carpet and rug

Hereke carpets for the Ottoman Palaces: Although the history of carpets can be traced back to ancient times that is to the Turks who lived in Central Asia, the knotted pile carpet spread with the rise of the Seljuk Turks of Anatolia in the 11th century. New motifs and techniques developed rapidly, producing a rich variety of rugs throughout the many Turkish carpet weaving regions. Apart from carpets peculiar to such regions as Usak and Bergama, and those representing different periods of Turkish history, there are still other types based on motif and technique. These include carpets bearing animal motifs, the Holbein-type rug (Turkish rugs which appear in the works of Flemish painters), and the Ottoman palace carpets. Hereke carpets belong to the last category.

The first Turkish weaving workshop was established in 1843. In Hereke, a small coastal town 60 kilometres from Istanbul on the bay of Izmit. It also supplied the royal palaces with silk brocades and other textiles. Known as the Hereke Imperial Factory, the mill was subsequently enlarged to include looms producing cotton fabric. Silk brocades and velvets for drapes and upholstery were manufactured at a workshop known as the “kamhane”. In 1850 the cotton looms were moved to a factory in Bakirköy, west of Istanbul, and one hundred jacquard looms were installed in Hereke. Although in the early years the factory produced exclusively for the Ottoman palaces, as production increased the woven products were available in the 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 production began in Hereke in 1891 and expert carpet weavers were brought from the famous carpet weaving centres of Sivas, Manisa and Ladik. The carpets were all handwoven, and in the early years they were either made for the Ottoman palaces or as gifts for visiting statesmen. The number of looms steadily increased to meet the demand and, when Hereke carpets went on sale in Istanbul, their fame quickly spread to Europe. Soon the Hereke factory was receiving many commercial orders and business flourished.
Hereke carpets are known primarily for their fine weave. Silk thread or fine wool yarn and occasionally gold, silver and cotton thread are used in their production. Wool carpets produced for the palace had 60-65 knots per square centimetre, while silk carpets had 80-100 knots. The knots were of two main types: the “hekim” knot and the Turkish or Gördes knot.After each row is woven, a length of yarn is passed through it and this single-warp knot creates the denser knotting which permits finer and more intricate designs to be created. In some of the carpets, a relief effect is obtained by clipping the pile unevenly.
The oldest Hereke carpets, now exhibited in Topkapi and other palaces in Istanbul, contain a wide variety of colours and designs. The Typical “palace carpet” features intricate floral designs, including the tulip, daisy, carnation, crocus, rose, lilac, and hyacinth. It often has quarter medallions in the corners. The medallion composition used in rugs made in Usak, in western Turkey, since the 16th century 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 background designs within the representation of a mihrap (prayer niche). Once referring solely to carpets woven at Hereke, the term “Hereke carpet” now refers to any high quality carpet woven using similar techniques. Hereke carpets remain among the finest and most valuable examples of woven carpets in the world.

Persian rugs and carpets are an essential part of Persian Culture, starting from beng articles of need, as floor coverings to protect from cold, to symbols of wealth and beauty, made for kings and noblemen. Rug and Carpet weaving is one of the most ancient traditions of Persian culture and art, and dates back to the Bronze Age (c. 3500-2000 BC). Though carpets are referenced by early Greek and Arab writers, when the first Persian rug was woven is unknown. The earliest known Persian carpet called the Pazyryk rug was discovered by Russian Archaeologist Sergei Rudenko in 1949 during excavations in Siberia. The Carpet had been preserved by chance, after it survived the grave robbers raid of the burial mound. Water poured into the mound through the opening they had created, and froze, thus protecting the carpet from decay. The rug dates to the fifth century BC.

Persian styles are the most diverse styles worldwide. Although carpet production has mostly become mechanized today, the coveted traditional hand woven rugs are still found around the world. Here at eRugGallery.com, we sell these handmade rugs. Tabriz rugs are woven in workshops of Tabriz and its vicinity. Tabriz is the capital of Eastern-Azerbaijan province in northwest of Iran. Tabriz is one of the most important rug weaving centers in Iran. Although a variety of curvilinear designs are woven in Tabriz, geometric rugs can also be found. Tabriz rugs mostly use the symmetric (Turkish) knot. Tabriz designs are the most diverse designs of Iran. Tabriz weavers use many different Persian and universal designs and motifs in their weaving. Often rather than directly copying these designs, they use their own interpretations such as their interpretation of the herati medallion-and-corner of Bijar.

Although we don’t really have much of an idea when exactly carpet making began, we do know that there is a surviving rug, now known as the Pazyryk Rug, that is a type of knotted pile that has been dated to 500 B.C. From this example we can tell that rug making was already at quite an advanced stage even at this early time. Even though we now have modern advances that should improve the overall quality and longevity of rugs and carpets, things really haven’t changed all that much when we consider advancement in other areas.

As mentioned, the best known Persian rug is probably the so-called Pazyryk rug. It was specially made for a Scythian Prince by the name of Pazyryk, hence the name. Discovered by a Russian archaeologist by the name of Rudenko in 1947, the rug was unearthed in the Altai Mountains in Siberia. After the Prince’s burial tomb was ransacked by grave robbers and left uncovered for some 2500 years. It is interesting because it gives an insight into how Persian rugs were made in those ancient days.

Rugs that originate from the East are associated with a quality product. This is certainly true of today after thousands of years of development, but originally rugs were fairly basic pieces of cloth made more for clothing than for flooring. As these garments became more elaborate they began to take on a somewhat mythical character. It was soon realized that within the fabric of the cloth, stories could be told and captured, as well as creating beautiful pieces of art.

The introduction of carpets into Persia is probably attributable to Cyrus, who was impressed by the beauty and uniqueness of the carpets and rugs he found in the city of Babylon. The women of Persia had become skilled in the art of carpet making and were further encouraged by Cyrus, who lavished much praise on the craft.

It was around the period 1500 to 1700 that Persia was ruled by the so called Safavids. It is mainly from this period that various magnificent examples of Persian carpets are to be found preserved in museums around the world. It was during this period that whole industries were established around carpet manufacture and the ruler of the time, Shah Abbas encouraged the craft. It was in cities like Tabriz and especially Isfahan that the art was perfected. Here, carpets and rugs were created that had never been seen before, precious metals like gold and silver were incorporated into them to create true works of art. It was here that King Shah Abbas was mainly responsible for bringing the industry into the city of Isfahan, he held carpet makers in high esteem and carpet maker’s work became incorporated into the elaborate designs. Today the Persian carpet is still considered to be the best quality available.

After Nader Khan gained power in Persia around 1700, he unfortunately did not share the delights of Persian carpets and the craft dwindled in popularity. It was only carried out as a necessity by locals and the craft did not produce anything approaching the quality that had previously been made. Not until the 1800s did the craft once again gain in popularity during the rule of the Qajars. During this period many thousands of carpets were transported overseas to Europe and beyond, and the Persian carpet once again became a popular household item to own.

As time marched on, the Persian carpet was used by Kings and Queens around the world to add color and a point of difference to their residences. As these pieces were required to be as decorative and creative as possible, the craft began to attract skilled workers who toiled at perfecting the craft. Whereas today we may regard a cabinet maker as being a highly skilled and worthy member of society, the carpet maker was once held in similar regard.

Carpet weaving has been common practice in Turkey since time immemorial, and the oldest examples date as far back as the 4th century BC. For the nomads of Central Asia, carpets were portable, practical, beautiful furniture upon which the household would perform a range of social and ceremonial functions, such as receiving guests, praying and marriage.

Since Turkish rugs became all the rage in Europe in the 19th century, travellers to Turkey habitually hunt out the best bargains at the markets and bazaars in all the major cities. There’s a fantastic array of different patterns and techniques on offer: as well as traditional pile carpets, you can find flat-woven kilims, colourful Sumaks, intricate Cicims – all painstakingly woven according to traditional methods handed down through the generations.

Master Craftsmen

Rugs were traditionally made by women, who weaved a piece of their own personality into the pattern. They were intended for use by the family or as a dowry and as a woman knew she would be judged by her handiwork, a great deal of care went into the process.

These days, carpet making is a much more a commercial enterprise. Although local women still manufacture the carpets, the style and pattern are usually dictated by the customer’s preferences rather than the whim of the artisan.

Where to Bag a Bargain

Wherever you go in Turkey, you’ll be dazzled by the astounding displays of beautiful carpets for sale. But before you buy, beware: the market is extremely competitive and there are some unscrupulous rug dealers about. You’ll undoubtedly encounter some hard-sell tactics, but if you shop about you’re much more likely to pick up a bargain.

The carpet sellers in Istanbul’s Covered Market are the most knowledgeable about their trade. They’ve been in the business the longest and are less pushy than traders in other parts of the city. At the state run carpet shop in the Hasek Hurrem Hamami district the prices are fixed but quality is assured. Even if you’d rather haggle, it’s worth a visit to get an idea of how much you should be prepared to pay.

If you’re heading to Cappadocia, it may be a good idea to buy your carpet here. You’ll get a lot less hassle here than in the capital, and there’s still an enormous range to choose from.

How to Spot a Good Buy

If you’ve never bought a rug before, take time to mug up on a few basic rules to avoid getting taken for a ride:

Top quality rugs are 100% wool, or a blend of wool and silk. Your rug will last longer if there’s still natural oil in the wool. Cheaper carpets may be made of cotton, and you can check by examining the fringes on the edge of the carpet.

You can tell a new rug by it’s tight knots. Old or poor quality examples have a baggier weave, and cheap mass-produced rugs are less finely finished. Incredibly, experts are able to tell from the height and depth of the knot, the type of wool and the weave pattern, precisely which village or tribe a rug originated from.

Compare the colours on the top and reverse of the rug. Richer colours on the underside may indicate that it has faded with age. Moreover, chemical dyes fade more readily than natural dyes, and although there’s nothing really wrong with chemical colours, natural pigments command a higher price.

What’s it Worth?

Depending on your budget, you could spend anything from $40 to $4000 on a rug. Remember, though, that haggling is the norm in Turkey, and it’s usual to bargain a bit before settling on a mutually acceptable price. Stall owners will often ply you with mint tea and hospitality to have you spend longer inspecting their wares. Be aware, though, that if you employ the services of a guide to assist you in your purchase it’s likely that their commission will be included in the price you pay.

Introduction

During the past century, the Oriental rug has become valued throughout the world as a work of art. With its rich history and color, the Oriental rug often is called the aristocrat of carpets. Although the Oriental rug of today may not soar through the air like the magic carpet of Arabian legend, the Oriental rug does perform magic, transforming interior spaces into extraordinary spaces.

The term, Oriental rug, traditionally has been used to describe hand-knotted rugs from the East. The process typically involves stretching warp threads on a  loom and knotting the pile to these threads. When a row of  knots completed, a weft thread is inserted. Once the entire carpet is knotted, the pile is shorn. To a large degree, the precision of the design depends on how tightly the rug has been knotted and how short the  pile has been cut.

The rug’s density, or number of  knots per square inch, can be a useful indicator of the fineness and durability of the rug — the more knots the better. A superb Oriental rug may have more than 500 to 1,000 knots per square inch.

Historically, the great carpet-producing areas include Turkey, Persia, the Caucasus and Turkestan. Afghanistan, Pakistan, Nepal, India and China also must be added to the list. And under Arab influence, Spain, too, has produced hand-knotted rugs of distinction.

History

Although there are references to carpets by early Greek and Arab writers, just when the first Oriental rug was woven is unknown. In 1949, a Russian archaeological expedition to the Altai mountains in southern Siberia excavated a royal burial mound that contained a miraculously preserved frozen carpet, Known as the Pazyryk carpet, it was used as a saddle cover for a horse interred in the burial mound. Beautifully designed, the rug dates from the 4th or 5th century B.C. and is the earliest-known surviving example of  a hand-knotted carpet.

One theory is that the technique of knotting carpets was begun by the nomadic tribes of Central Asia. These tribes produced small rugs typically decorated with geometric motifs inspired by plant and animal forms. For the nomad, the rugs were both decorative and utilitarian, serving as floor covers, wall hangings, curtains and saddlebags.

Because the nomadic carpet-makers were forced to dismantle their looms and move on whenever their security was threatened by natural elements or human foes, their creations may contain irregularities in weave, selvages and design. The wandering nomads are credited with spreading the art of carpet-making to new lands and peoples.

Some of the greatest carpet-making centers developed in Persia and Turkey. Persian manuscripts from the reign of Chosroes I, the king of Persia from 531 to 579, describe the Spring Carpet of Chosroes. This rug was woven of wool, silk, gold and silver. It was studded with precious stones.

The period from the 16th century through the first half of the 18th century is known as Persia’s golden age of carpet-making. A number of carpets survive from this era and are recognized for their harmony of colors and originality of designs.

Carpet-making probably has been taking place in Turkey at least as long as in Persia. After his visit in 1271 to the Turkish region known as Anatolia, Italian traveler Marco Polo described the area’s carpets, with their geometric designs and animal figures, as the most beautiful in the world.

Turkish rugs appear frequently in the paintings of well known artists. In fact, German artist Hans Holbein the Younger (1497-1543) painted the geometrically patterned rugs so often that they came to be known in the West as Holbein carpets.

It was primarily through Italian merchants that the Oriental rug became recognized and valued in Europe. Venice early established itself as a major trading trader with the East. Venetians spread Oriental rugs along their narrow streets, hung the rugs from windows and used them to decorated their gondolas.

By the early 16th century, Oriental rug collections could be found in the great courts of Europe, including those of Catherine de Medici and Charles V. The Lord Chancellor of England, Cardinal Wolsey, is reported to have purchased 60 Turkish carpets from a Venetian dealer to furnish his palace at Hampton Court.

Western interest in Oriental rugs waned during the 17th and 18th centuries. But after the great exhibition of 1891 in Vienna, Europeans had renewed enthusiasm for the carpets. Americans soon followed suit. Western importers began asking the carpet-makers to modify dimensions, and sometimes color and design, to satisfy the tastes of Europe and the Americas. In the 20th century, the appeal of the Oriental rug continues to grow.

You can encounter many wonders starting from the fascinating city of Istanbul, previously known as Constantinople, to treasures of art and nature in Cappadocia, the marvels of Pamukkale, the mystery of Nemrud Dag and the boundless silences of Mount Ararat. Never to mention the wonderful western and southern coast of Turkey. It can only be described as magnificent… The famous ancient city of Troia with its wooden horse, just next to Gallipoli; the famous biblical city of Ephesus, with the house of Virgin Mary next to it; the birthplace of Homer, Smyrna, now called Izmir; the Hellenistic splendor of Pergamum are only the most evident and striking notes in an archaeological context one cannot help but marvel at and admire.

The Turkish Landscape

Landscape is nature encompassing all those resources and landforms that a geographer or a naturalist would see. It is also history and culture reflected in the settlement pattern of cities and villages, the architecture and cultural artifacts marking the passage of time and important events. Then there is the idea of the working landscape which is the life support and habitat of some sixty million people. Finally, it is also a mirror of ideology, fashion and impending change, foreshadowing the future and the problems it may pose.

These different layers make up an elementary shell of the Turkish landscape. In Turkey you will experience an incredible diversity in nature, culture, history, beliefs and ideas. This in itself may not be a challenge for the seasoned traveller. After all, diversity is the most prized feature of favorite destinations. In Turkey this diversity is high enough to challenge even the most experienced eye because it is packed in spaces with abrupt changes in scenery. This is why people sometimes describe the Turkish landscape as a “symphony of sounds, smells and people in the most unlikely combinations of appearance and action”. The traveller may need some assistance to make some sense of our otherwise entirely logical and beautiful landscape, and to perceive its unity and harmony just like a familiar face with all its different moods and expressions.

Information

Road Network : Turkey has an extensive network of well maintained roads linking its towns, cities,and popular tourist areas. When arriving from Europe, the Bosphorus crossing to Asia has been greatly facilitated by the completion of the istanbul bypass, and the two Bosphorus (Bogazici) bridges which lead to the Istanbul - Ankara Expressway. The E80 and E90 are the two main roads leading to Turkey from European borders, they also link the Iranian and Iraqi borders. These expressways have been constructed according to Asian and Middle East International road network standards.

Road Signs : Turkish road signs conform to the International Protocol on Road Signs. Archaeological and historical sites are indicated by yellow signs.

Traffic

Circulation : Traffic circulates on the right and the Turkish Highway Code is similar to those of European countries. Outside cities, traffic moves freely, the Istanbul - Ankara highway being the only one on which traffic is heavy. There is a 50 km./h. speed limit in urban centers and a 90 km/h limit outside urban centers.

Petrol : Filling stations are well distributed over all roads, and those on the main highways often have attached service stations and restaurants, and are open round the clock. Unleaded fuel is available at all stations.

Taxis and Dolmus : Taxis are numerous in all Turkish cities and are recognisable by their yellow color. The fare shown on the meter reads according to the distance traveled.
The ‘dolmus’ a special service found only in Turkey, is a collective taxi which follows specific routes and is recognizable by its yellow band. Each passenger pays according to distance traveled and can get off at specific stops. The relatively cheap fares are fixed by the municipality. The ‘dolmus’ provides a service within large cities, to suburbs, airports, and often to neighboring towns. This is a very practical means of transport and much cheaper than a taxi.

Government type
Islamic Republic of Iran
Capital
Tehran
Administrative divisions
There are 28 provinces (or 28 ostanha; singular-ostan): Ardabil, Azarbayjan-e Gharbi, Azarbayjan-e Sharqi, Bushehr, Chahar Mahall va Bakhtiari, Esfahan, Fars, Gilan, Golestan, Hamadan, Hormozgan, Ilam, Kerman, Kermanshahan, Khorasan, Khuzestan, Kohkiluyeh va Buyer Ahmadi, Kordestan, Lorestan, Markazi, Mazandaran, Qazvin, Qom, Semnan, Sistan va Baluchestan, Tehran, Yazd and Zanjan
Country name
conventional proper name: Islamic Republic of Iran
conventional short name: Iran
local proper name: Jomhuri-ye Eslami-ye Iran
local short name: Iran
Geography and Topography
caves (such as AliSadr), combine with archaeological sites, historical monuments and magnificent ancient cities. Museums rich with artifacts, historic mosques, shrines, mausoleums, fire temples, tombs, and bazaars are found across the country. Stone relics, traditional pottery, ceramic, brass work, wood carving, traditional costumes, miniature paintings, murals, carpet and rug shops, teahouses with traditional singing, restaurants with delicious Persian dishes, caviar and king-shrimps, and sport entertainment such as skiing, are all part and parcel of Iran.
Modernity as symbolized by cinema, music concerts and plays provides and interesting counterpoint to the ancient and Islamic architecture & art that characterizes Iran.
Isfahan, Mashhad, Shiraz, Tabriz, Tehran, Hamadan, Kerman, Bam, Kermanshah, Yazd, and the Caspian Sea, are the main tourist centers. Autumn and Spring are the best seasons for travel in Iran. There is a variety of transportation and hotel accommodations for different categories of tourists. Domestic flights, trains, buses, taxis, and private cars-for-hire are available. Major crime is generally not a problem for travelers in Iran.
The traveler must posses a valid passport and proper entry visa to visit Iran. These are necessity for checking into hotels, for boarding flights etc. Incoming and outgoing passengers are allowed to bring in and take out authorized goods in addition to their personal belongings. Travelers are permitted to bring any amount of foreign currencies in to the country provided it is declared and registered on the forms provided at the point of entry. Accordingly, at the time of departure, they may take out any money declared upon their arrival.

We can visit a local centre for authentic traditional handicrafts where local women still make and sell the most beautiful Turkish carpets, kilims (traditional flat-weave carpets) and sumacs (a special type of silk-embroidered kilim with nomadic motifs). Visitors can watch carpets and kilims being made in designs passed down through generations. In fact it is generally agreed that some of the designs from the wall paintings at Neolithic Catal Hoyuk can be seen in the motifs still used today! The dyes used for the wool are all natural, and one of the workers will explain the processes and you will be able to see behind the scenes - it’s absolutely fascinating.

Turkish and Islamic Works Museum is the first Turkish museum covering the Turkish and Islamic art works wholly. The establishment works that have been started at the end of 19th century have been completed in 1913 and the museum has been opened for visit in the soup kitchen building located in Suleymaniye Mosque complex, which is one of the most important works of Mimar Sinan, with the name of “Evkaf - i Islamiyet Muzesi” (Islamic Foundations Museum). After the announcement of the republic, it has taken the name “Turkish and Islamic Works Museum”.

The museum has been moved to Ibrahim Pasha Palace from the soup kitchen building in 1983. Ibrahim Pasha Palace, which is one of the most important samples of 16th Century Ottoman civil architecture samples is on the stages of the historical hippodrome, the history of which goes back to the Roman Period. This building, the precise construction reason and date are not known, has been presented to Ibrahim Pasha by Kanuni Sultan Suleyman in 1520, who would be his grand vizier for 13 years.

Ibrahim Pasha Palace, which is claimed to be bigger and more magnificent than Topkapi Palace by the history has been the stage of many weddings, feasts and celebrations as well as rebellions and turmoil and called with the name of Ibrahim Pasha after the death of this person in 1536. It has been used by other grand viziers, and had functions such as barracks, embassy palace, register office, Janissary band house, sewing workshop and prison.

The palace located around four big internal courtyards has been made of stone in contrast with many Ottoman civilian buildings, most of which are wooden, therefore it could reach today and has been repaired between the years 1966 - 1983 and has been born again as the new building of Turkish and Islamic Works Museum. The section, which is used as a museum today is the big ceremony hall of the palace and the 2nd courtyard surrounding it, which have been the subject of all Ottoman miniatures of the palace and the gravures and tables of Western artists.

Turkish and Islamic Works Museum has been awarded with the Special Jury Award of Museum of the Year Competition of the European Council in 1984 and with the prize given by European Council - Unesco for its studies for making the children love the culture inheritance.

Turkish and Islamic Works Museum, that is among the important museums of the world in its class has works from almost all periods and all types of Islamic art with its collection exceeding forty thousand works.

Carpet Section
The carpet section forming the richest collection of carpet art in the world had a separate importance and caused the museum’s being famous as a “Carpet Museum” for long years. The museum has the richest carpet collection of not only Turkey, but also the world. Besides rare Seljuk carpets, prayer rugs and animal figured carpets belonging to the 15th centuries and the carpets produced in Anatolia between the 15th - 17th centuries and called as “Holbein Carpet” in the West inspired by the geometrically figured or kufi writing are the most valuable parts of this section.
Turkish and Islamic Works Museum carpet collection that became richer with Iranian and Caucasian carpets and famous Usak and palace carpet samples is a reference, which the ones carrying out a serious research on the carpet art in the world must apply to.

Hand Writings and Calligraphy Section
Koran - i Kerims constituting a big part of the writing collection of Turkish and Islamic Works Museum from 7th century to the 20th century come from a large geographical region where Islam has spread over.
It is one of the rare collections, where Emevi, Abbasi, Egypt and Syria Tulunogullari, Fatimi, Eyyubi, Memluk, Mogol, Turkmen, Seljuk, Timuri, Safavi, Kacar and Anatolian Principalities and Ottoman calligraphy creations can be observed all together.

Among the hand writings, except Korans, there are books (some of them with pictures) written about various subjects and these draw attention both in terms of their writing styles and their coatings.
Imperial edicts, warrants bearing the signatures of Ottoman sultans, the sultan’s signatures each of which is a work of art, Turkish and Iranian miniature writings make Turkish and Islamic Works Museum one of the most important museums of the world.

Section of Wooden Works
The most important parts of this collection are the samples of Anatolian Wood art of 9th - 10th century.
Besides the unique parts that remained from the Anatolian Seljuks and principalities, mother - of - pearl, ivory, tortoiseshell ornamented wooden works of the Ottoman Period, unique samples of inlaying art, Koran part cases, bookrests, drawers are the interesting parts of this rich collection.

Stone Art Section
Stone works belonging to Emevi, Abbasi, Memluk, Seljuk, Ottoman periods, some of which have motifs and some of which have figures, but all of which have writings have been gathered in Turkish and Islamic Works Museum. Unique and elite samples of stone art of Seljuk Period, grave stones on which hunting scenes, fairy creatures such as sphinx, griphon, dragon, early - period stone works with kufi writings, inscriptions written in different methods that are projections of Ottoman calligraphy art are important both in quality and in quantity.

Section of Ceramic and Glass
In this collection consisting mostly of the ceramic works found in the excavations made between 1908 - 14, the ones from Samarra, Rakka, Tel Halep, Kesan are in the first ranks.

It is possible to see the stages of Early - Islamic Period ceramic art in the collection of Turkish and Islamic Works Museum. The mosaic, mihrab and wall encaustic tile samples belonging to the Anatolian Principalities and Seljuk Periods and the plaster ornaments of Konya Kilicaslan Palace constitute another important part of the collection. Ottoman encaustic tile and ceramic art samples end with near - period Kutahya and Canakkale ceramics.
The glass collection starts with the 9th century Islamic glass art samples and includes 15th century Memluk candles, Ottoman period glass art samples.

Metal Art Section
Turkish and Islamic Works Museum Metal Art Collection starting with the unique samples belonging to the Great Seljuk Empire period and mortar, censer, long - spouted ewer, mirror and dirhems constitute an important collection with the door knockers of Cizre Ulu Mosque and 14th century candelabrums ornamented with constellation and planet symbols, which have an important place in Islamic metal art.
Among the Ottoman metal art samples starting from the 16th century and reaching the 19th century, there are silver, brass, tombac (ornamented with valuable stones) crests, candles, rose water cans, censers, washtub / ewer sets.

Ethnography Section
Ethnographic parts collected for long years have found the possibility of being exhibited with the transfer of Turkish and Islamic Works Museum to Ibrahim Pasha Palace.

The youngest part of the museum is exhibited in this collection, consisting of carpet - kilim looms collected from various regions of Anatolia, wool painting techniques, public weaaving and ornamenting art samples, clothes in their regional enhancements, house goods, hand arts, hand art instruments, nomad tents exhibited in places special to them.

Carpets, whether knotted or flat woven (kilim) are among the best known art forms produced by the Turks from time immemorial. There are environmental, sociological, economic, and religious reasons for the widespread art of carpet weaving among the Turkish people from Central Asia to Turkey.

Kars carpet

The geographical regions where Turks have lived throughout the centuries lie in the temperate zone. Temperature fluctuations between day and night, summer and winter may vary greatly. Turks-nomadicor pastoral, agrarian or town-dwellers, living in tents or in sumptuous houses in large cities-have protected themselves from the extremes of the cold weather by covering the floors, and sometimes walls and doorways, with carpets.
The carpets are always hand made of wool or sometimes cotton, with occasional additions of silk. These carpets are natural barriers against the cold. The flat woven kilims which are frequently embroidered are used as blankets, curtains, and covers over sofas or as cushion covers.

In general, Turks take their shoes off upon entering a house. Thus, the dust and dirt of the outdoors are not tracked inside.The floor coverings remain clean, and the inhabitants of the house, if need be, can comfortably rest on the floor. In the traditional households, women and girls take up carpet and kilim weaving as a hobby as well as a means of earning money. Even technological advances which promoted factory-made carpets could not hamper the production of rug weaving at cottage-industry level. Although synthetic dyes have been in use for the last 150 years, hand made carpets are still considered far superior to industrial carpeting.

Turkish carpets are among the most sought after household items all over the world. Their rich colors, warm tones, and extraordinary patterns with traditional motifs have contributed to the status that Turkish carpets have maintained since the 13th century. Marco Polo, who traveled through Anatolia in the late 13th century, commented on the beauty and artistry of the carpets.A number of carpets from this period, known as the Seljuk carpets, were discovered in several mosques in central Anatolia.

Kumkapi carpet
These were under many layers of subsequently placed carpets. The Seljuk carpets are today in the museums in Konya and Istanbul. It is very exciting to imagine that we may be looking at the very same carpets that Marco Polo praised in the year 1272. Turkish carpets in the 15th and 16th centuries are best known through European paintings. For example, in the works of Lotto (15th century Italian painter) and Holbein (16th century Germanpainter), Turkish carpets are seen under the feet of the Virgin Mary, or in secular paintings, on tables. In the 17th century, when the Netherlands became a powerful mercantile country, Turkish carpets graced many Dutch homes.

Usak carpet
The Dutch painter Vermeer represented Turkish carpets predominantly to indicate the high economic and social status of the persons in his paintings. “Turkey carpets,” as they were known, were too valuable to be put on floors, except under the feet of the Holy Mother and royalty.Anyone who enters a mosque has to take off his/her shoes. The mosque is the common house of a Muslim community, therefore, shoes are cast off before the door.
Moreover, the ritual of prayer requires the faithful to kneel and touch the ground with one’s forehead in humility before God. There are no chairs or benches in a mosque, only carpets. A Turkish mosque is often covered “from wall to wall” with several layers of carpets. To deed a carpetto a mosque is an act of piety and many Muslims do so. Prayer carpets that are small enough to be carried easily accompany many Muslim travelers. The Muslim, wherever he or she is, upon determining the direction of the Ka’aba in Mecca, lays down the prayer carpetand through the ritual of prayers communicates directly with God.

The Turkish carpets have exuberant colors, motifs, and patterns. No two carpets are the same; each one is a creation from anew. Because traditionally women have woven the carpets, this is one art form that is rarely appreciated as being the work of a known or a specific artist. Nevertheless, the Turkish women silently continue to create some of the most stunning examples of works of art to be distributed all over Turkey and the world.

Milas carpet

THE WORDS OF RUGS

Gulsaray, Gulgever, Sine, Luleper, Simkubik

All of them, representing different kinds of love, happiness and patience symbolize sincerity and humbleness. With their various colors, designs and motifs they carry the signs of the past.

Every one of them is a mirror that is an assembly of culture, formed by many years ago. They are a distinguished sign of Turkish art and the motifs that are used on them represent psychological states of the women, especially young girls, who weave them. The young weavers embroidered their feelings that can’t be explained by words clearly, like writing on a piece of paper. The wolf leg and scorpion motifs mean the bad things of the period of time that she lived in. With the lovebird her feeling of love and being ephemeral; with the ram horn, they mean masculinity, heroism and quarrel.

The properties of the motifs actually came from Middle East.Especially in the 13th century Seljuks made improvements on them.

by AboutTurkey.com