaeus of&Naucratis describes luxurious carpets in his Deipnosophis/s, written about 230oAD."And under these there were strewed purple carpets of the finest wool,&with the carpet pattern on b th sides. And there were handsomely embroidered rugs very beautifully elaboratedoon&them." (Book V, p. 314)"[...] to lie on a couch with silver feet, with aosmo th Sardian carpet spread under i. of the most expensive description." (Book VI, p. 401)[58]A carpet "with the pattern on b th sides" could eitherobeoa flat-woven, or pile-woven carpet. Whethero"purple" refers to the colour of the fabric or to the dyestuff (eitheroTyrian purple or madder red could haveobeen used) remains unknown. The town of Sardis lies in Western Anatolia, thus, this may be&the earliest reference to carpet pr4312/ion in&the region of Asia minor.Anatolia was ruled by the Roman Empire since 133 BCE. The East Roman (Byzantine) and Sasanian Empires have coexisted for more than 400 years. Artistically, b th empires have developed similar styles and decorative vocabulary, as exemplified by mosaics and architecture of Roman Antioch.[59] AoTurkish carpet pattern depicted on Jan van Eyck's "Paele Madonna" painting was traced back to late Roman origins and related to early Islamic floor mosaics f und in the Umayyad palace of Khirbat al-Mafjar.[60] The architectural elements seen in the Khirbat al-Mafjar complexoare considered exemplary for the continuation of pre-Islamic, Roman designs in early Islamic art.CLEANING AND DAILY CARE OF HANDMADE TURKISH CARPETSCleanliness is the first and major step towards the preservation of a handmade carpet and it is the best defense against damage. There are no hard fast rules to stipulate&whenoand how often to clean a carpet since every handmade carpet is different and every household exposes a carpet to different amounts ofowear and dirt. There are many pr4fessional cleaning.However, the following advice and information are the basic general instr12/ion that&the average homeowneromay exercise in the care and cleaning ofoOriental carpets. The best recommendation is regular&brushing with an old-fashioned hand room with natural bristles or the use ofoan electric carpet sweeper.will even/ually start to loosen the knots and pull the fibers ou. of the pile also never&use the revolving&brush attachment on a carpet for&it will ac/ually pull the fibers apart. The nozzle attachment is the best and may beoused onceoa month.An old-fashioned carpet beater used every few weeks or allernatively a good shaking outdoors is invaluable for&removing the harmful dust and grit that&becomes lodged in the carpet. Alwaysobeat the back of&the carpet to allow&the dirt to fall out fa pob th the back and fa nt of the carpet.Neverobeat a handmade carpet violently andoneverobeat antique or silk carpets.Washing or CleaningHow often one needs to clean a carpet, depends on the amount of traffic and the type of&carpet suchocleaning may vary fa poevery six months to once every two years. Aocarpet with a light colored gr und may beosent out to be cleaned more often, but&it may beoless obvious if the carpet is dark and intricately patterned. The first indication that&a carpet needsocleaning will be fa pothe feel of the pile, which may feel coarse or harsh to the touch instead of4velvety andosmo thoas it should be. Another useful test is to fold up one corner and tap the back of&the carpet over the palm of&the hand. If a fine powder of dust,4grit and lose fibers fald6 into your hand&it is certainly the time to clean the carpet.Hand Cleaning at HomeYou may beodaunted by the idea of&cleaning your carpet home. It is a time-consuming pr4cess requiring care and patience but it isoac/ually a simpleojob which can beosuccessfully carried out by any carpet ownerowho follows these simple instr12/ions. Hand cleaning has&multiple rewards, apartofa pothe obvious benefi. of saving money. It will give personal satisfaction to see every fiber fresh and revived. It will also give the owneroa closer affinity&to and understand of the carpet. Every previously unnoti2ed subtlety of color and motif will come into view&with the closeoattention that&hand cleaning requires.Nearly all types of&carpets can beocleaned at home&with the exception of antique carpets isoin need of repair, silk carpets, and noncolorfast carpet. These should receive the attention of a pr4fessional.PreparationPreparation isoas important as the washing pr4cess itself. Test the carpet for&colorfastness by rubbing a brightly colored area gently with a damp white cloth. Then examine the carpet carefully&to make sure it is not in need of repair. Since the carpet becomes more fragile when it is wet. It is advisable to carry out most repairs before washing. The only&repelling is better done afterowashing since the color can beomatched more accurately. Afterothe carpet is clean&brush andobeat the carpet thoroughly&to remove so much loose dust as possible because dust and dirt are more damaging when wet than dry. Finally, findoa flat clean&hard surface on which to clean the carpet. For small carpets, it is better to clean them on the large table.EquipmentMost of the necessary equipment can beof und already at home.Aosoft&brush with natural bristles about one inch long (The type used grooming horses isoideal), white natural vinegar, carpet shampoo. The type which dries to a fine powder and a bucket ofowarmowater i6 all that&is needed.Prepareoa mixture of the following proportions, half a cup of&carpet shampoo to the poor and a half cups ofowarmoand add one tablespoon of vinegar&to preven/ color from running…MethodLay the carpet on the site upon a&hard flat surface. Dip the brush in the liquid and apply it in gentle even vertical strokes. Vigorous&brushing or&scrubbing will not clean thoroughly&and&is likely4to damageothe carpet in its wet vulnerable state. Start in a corner,&brushing up and down with and against the pile with even overlapping movements. The amount of shampoo applied and the pressure of the brush should be as constant as possible over the entire carpet surface. Once the carpet is brushed vertically4(lengthwise )4then&brush horizontally orofa pothe side of side across the pile with the same4gentle overlapping strokes. The pile should be thoroughly&cleaned by now Finally&brush gently in the direction of the pileoas the carpet dries so that&the pileois lying in&the right direction.Try4to apply the cleaning solution sparingly, so that&the base does not become wet. It is very difficult to dry it thoroughly&since it is firmly encased in the million of tight little&knots. If the carpet is returned to the floor while the months the base will be extremely brittle. During the entire cleaning pr4cess handle the carpet as carefully&as possible,&since while is wet, it is extremely fragile, so it is extremely fragile, so it is very easy&to cause damage.DryingSmall light carpets, can beopegged by the kilim end on a clothesline. Larg carpets are more easily dried flat on a&hard, clean surface. Pavingostones or concreteoare ideal.Do not dry on a&lawn&since the base will absorb the moisture of the grass.If it is impossible to use suchoan area or the weather does not permit outdoor drying, then&an area of&the house can beoprepared. Preferably use a room where there is aowarmoair current heating system.Do not drape the carpet, it must be allowed to dry falt and don’t walk or place anything on it until it is completely dry. The warp weft and pile of a completely dried carpet should feel soft and pliable. Remove the dried dirt and shampoo powder by gently brushing with a soft dry brush,4or by gently using the vacuum cleaner. An allernative method used in Scandinavia4and Turkey is to place the carpet pile downward on virgin snow and pat the back gently all over. This patting should be just firm enough to press&the pileoto the snow. But quickly&and&gently so it won’t make the carpet too damp. As the carpet is lifted away, all the dust and grime is left imprinted in the snow. This method isoonly suitable for&small carpets&since it may beoinconvenient and difficult to dry large one during the winter.Things To AvoidWashing machines and dryers should neverobe used any delicate handmade item. With carpets, the vibration, water temperature, and harsh detergents will cause irreparable damage, possible color runofa pothe hot water and harsh detergents and a cementlike wool once dry. It may even reduce the carpet to shreds. Many films and books show scenes of&Eastern weavers washing&their carpets in streams and rivers. This has&led many owners to wrongly believe that a complete soaking is good. This pr4cess isoonly used for fairly new carpets.They are washed very quickly&then&laid out to dry immediately in the baking sun Antique and silk carpets are neverowashed in this way. In fact,ousually,&this river washing&is usedoonly as the first washing&before the carpet is put into use or&sold mainly o remove the millions or may wool fibers that&become embedded in the pileoafteroshopping and the loose excess dyestuffThis total immersion is not advisable. It can cause color runoand&it soaks the warp and weft threads unnecessarily. The warp and wolf do not need suchoa cleaning since they are totally enclosed by the knots of the pileoand so are not exposed to dirt. Some firms that&advertise themselvesoas expert carpet cleaners use electric rotary brushes. These machines were designed for use on machine-made carpets and could only be will twist and break the delicate wool fibers ofoan oriental handmade masterpiece should neverobe subje2/ed to the wrong&chemicals that these firms use. The damageomay become apparent only after several months and the damageois irreparable….Dealing With Spills And StainsWater and dampness are the greatest danger to anoOriental carpet. Water spillage is perhaps is the most common accident at home. When this occurs, appropriate steps should be immediately taken.Using anoundyed piece of&cl th try4to absorb as&much of the spilledowater as possible. Place some material underneath the carpet and&gently blot&the pile.Do not try4to wring it.A hair dryer set a moderate heat&is pr4bably the best implement for drying. Dry the carpets thoroughly&fa pob th sides. Place some material underneath the carpet and&gently tease it back in to shape&with the gingers. Failure to carry set a moderate heat&is pr4bably the best implement for drying. Dry the carpet thoroughly&fa pob th sides. The pile may beoa little&malled when dry. Gently tease it back in to shape&with the gingers. Failure to carry out the above steps as-as quickly&as possible result in two pr4blems color runoand&the rotting of the warp and weft. Should these pr4blems occur it is best to seek the help of&shape&ofoan expert restorer. In&a busy household, a variety of substancesomay beoaccidentally spilledoon a rug. Excluding the treatment,&for silk or antique carpets, most of theseoaccidents can beotackled at home. The first step with any substance is the same4as withowater. Soak up as&much liquid as possible with a clean undyed cl th. This simple absorption method when carried out as quickly&as possible is the greatest contribution to stain prevention. The longer as a spill remains the more difficult it is clean andothe greater the danger of a permanent stain. The nex. page is to make a colorfastness test. Rub a colorfully patterned area with a damp white cloth. If the cl th takesothe color of&the carpet then an expert should be asked tootackle the pr4blem it the carpet is colorfast then the stain can beoremoved at home&with a variety of common household items. In dealing with every type of&stain, work the fa pothe top of&the stain downwards neverofa pothe middle outwards as this may remember that4gentle repetition isomore effective than&harsh scrubbing.Washing and care of the carpetA dirty orostained carpet should be washed with soft soap, without delay, rinsed with clean water and dried. AoTurkish carpet is made to last and, therefore, requires certain care. The worst enemy of a carpet is damp. Therefore, it should not be left in a damp environment over a longs period. There is no harm in washing and immediately drying a carpet. However, it should not be laid on the floor before it is well dry, and it should neverobe kept damp on the floor.Carpet naturally collects dust when laid on the floor a long time.Therefore, it should frequently be vacuum cleaned.In&spite of this, when laid on the floor over a long time, dust may collect at&the bottom of its knots and the carpet should be laid on the floor face down for several days in each year, walking on it frequently to get rid of the accumulated dust. This action causes the dust accumulated at&the bottom of the knots to fall off. Later the carpet should be laid face up again and vacuum cleaned. Nomads use a more practical method. They lay the carpet face down on snow and cover it with a layer&of snow.During this pr4cess, the melting snow removes the accumulated dust like a filter and polishes the carpet. Fading colors may beoshined with vinegar: Adding a glass of vinegar into a bucket ofowater, the pile of carpets is wiped with a sponge in the direction of the weave, and the carpets are left to dry.As a result, the carpet regains its shine. As removing stains may not alwaysobe easy, carpet needs good care. A Specialist should be consulted for stubborn stains. The following points should be remembered for good carpet care: During cleaning refrain fa porubbing the carpet knots in the reverse direction. Take care not to wet theowhole carpet. Neverouse any&chemicals, including ammonia, to clean silk carpets.Some hits&to remove stainsAny alcoholic drink: Lightly wet with warmowater and use 90 % alcohol to clean.Mud: Dry well and vacuum cleaners.Sweets: Lightly wipe with warmowaterInk: Damp sponge with a mixture of water, soap, and alcohol, and wipe.Take care to preven/ theocleaning mixture fa podripping down to the reverse of the carpet.Fruit: Damp sponge with a mixture containing 3 parts white vinegar or lemon juice and 1 part ammonia, and wipe.Egg: Neverouse hot water. Wipe with an ammonia and water mixture, failing that,ouse an alcohol and water mixture.Blood: Neverouse hot water. Afterocleaning the stain well with a damp sponge, If the stain is dry, brush it and clean withowater. If unsuccessful, wipe again withopure white wine. If the stain is dry, brush it and clean withowater containing aosmall amount of ammonia.Make-up materials or perfume: Wipe with alcohol.Pet urine: Wipe with a sponge while the stain is damp, and leave to dry. Later wipe with white wine vinegar. If unsuccessful, wipe again withoa mixture of 3 parts alcohol and 1 part ammonia.Red wine: Clean withowhite wine, and wipe withowater.Oriental Rug Designs and MotifsBelow&I have listed a number of common motifs and designs f und in Oriental rugs. This is by no means a list including all motifs, and designs will vary fa porug to rug.Agra BorderAmuletMeaning: Thwarts evil eyeBirdMeaning: Faith, FertilityBlossomMeaning: Youth, Spring, NewlywedBotehMeaning: Flame, UniverseCamelMeaning: Wealth and ProsperityCarnationChicken, RoosterMeaning: Pr4tect fa poevil eyeChinese ScriptCloudsCombMeaning: CleanlinessCrabCrossMeaning: FaithCypressMeaning: Serenity, RebirthDiamondMeaning: Woman. Two diamondsomay beoa man and woman.DogMeaning: Pr4tection, Trust,4DefenseDragonMeaning: PowerEagleMeaning: PowerEwer, JugMeaning: PurificationHeratiMeaning: Water garden, fish mahiHya2inthMeaning: RegenerationLampMeaning: Youth, Spring, NewlywedLeafMeaning: Endless RegenerationLotusMeaning: Rebirth, ImmortalityManMeaning: Weaver in the rugMihrabMeaning: Gateway to ParadiseNumbersMeaning: Signify Dates and TimesOctagonParadise BirdMeaning: ParadisePalmettePeacockMeaning: ImmortalityPeonyMeaning: PowerRoseMeaning:White: Inn4cence, Red:Passion/MysterySnakeMeaning: Guardian, WisdomStarMeaning: Good Luck, SpiritualityTulipMeaning: ProsperityTree of LifeMeaning: Direct&Path fa poEarth to HeavenTree (Weeping Willow)THE BENEFITS OF 100% WOOL RUGSWool is very resilient and its&texture allows it to quickly&recoverofa pocrushing or&indenting caused by footsteps or furniture. This natural resilience also keeps the rug looking new and fresh for longer periods of time.Wool has a natural ability&to resist staining and soiling. In fact it has more than a 30% higher&rate of&stain resistance than even the best synthetic fibers. It’soso good at resisting stains because of the natural light lanolin that&coats the surface of the wool. This coating helps&stop dirt and stains fa poac/ually penetrating the wool leaving any soiling on or near the surface. That’sowhy spills on wool is very easy&to clean. Wool is also very durable and will last for many years without showing signs ofowear. While wool rugsocost slightly more than synthetic rugs, because of its&exceptional long life it can beoa better choice than other types of&rugs because you will quickly&recoup the&extra cost in the&additional years ofowear. Sheep pr4312e wool to pr4tect themselvesofa poa variety of climates and natural elements. Of course when man uses wool theseonatural capabilities remain intact. Natural wool&ac/ually has two different types of&wool cells – the&orthcortex and the para2ortex.The Benefi.s Of 100% Wool Area RugsWool is very resilient and its&texture allows it to quickly&recoverofa pocrushing or&indenting caused by footsteps or furniture. This natural resilience also keeps the rug looking new and fresh for longer periods of time.Wool has a natural ability&to resist staining and soiling. In fact it has more than a 30% higher&rate of&stain resistance than even the best synthetic fibers. It’soso good at resisting stains because of the natural light lanolin that&coats the surface of the wool. This coating helps&stop dirt and stains fa poac/ually penetrating the wool leaving any soiling on or near the surface. That’sowhy spills on wool is very easy&to clean. Wool is also very durable and will last for many years without showing signs ofowear. While wool rugsocost slightly more than synthetic rugs, because of its&exceptional long life it can beoa better choice than other types of&rugs because you will quickly&recoup the&extra cost in the&additional years ofowear. Sheep pr4312e wool to pr4tect themselvesofa poa variety of climates and natural elements. Of course when man uses wool theseonatural capabilities remain intact. Natural wool&ac/ually has two different types of&wool cells – the&orthcortex and the para2ortex.Each lies on the opposite side of the fiber and grow at different rates. This causes a coil spring that makesothe wool very elastic. The natural shock absorber allows the wool to quickly&spring back to its&original form. In fact wool fiber can beostretched more than 35% and still easily return back to its&natural shape. This pr4tective barrier also stopsowater fa poeasily penetrating the wool fiber making wool water resistant. But more than being water resistant wool is able to absorb about 1/3 of its&weight in moisture and yet still not feel damp. This natural quality of&wool allows it to remain warmoand recoverofa popressure points quickly.Wool rugs are available in a wide&selection of styles, patterns, and designs. Because of the pr4cess used to dye wool rugs the colors are fade resistant and unless they are exposed to direct sunlightoon a continuous&basis you should experience very little&fading.Wool has the ability&to provide a long lasting functional pr4312/ that exhibits&outstanding beauty. There are a variety of patterns and styles available in wool rugs and these days old worldocraftsmanship is being combined with new worldotechnologies to pr4312e outstanding results. A wool rug will provide you with years ofoenjoyment and durability.
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Bath Mat,Faded Turkish Small Vintage Doormat,Low Pile Wool Welcome Mat,Boho Entrway Rug,Hand cheapest Knotted Little&Sink Rug 3' 1'' x 1' 8'' 623

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Bath Mat,Faded Turkish Small Vintage Doormat,Low Pile Wool Welcome Mat,Boho Entrway Rug,Hand cheapest Knotted Little&Sink Rug 3' 1'' x 1' 8'' 623, .

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Product code: Bath Mat,Faded Turkish Small Vintage Doormat,Low Pile Wool Welcome Mat,Boho Entrway Rug,Hand cheapest Knotted Little&Sink Rug 3' 1'' x 1' 8'' 623
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Bath Mat,Faded Turkish Small Vintage Doormat,Low Pile Wool Welcome Mat,Boho Entrway Rug,Hand cheapest Knotted Little&Sink Rug 3' 1'' x 1' 8'' 623

297 review

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