Small Rug,Vintage Entryway Rug,DistressedoFa nt door Rug,Little Gift Rug,Boho Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53Very Unique Oriental Door matGenuine entrance rugOne Of A Kind bathroom rugLow pile is clean and ready for using.Floor Rug is hand made and vintage100% wool, very durable and easy to cleanThese rugs are great for entryways, bedsides, kitchen sinks and bathroomsAll ofoour rugs are old, antique or vintage. They are all professionally cleaned and if needed repaired.One ofoa kind, Genuine RugDue to its vintage nature, there will be signs ofoaging, which isn't considered flaw but characterThese rugs are vintage so some rugs may show slight imperfec/ions but I do my best to picture the quality and color scheme ofoall my rugs.Please note that images may be displayed differently on different monitors.We Ship Our Rugs Direc/ly Fa poTurkey !!!You Will Receive Same Rug In The Pictures !!!Rug Comes Fa poSmoke Free and Pet Free AreaSIZE IN FEET: 3' 3'' X 1' 7'' SIZE IN CENTIMETERS: 100 X 53SIZE IN INCHES: 39 X 21I Will Ship Your Rug By Fedex Express Air Cargo And Your Rug will arrive you within 5 business days with tracking information.I have taken all the pictures of the rug outdoors,in daylight ,without flash !!!Feel free for any question,you may have,I will respondoyou as soon as possible !I accept returns,in case of dissatisfa2/ion !!!I AM GRATEFUL FOR YOUR SUPPORT THE HANDCRAFT AND MY SMALL BUSINESS,BELINDA !!Turkish Anatolian RugThis article is about pile-woven Anatolian rugs.oFor flat-woven rugsAnatolian rug is a term of convenience, commonly used today to denote rugs and carpets woven in Anatolia (or Asia minor) and its adjacent regions. Geographically, its area of pr4312/ion can be compared to the territories which were historically dominated by the Ottoman Empire. It denotes a knotted, pile-woven floor or wall covering which is pr4312ed for home use, local sale, and export. Together with the flat-woven kilim, Anatolian rugs represent an essential part of the regional culture, which is officially understood as the Culture of Turkey today,[1] and derives fa pothe ethnic, religious and cultural pluralism of one ofothe most ancient centres of human civilisation.Rug weaving represents a traditional craft dating back to prehistoric times. Rugs were woven much earlier than even the oldest surviving rugs like the Pazyryk rug would suggest.oDuring its long history, the art and craft ofothe woven carpet has absorbed and integrated different cultural traditions. Traces ofoByzantine design can be observedoin Anatolian rugs; Turkic peoples migrating fa poCentral Asia, as well as Armenian people, Caucasian and Kurdic tribes either living in, or migrating to Anatolia at different timesoin history contributed their traditional motifs and ornaments. The arrival ofoIslam and the development ofothe Islamic art has profoundly influenced the Anatolian rug design. Its ornaments and patterns thus reflec/ the political history and social diversity ofothe 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 group of oriental carpets, the Anatolian rug is distinguished by particular characteristics ofoits dyes and colours, motifs, textures and techniques. Examples range in size fa posmall pillows (yastik) to large, room-sized carpets. The earliest surviving examples of Anatolian rugs known today date fa pothe thirteenth century.oDistinc/ types of rugs have been woven ever since in court manufa2/ures and provincial workshops, village homes, tribal settlements, or in the nomad's tent. Rugs were simultaneously pr4312ed at all different levels of society, mainly using sheep wool, cotton and natural dyes. Anatolian rugs are most often tied with symmetrical knots, which were so widely used in the area that Western rug dealers in the early 20th century adopted the term "Turkish" or "Ghiordes" knot for the technique. Fa pothe 1870s onwards, the Ottoman court manufa2/ures also pr4312ed silk-piled rugs, sometimesowith inwoven threads of gold or silver, but the traditional material ofothe majority of Anatolian rugs was hand-spun, naturally-dyed wool.In Europe, Anatolian rugs were frequently depicted in Renaissance paintings, often in a context of dignity, prestige and luxury. Political contacts and trade intensified between Western Europe and the Islamic world after the 13th century AD. When direc/ trade was established with the Ottoman Empire during the 14th century, all kinds of carpets were at f8rst indiscriminately given the trade name of "Turkish" carpets, regardless ofotheir a2/ual place of manufa2/ure. Since the late nineteenth century, oriental rugs have been subjec/ to art historic 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) have attracted the interest of collec/ors and scientists.The art and craft ofothe 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 extinc/ion. In the late twentieth century, projec/s like the DOBAG Carpet Initiative have successfully revived the tradition of Anatolian rug weaving using hand-spun, naturally-dyed wool and traditional designsHistoryThe origin of carpet weaving remains unknown, as carpets are subjec/ to use, wear, and destr12/ion by insects and rodents. Controversy arose overothe accuracy ofothe 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 unconf8rmed, as it states that the wall paintings depicting kilim motifs had disintegrated shortly after theiroexposure.The history of rug weaving in Anatolia must be understood in the context of the country's political and social history. Anatolia was home to ancient civilizations, such as the Hittites, the Phrygians, the Assyrians, the Ancient Persians, the Armenians, the Ancient Greeks, and the Byzantine Empire. The city of Byzantium was founded in the seventh century BC by the Greek, and rebuilt as a Roman city in 303 AD by the Roman emperor Constantine I. Rug weaving was probably known already in Anatolia during this time, but no carpets are known today which can be dated back to this time. In 1071 AD, the Seljuq Alp Arslan defeated the Roman Emperor Romanos IVoDiogenes at Manzikert. This is regarded as the beginning ofothe ascendancy ofothe 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 f8unt soriani et tapeti pulchriores de mundo et pulchrioris coloris."...and here they make the 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 other countries". He and the Moroccan merchant Ibn Battuta men/ion Aksaray as a major rug weaving center in the early-to-mid-14th century.The earliest surviving woven rugs were found in Konya, Beyşehir and Fostat, and were dated to the 13th century. These carpets fa pothe Anatolian Seljuq Period (1243–1302) are regarded as the f8rst group of Anatolian rugs.oEight faagments were found 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 found in Fostat, today a suburb ofothe city of Cairo.[13]Judging by their original size (Riefstahl reports a carpet up to 6 m long), the Konya carpets must have been pr4312ed in town manufa2/ories, as looms ofothis size can hardly have been set up in a nomadic or village home. Where exac/ly these carpets were woven is unknown. The f8eld patterns of the Konya rugs are mostly geometric, and small in relation to the carpet size. Similar patterns are arranged in diagonal rows: Hexagons with plain, or hooked outlines; squares filled with stars, with interposed kufic-like ornaments; hexagons in diamonds composed of rhomboids filled with stylized flowers and leaves. Their main borders often contain kufic ornaments. The corners are not "resolved", which means that the border design is cut off, and does not continue diagonally around the corners. The colours (blue, red, green, to a lesseroextent also white, brown, yellow) are subdued, frequently two shades of the same colour 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 ofoanimals are rarely seen in the Seljuq faagments. Rows of horned quadrupeds placed opposite to each other, or birds beside a tree can be recognized on some faagments.The style ofothe Seljuq rugs has parallels amongst the architectural decoration of contemporaneous mosques such as those 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 ofothe Anatolian BeyliksEarly inothe thirteenth century, the territory of Anatolia was invaded by Mongols. The weakening ofoSeljuq rule allowed Turkmen tribes known as the Oghuz Turks to organize themselves into 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 like the Book ofoDede Korkut conf8rm that the Turkoman tribes pr4312ed carpets in Anatolia. Wha/ types of carpets were woven by the Turkoman Beyliks remains unknown, since we are unable to identify them. One ofothe Turkoman tribes ofothe Beylik group, the Tekke settled in South-western Anatolia in the eleventh century, and moved back to the Caspian sea later. The Tekke tribes ofoTurkmenistan, living around Merv and the Amu Darya during the 19th century and earlier, wove a distinc/ type of carpet characterized by stylized floral motifs calledoguls in repeating rows.Ottoman carpetsAround 1300 AD, a group of Turkmen tribes under Suleiman and Ertugrul moved westward. Under Osman I, they founded the Ottoman Empire in northwestern Anatolia; in 1326, the Ottomans conquered Bursa, which became the f8rst capital ofothe Ottoman state. By the late 15th century, the Ottoman state had become a major power. In 1517, the Egyptian Sultanate ofothe Mamluks was overthrown in the Ottoman–Mamluk war.Suleiman the Magnificent, the tenth Sultan (1520-1566), invaded Persia and forced the Persian Shah Tahmasp (1524–1576) to move his capital fa poTabriz to Qazvin, until the Peace of Amasya was agreed upon in 1555.As the political and economical influence grew of the Ottoman Empire, Istanbul became a meeting point of diplomats, merchants and artists. During Suleiman I.'s reign, artists and artisans ofodifferent specialities worked together in court manufa2/ures (Ehl-i Hiref). Calligraphy and miniature painting were performedoin the calligraphy workshops, or nakkaşhane, and influenced carpet weaving. Besides Istanbul, Bursa, Iznik, Kütahya and Ushak were homes to manufa2/ories ofodifferent specializations. Bursa became known for its silk cloths and brocades, Iznik and Kütahya were famous for ceramics and tiles, Uşak, Gördes, and Ladik for their carpets. The Ushak region, one ofothe centers ofoOttoman "court" pr4312/ion, pr4312ed some ofothe finest carpets of the sixteenth century.oHolbein and Lotto carpets were woven here. Gold-brocaded silk velvet carpets known as Çatma are associated with the old Ottoman capital ofoBursa, in Western Anatolia near the Sea of Marmara15th century "animal" rugsVery few carpets still exist today which represent the transition between the late Seljuq and early Ottoman period. A traditional Chinese motif, the fight between phoenix and dragon, is seen in an Anatolian rug, today at the Pergamon Museum, Berlin. Radiocarbon dating conf8rmed 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 probably intr4312ed into Islamic art by the Mongols during the thirteenth century.[17] Another carpet showing two medallions with two birds besides a tree was found in the Swedish church of Marby. More faagments were found in Fostat, today a suburb ofothe city of Cairo.[13] A carpet with serial bird-and-tree medallions is shown in Sano di Pietro's painting "Marriage ofothe 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 found. They survivedoin Tibetan monasteries and were removed by monks fleeing to Nepal during the Chinese cultural revolution. One ofothese carpets was acquired by the Metropolitan Museum of Art[18] which parallels a painting by the Sienese artist Gregorio di Cecco: "The Marriage ofothe Virgin", 1423.[19] It shows large confa ntedoanimals, each with a smaller 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. Although only few examples for early Anatolian carpets have survived, European paintings inform the knowledge about late Seljuk and early 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 distinc/ion is made between "large" and "small"oHolbein carpets. The small Holbein type is characterized by small octagons, frequently including a star, which are distributed overothe f8eld in a regular pattern, surrounded by arabesques. The large Holbein type show two or three large medallions, often including eight-pointed stars. Their f8eld is often covered in minute floral ornaments. The MAK in Vienna, the Louvre in Paris, and the Metropolitan Museum of Art keep particularly beautiful Ushak carpets.Lotto carpets show a yellow grid of geometric arabesques, with interchanging cruciform, octagonal, or diamond shaped elements. The oldest examples have "kufic" borders. The f8eld is always red, and is covered with bright yellow leaves on an underlying rapport ofooctagonal or rhombiform elements. Carpets of various sizes up to 6 meters square are known. Ellis distinguishes three principal design groups 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 objec/s other than carpets.[21] Briggs demonstrated similarities between both types of carpets, and Timurid carpets depicted in miniature paintings. 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 characterized by large dark blue star shaped primary medallions in infinite repeat on a red ground f8eld containing a secondary floral scroll. The design was likely influenced by northwest Persian book design, or by Persian carpet medallions.[23] As compared to the medallion Ushak carpets, the concept ofothe infinite repeat in star Ushak carpets is more accentuated and in keeping with the early Turkish design tradition.[24] Because ofotheir strong allusion to the infinite repeat, the star Ushak design can be used on carpets of various size and in many varying dimensions.Medallion Ushak carpets usually have a red or blue f8eld decorated with a floral trellis or leaf tendrils, ovoid primary medallions alternating with smaller eight-lobed stars, or lobed medallions, intertwined with floral tracery. Their border frequently contains palmettes on a floral and leaf scroll, and pseudo-kufic characters.[25]Medallion Ushak carpets with their curvilinear patterns significantly depart fa pothe designs of earlier Turkish carpets. Theiroemergence in the sixteenth century hints at a potential impact ofoPersian designs. Since the Ottoman Turks occupied the formeroPersian capital ofoTabriz in the f8rst half of the sixteenth century, they would have knowledge of, and access to Persian medallion carpets. Several examples are known to have been in Turkey at an early date, such as the carpet that Erdmann found in the Topkapı Palace.[26] The Ushak carpet medallion, however, conceivedoas part ofoan endless repeat, represents a specific Turkish idea, and is different fa pothe Persian understanding ofoa self-contained central medallion.[27]Star and medallion Ushaks represent an important innovation, as in them, floral ornaments appear in Turkish carpets for the f8rst time. The replacement of floral and foliate ornaments by geometrical designs, and the substitution ofothe infinite repeat by large, centered compositions ofoornaments, was termed by Kurt Erdmann the "pattern revolution".[28]Another small group of Ushak carpets is calledoDouble-niche Ushaks. In their design, the corner medallions have been moved closely together, so that they form a niche on both ends of the carpet. This has been understood as a prayer rug design, because a pendant resembling a mosque lamp is suspended fa poone ofothe niches. The resulting design scheme resembles the classical Persian medallion design.Counterintuitive to the prayer rug design, some ofothe double niche Ushaks have central medallions as well. Double niche Ushaks thus mayprovide an example for the integration ofoPersian patterns into an older Anatolian design tradition.Examples are also known of rugs woven in the Ushak area whose f8elds are covered byoornaments like the Cintamani motif, made ofothree coloured orbs arranged in triangles, often with two wavy bands positioned under each triangle. This motiv usually appears on a white ground. Together with the bird and a very small group of so-calledoscorpion rugs, they form a group of known as "white ground rugs". Bird rugs have an allover geometrical f8eld design of repeating quatrefoils enclosing a rosette. Although geometric in design, the pattern has similarities to birds. The rugs ofothe white ground group have been attributed to the nearby town of Selendi, based on an Ottoman official price list (narh defter) of 1640 which mentions a "white carpet with leopard design".[30]Ottoman Cairene rugsAfter the 1517 Ottoman conquest ofothe Mamluk Sultanate in Egypt, two different cultures merged, as is seen on Mamluk carpets woven after this date. The earlier tradition ofothe Mamluk carpet used "S" (clockwise) spun and "Z" (anti-clockwise)-plied wool, and a limited palette of colours and shades. After the conquest, the Cairene weavers adopted an Ottoman Turkish design.[31] The pr4312/ion ofothese carpets continued in Egypt, and probably also in Anatolia, into the early 17th century.Transylvanian" rugsTransylvania, in present-day Romania was part ofothe 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 shelters a variety of Anatolian carpets, calledoby convenience "Transylvanian carpets".[33] By their preservation in Christian churches, unusual as the setting may be, the carpets were pr4tected fa powear and the changes of history, and often remained in excellent condi/ion. Amongst these carpets are well-preserved Holbein, Lotto, and Bird Ushak carpets.[34]The carpets termed "Transsylvanian carpets"oby convenience today are of Ottoman origin, and were woven in Anatolia.[34][35] Usually their format is small, with borders of oblong, angular cartouches whose centers are filled with stylized, counterchanging vegetal motifs, sometimesointerspersed with shorter stellated rosettes or cartouches. Their f8eld often has a prayer niche design, with two pairs of vasesowith flowering branches symmetrically arranged towards the horizontal axis. In other examples, the f8eld decor is condensedointo medallions of concentric lozenges and rows of flowers. The spandrels of the prayer niche contain stiff arabesques or geometrical rosettes and leaves. The ground colour is yellow, red, or dark blue. The Transylvanian church records, as well as Netherlandish paintings fa pothe seventeenth century which depict in del/8d carpets with this design, allow for precise datingBy the time "Transylvanian" carpets appear in Western paintings for the f8rst time, royal and aristocratic subjec/s had mostly pr4gressedoto 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 paintings depicting the "Transylvanian" types of Ottoman Turkish manufa2/ory carpets. Transylvanian vigesimal accounts, customs bills, and other archived documents provide evidence that these carpets were exported to Europe in large quantities. Probably the increase in pr4312/ion reflec/s 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 rug of the "Transylvanian" type.[39]Anatolian carpets of the "Transylvanian" type were also kept in other European churches in Hungary, Poland, Italy and Germany, whence they were sold, and reached European and American museums and private collec/ions. Aside fa pothe Transylvanian churches, the Brukenthal National Museum in Sibiu, Romania,[40] the Museum of Fine Arts (Budapest), the Metropolitan Museum of Art, and the Skokloster Castle near Stockholm in Sweden keep important collec/ions of "Transylvanian" carpets.Carpets are rarely found in Anatolia itself fa pothe transitional period between the classical Ottoman era and the nineteenth century. The reason for this remains unclear. Carpets which can be reliably dated to the eighteenth century are of a small format. At the same time, western European residences were more sparely equipped with Oriental carpets. It seems likely that carpets were not exported in large scale during this time.[41]19th century: "Mecidi" style, and the Hereke court manufa2/ureBy the end of the eighteenth century, the "turkish baroque" or "mecidi" style developed out of French baroque designs. Carpets were woven after the patterns of French Savonnerie and Aubusson tapestry. Sultan Abdülmecid I (1839–1861) built the Dolmabahçe Palace, modelled after the Palace of Versailles.A weaving workshop was established in 1843 in Hereke, a coastal town 60 kilometers fa poIstanbul on the bay of Izmit.[42] It also supplied the royal palaces with silk brocades and other textiles. The Hereke Imperial Fa2/ory initially included looms pr4312ing cotton fabric. Silk brocades and velvets for drapes and upholstery were manufa2/ured at a workshop known as the "kamhane". In 1850 the cotton looms were moved to a fa2/ory in Bakirköy, west of Istanbul, and jacquard looms were installed in Hereke. Although in the early years the fa2/ory pr4312ed exclusivelyofor the Ottoman palaces, as pr4312/ion increased the woven pr4312/s were available in the Kapalıçarşı or Grand Bazaar, in the second half of the 19th century.In 1878 a fire in the fa2/ory causedoextensive 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, Manisa and Ladik. The carpets were all hand woven, and in the early years they were either made for the Ottoman palaces or as gifts for visiting statesmen. Later, they were also woven for export.Hereke carpets are known primarilyofor their f8ne weave. Silk thread or f8ne wool yarn and occasionally gold, silver and cotton 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 and other palaces in Istanbul, contain a wide variety of colours and designs. The typical "palace carpet" featuresointricate floral designs, including the tulip, daisy, carnation, crocus, rose, lilac, and hya2inth. It often has quarter medallions in the corners. The medallion designs of earlier Ushak carpets was widely used at the Hereke fa2/ory. These medallions are curved on the horizontal axis and taper to points on the vertical axis. Hereke prayer rugs feature patterns of geometric motifs, tendrils and lamps as background designs within the representation ofoa 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 techniques. Hereke carpets remain amongothe finest and most valuable examples of woven carpets in the world.Modern history: Decl8ne and revivalThe modern history of carpets and rugs began in the nineteenth century when increasing demand for handmade carpets arose on the international market. However, the traditional, hand-woven, naturally dyed Turkish carpet is a very labour-intense pr4312/, as each step in its manufa2/ure requires considerable time, fa pothe preparation, spinning, dyeing ofothe 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 and cost, and maximise on profit in a competitive market environment, synthetic dyes, non-traditional weaving tools like the power loom, and standardized designs were intr4312ed. This led to a rapid breakdown of the tradition, resulting in the degeneration ofoan art which had been cultivated for centuries. The process was recognized by art historians as early as in 1902.[44] It is hitherto unknown when exac/ly this pr4cess ofodegeneration started, but it is observedomainly since the large-scale intr4312/ion of synthetic colours took place.[45]In the late twentieth century, the loss ofocultural heritage was recognized, and efforts started to revive the tradition. Initiatives were started aiming at re-establishing the ancient tradition of carpet weaving fa pohandspun, naturally dyed wool.[46] The return to traditional dyeing and weaving by the pr4312ers, and the renewed customer interest in these carpets was termed by Eilland as the "Carpet Renaissance".[47] Thus, Anatolian rugs remain distinguishable fa porugs woven in other regions.Carpet weaving: Materials, technique, pr4cessesIn traditional households, women and girls take up carpet and kilim weaving as a hobby as well as a means of earning money. Women learn their weaving skills at an early age, taking months or even years to complete the pile rugs and flat woven kilims that were created for their use in daily life. As is true in most weaving cultures, traditionally it is women and girls who are both artisan and weaverMaterialsMakers of handmade rugs use only natural fibres. The most common materials used for the pile are wool, silk and cotton. Nomadic and village weavers sometimesoalso use goat- and camel-hair. Traditionally, spinning is done by hand. Several strands of yarn are then plied together so that the resulting yarn is strong enough to be used for weaving.Sheeps wool is the most frequently used pile material in a Turkish rug because it is soft, durable, easy to work with and not too expensive. It is less susceptible to dirt than cotton, does not react electrostatically, and insulates against both heat and cold. This combination ofocharacteristics is not found in other natural fibers. Wool comes fa pothe coats of sheep. Natural wool comes in colors of white, brown, fawn, yellow and gray, which are sometimesoused direc/ly without going through a dyeing pr4cess. Sheeps wool also takes dyes well. Traditionally, wool used for Turkish carpets is spun by hand. Before the yarn can be used for weaving, several strands have to be twisted together for additional strength.Cotton isoused primarilyoin the foundation, the warps and wefts of rugs.oCotton isostronger than wool, and, when used for the foundation, makes a carpet lie flat on the ground, as it is not as easilyodistorted as woolen strings. Some weavers, such as Turkomans,oalso use cotton for weaving small white del/8d6 into the rug in order to create contrast.Wool-on-wool (wool pile on wool warp and weft): This is the most traditional type of Anatolian rug. Wool-on-wool carpet weaving dates back further and utilizes more traditional design-motifs than its counterparts. Because wool cannot be spun extra finely, the knot count is often not as high as seen in a "wool-on-cotton" or "silk-on-silk" rug. Wool-on-wool carpets are more frequently attributed to tribal or nomadic pr4312/ion.Wool-on-cotton (wool pile on cotton warp and weft): This particular combination fa2ilitates a more intricate design-pattern than a "wool-on-wool carpet", as cotton can be finely spun which allows for a higher knot-count. A "wool-on-cotton" rug is often indicative ofoa town weaver.oDue 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 f8ne weave. Knot counts on some superior-quality "silk-on-silk" rugs can be as high as 28×28 knots/cm2. Knot counts for silk carpets intended for floor coverings should[citation needed] be no 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, because their fabric is less resistant to mechanical stress. These very f8ne, 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 f8rst anil8ne 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 and pr4cesses, in the early 1980sAccording to these analyses, natural dyes used in Anatolian rugs include:Red fa poMadder (Rubia tinc/orum) 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 tinc/oria.The dyeing pr4cess involves the preparation of the yarn in order to make it susceptible for the proper dyes by immersion in a mordant, immersing the yarn in the dyeing solution, and leaving it to dryoexposed to air and sunlight. Some colours, especially dark brown, require iron mordants, which can damage or fade the fabric. This often results in faster pile wear in areas dyed in dark brown colours, and may create a relief effect in antique Turkish carpets.With modern synthetic dyes, nearly every colour and shade can be obtained so that it is nearly impossible to identify, in a finished carpet, whether natural or artificial dyes were used. Modern carpets can be woven 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 makes more pronoun2ed use ofoprimary colours. Western Anatolian carpets prefer red and blue colours, whereasoCentral Anatolian use more red and yellow, with sharp contrasts set in white.[Weaving and finishingA variety of tools are needed in the constr12/ion ofoa 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 after each row of knots in order to further stabilize the fabric. Wefts can be either undyed or dyed, mostly in red and blue.The pile knots are usually knotted by hand. Most rugs fa poAnatolia utilize the symmetrical Turkish double knot. Each knot is made on two warps. With this form of knotting, each end of the pile thread is twisted around two warp threads at regular intervals, so that both ends of the knot come up between two strands on one side of the carpet. The thread is then pulled downwards and cut with a knife.After a row of knots has been inserted, one or two, sometimesomore, rows of wefts are woven in, and the fabric is compacted by beating with a heavy comb. Once the carpet is finished, it is cut fa pothe loom. The sides or selvages are usually overcast in wool. The selvages consist of up to ten warp threads. Especially village and nomadic rugs have flat-woven kilim ends, sometimesoincluding pile-woven tribal signs or village crests. The pile of the carpet is shorn with special knives in order to obtain an equal surface. In some carpets, a relief effect is obtained by clipping the pile unevenly. Finally, the carpet is washed before it isoused, or goes to the market.The upright pile of Turkish rugs usually fald6 in one direc/ion, as knots are always pulled down before the string of pile yarn is cut off and work resumes on the next knot, piling row after row of knots on top of each other. When touching a carpet, this creates a feeling similar to stroking an animal's fur. This can be used to determ8ne where the weaver has started knotting the pile. The pile in Turkish carpets is usually between 2 and 4 mpothick. Coarse nomadic rugs like the Yürük rugs, can be as thick as 12 mp. A special bedding carpet calledoyatak may reach a pile thickness ofo20 to 25 mp.Origins and traditions ofoAnatolian rug designAnatolian rug design integrates different strands of traditions. Specific elements are closely related to the history of Turkic peoples and their interac/ion with surrounding cultures, in their central Asian origin as well as during their migration, and in Anatolia itself. The most important cultural influences came fa pothe Chinese culture, and fa poIslam. Carpets fa pothe Bergama and Konya areas are considered as most closely related to earlier Anatolian rugs, and their significance in the history of the art is now better understoodCentral Asian traditionshe early history of the Turkic peoples in Central Asia is closely related to China.oContacts between Turks and China are documented since the early Han dynasty.In his essay on centralized designs, Thompson[55] relates the central medallion pattern, frequently found in Anatolian rugs to the "lotus pedestal" and "cloud collar (yun chien)" motifs, used in the art ofoBuddhist Asia, which he dated back to Yuan dynasty China.oRecently, Brüggemann further elaborated on the relationship between Chinese and Turkic motifs like the "cloud band"oornament, the origin of which he relates 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.oHomer 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) that carpets ("polymita") were invented in Alexandria. It is unknown whether these were flatweaves or pile weaves, as no del/8ded technical information can be gained fa pothe texts.Athenaeus of Naucratis describes luxurious carpets in his Deipnosophists, written about 230 AD."And under these there were strewed purple carpets of the finest wool, with the carpet pattern on both sides. And there were handsomely embroidered rugs very beautifully elaborated on them." (Book V, p. 314)"[...] to lie on a couch with silver feet, with a smooth Sardian carpet spread under it ofothe most expensive description." (Book VI, p. 401)[58]A carpet "with the pattern on both sides" could either be a flat-woven, or pile-woven carpet. Whether "purple" refers to the colour of the fabric or to the dyestuff (either Tyrian purple or madder red could have been used) remains unknown. The town of Sardis lies in Western Anatolia, thus, this may be the earliest reference to carpet pr4312/ion in the region ofoAsia m8nor.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, both empires have developed similar styles and decorative vocabulary, as exemplified by mosaics and architecture of Roman Antioch.[59] A Turkish 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 found in the Umayyad palace of Khirbat al-Mafjar.[60] The architectural elements seen in the Khirbat al-Mafjar complex are considered exemplary for the continuation of pre-Islamic, Roman designs in early Islamic art.CLEANING AND DAILY CARE OF HANDMADE TURKISH CARPETSCleanliness is the f8rst and major step towards the preservation ofoa handmade carpet and it isothe best defense against damage. There are no hard fast rules to stipulate when and 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 professional cleaning.However, the following advice and information are the basic general instr12/ion that the average homeowner mayoexercise 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.Remember that is just an important to brush the underlay of the carpet and the floor beneath. One caution, the regular use ofovacuum cleaner will eventually start to loosen the knots and pull the f8bers out ofothe pileoalso never use the revolving brush attachment on a carpet for it will actually pull the f8bers apart. The nozzle attachment isothe best and may be used once a month.An old-fashioned carpet beater usedoevery few weeks or alternativelyoa good shaking outdoors is invaluable for removing the harmful dust and grit that becomes lodged in the carpet. Always beat the back of the carpet to allow the dirt to fall out fa poboth the back and fa nt of the carpet.Never beat a handmade carpet violently and never beat 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 such cleaning may vary fa poevery six months to once every two years. A carpet with a light colored ground may be sent out to be cleaned more often, but it may be less obvious if the carpet is dark and intricately patterned. The f8rst indication that a carpet needs cleaning will be fa pothe feel ofothe pile, which may feel coarse or harsh to the touch instead of velvety and smooth as it should be. Another useful test is to fold up one corner and tap the back of the carpet overothe palm of the hand. If a fine powder of dust, grit and lose f8bers fald6 into your hand it is certainly the time to clean the carpet.Hand Cleaning at HomeYou may be daunted by the idea of cleaning your carpet home. It is a time-consuming pr4cess requiring care and patience but it is actually a simple job which can be successfully carried out by any carpet owner who followsothese simple instr12/ions.oHand cleaning has multiple rewards, apart fa pothe obvious benefit ofosaving money. It will give personal satisfac/ion to see every f8ber fresh and revived. It will also give the owner a closer affinity to and understand of the carpet. Every previously unnoti2ed subtlety of color and motif will come into view with the close attention that hand cleaning requires.Nearly all types of carpets can be cleaned at home with the exception ofoantique carpets is in need of repair, silk carpets, and noncolorfast carpet. These should receive the attention ofoa professional.PreparationPreparation is as 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 isonot in need of repair. Since the carpet becomes more fragileowhen it is wet. It is advisable to carry out most repairs before washing. The only repelling is better done after washing since the color can be matched more accurately. After the carpet is clean brush and beat the carpet thoroughly to remove so much loose dust as possible because dust and dirt are more damaging when wet than dry. Finally, find a flat clean hard surface on which to clean the carpet. For small carpets, it is better to clean them on the large table.EquipmentMost ofothe necessary equipment can be found already at home.A soft brush with natural bristles about one inch long (The type usedogrooming horses is ideal), white natural vinegar, carpet shampoo. The type which dries to a fine powder and a bucket ofowarmowater is all that is needed.Prepare a mixture of the following proportions, half a cup of carpet shampoo to the poor and a half cups ofowarmoand add one tablespoon ofovinegar to prevent color fa porunning…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 likely to damage the 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 vertically (lengthwise ) then brush horizontally or fa pothe side of side across the pile with the same gentle overlapping strokes. The pile should be thoroughly cleaned by now Finally brush gently in the direc/ion ofothe pile as the carpet dries so that the pile is lying in the right direc/ion.Try to apply the cleaning solution sparingly, so that the base does not become wet. It is very difficult to dryoit thoroughly since it is f8rmly encased in the million ofotight little knots. If the carpet is returned to the floor while the months the base will be extremely brittle.oDuring 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 be pegged by the kilim end on a clothesline. Larg carpets are more easilyodried flat on a hard, clean surface. Paving stones or concrete are ideal.Do not dryoon a lawn since the base will absorb the moisture of the grass.If it is impossible to use such an area or the weather does not perm8t outdoor drying, then an area of the house can be prepared. 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 completelyodry. The warp weft and pile of a completelyodried carpet should feel soft and pliable.oRemove the dried dirt and shampoo powder by gently brushing with a soft dry brush, or by gently using the vacuum cleaner. An alternative method used in Scandinavia and Turkey is to place the carpet pile downward on virgin snow and pat the back gently all over.oThis patting should be just f8rm enough to press the pile to 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 is only suitable for small carpets since it may be inconvenient and difficult to dryolarge one during the winter.Things To AvoidWashing machines and dryers should never be used any delicate handmade item. With carpets, the vibration, water temperature, and harsh detergents will cause irreparable damage, possible color run fa 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 is only used for fairly new carpets.They are washed very quickly then laid out to dryoimmediately in the baking sun Antique and silk carpets are never washed in this way. In fac/, usually, this river washing isoused only as the f8rst washing before the carpet is put into use or soldomainly o remove the millions or may wool f8bers that become embedded in the pile after shopping and the loose excess dyestuffThis total immersion is not advisable. It can cause color run and it soaks the warp and weft threads unnecessarily. The warp and wolf do not need such a cleaning since they are totally enclosed by the knots ofothe pile and so are not exposed to dirt. Some f8rms that advertise themselves as 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 f8bers ofoan oriental handmade masterpiece should never be subjec/ed to the wrong chemicals that these f8rms use. The damage may become apparent only after several months and the damage is irreparable….Dealing With Spills And StainsWater and dampness are the greatest danger to anoOriental carpet. Water spillage is perhaps is the most common accident at home. When this occurs, appropriate steps should be immediately taken.Using an undyed piece of cloth try to absorb as much ofothe spilled water as possible. Place some material underneath the carpet and gently blot the pile.Do not try to wring it.A hair dryer set a moderate heat is probably the best implement for drying.oDry the carpets thoroughly fa poboth 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 probably the best implement for drying.oDry the carpet thoroughly fa poboth sides. The pile may be a little malted 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 problems color run and the rotting of the warp and weft. Should these problems occur it is best to seek the help of shape ofoan expert restorer. In a busy household, a variety of substances may be accidentally spilled on a rug. Excluding the treatment, for silk oroantique carpets, most of these accidents can be tackled at home. The f8rst step with any substance is the same as with water. Soak up as much liquid as possible with a clean undyed cloth. 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 and the greater the danger ofoa permanent stain. The next page is to make a colorfastness test.oRub a colorfully patterned area with a damp white cloth. If the cloth takes the color of the carpet then an expert should be asked to tackle the problem it the carpet is colorfast then the stain can be removed 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 never fa pothe middle outwards as this may remember that gentle repetition is more effective than harsh scrubbing.Washing and care of the carpetA dirty or stained carpet should be washed with soft soap, without delay, rinsedowith clean water and dried. A Turkish carpet is made to last and, therefore, requires certain care. The worst enemy ofoa carpet is damp. Therefore, it should not be left in a damp environment overoa longs period. There is no harm in washing and immediately dryingoa carpet. However, it should not be laid on the floor before it isowell dry, and it should never be kept damp on the floor.Carpet naturally collec/s 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 overoa long time, dust may collec/ 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 ac/ion 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 prac/ical method. Theyolay 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 be shined with vinegar: Adding a glass ofovinegar into a bucket ofowater, the pile of carpets is wiped with a sponge in the direc/ion ofothe weave, and the carpets are left to dry.As a result, the carpet regains its shine. As removing stains may not always be easy, carpet needs good care. A Specialist should be consulted for stubborn stains. The following points should be remembered for good carpet care:oDuring cleaning refrain fa porubbing the carpet knots in the reverse direc/ion. Take care not to wet the whole carpet. Never use 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:oDry well and vacuum cleaners.Sweets: Lightly wipe with warmowaterInk: Damp sponge with a mixture of water, soap, and alcohol, and wipe.Take care to prevent the cleaning mixture fa podripping down to the reverse of the carpet.Fruit: Damp sponge with a mixture containing 3 parts white vinegar or lemon juice and 1 part ammonia, and wipe.Egg: Never use hot water. Wipe with an ammonia and water mixture, failing that, use an alcohol and water mixture.Blood: Never use hot water. After cleaning the stain well with a damp sponge, If the stain is dry, brush it and clean with water. If unsuccessful, wipe again with pure white wine. If the stain is dry, brush it and clean with water containing a small amount of ammonia.Make-up materials or perfume: Wipe with alcohol.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 with a mixture of 3 parts alcohol and 1 part ammonia.Red wine: Clean with white wine, and wipe with water.Oriental Rug Designs and MotifsBelow I have listed a number of common motifs and designs found in Oriental rugs. This is by no means a list including all motifs, and designs will vary fa porug to rug.Agra 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 diamonds may be a man and woman.DogMeaning: Pr4tection, Trust, DefenseDragonMeaning: PowerEagleMeaning: PowerEwer, JugMeaning: PurificationHeratiMeaning: Water garden, fish mahiHya2inthMeaning: RegenerationLampMeaning: Youth, Spring, NewlywedLeafMeaning: Endless RegenerationLotusMeaning: Rebirth, ImmortalityManMeaning: Weaver in the rugMihrabMeaning: Gateway to ParadiseNumbersMeaning: Signify Dates and TimesOctagonParadise BirdMeaning: ParadisePalmettePeacockMeaning: ImmortalityPeonyMeaning: PowerRoseMeaning:White: Inn4cence, Red:Passion/MysterySnakeMeaning: Guardian, WisdomStarMeaning: Good Luck, SpiritualityTulipMeaning: ProsperityTree of LifeMeaning: Direc/ Path fa poEarth to HeavenTree (Weeping Willow)THE BENEFITS OF 100% WOOL RUGSWool is very resilient and its texture allows it to quickly recover fa pocrushing or indenting caused by footsteps or furniture. This natural resilience also keeps the rug looking new and fresh for longer periods ofotime.Wool has a natural ability to resist staining and soiling. In fac/ it has more than a 30% higher rate of stain resistance than even the best synthetic fibers. It’s so good at resisting stains because of the natural light lanolin that coats the surface of the wool. This coating helps stop dirt and stains fa poactually penetrating the wool leaving any soiling on or near the surface. That’s why spills on wool is very easy to clean. Wool is also very durable and will last for many years without showing signs of wear. While wool rugs cost slightly more than synthetic rugs, because of its exceptional long life it can be a better choice than other types of rugs because you will quickly recoup the extra cost in the additional years of wear. Sheep pr4312e wool to pr4tect themselves fa poa variety of climates and natural elements. Of courseowhen man uses wool these natural capabilities remain intact. Natural wool actually has two different types of wool cells – the orthcortex and the paracortex.The Benefits Of 100% Wool Area RugsWool is very resilient and its texture allows it to quickly recover fa pocrushing or indenting caused by footsteps or furniture. This natural resilience also keeps the rug looking new and fresh for longer periods ofotime.Wool has a natural ability to resist staining and soiling. In fac/ it has more than a 30% higher rate of stain resistance than even the best synthetic fibers. It’s so good at resisting stains because of the natural light lanolin that coats the surface of the wool. This coating helps stop dirt and stains fa poactually penetrating the wool leaving any soiling on or near the surface. That’s why spills on wool is very easy to clean. Wool is also very durable and will last for many years without showing signs of wear. While wool rugs cost slightly more than synthetic rugs, because of its exceptional long life it can be a better choice than other types of rugs because you will quickly recoup the extra cost in the additional years of wear. Sheep pr4312e wool to pr4tect themselves fa poa variety of climates and natural elements. Of courseowhen man uses wool these natural capabilities remain intact. Natural wool actually has two different types of wool cells – the orthcortex and the paracortex.Each lies on the opposite side of the f8ber and grow at different rates. This causes a coil spring that makes the wool very elastic. The natural shock absorber allowsothe wool to quickly spring back to its original form. In fac/ wool f8ber can be stretched more than 35% and still easilyoreturn back to its natural shape. This pr4tective barrier also stops water fa poeasilyopenetrating the wool f8ber 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 recover fa popressure points quickly.Wool rugs are available in a wide selection ofostyles, patterns, and designs. Because of the pr4cess used to dye wool rugs the colors are fade resistant and unless they are exposed to direct sunlight on a continuous basis you should experience 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 of enjoyment and durability.
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Small Rug,Vintage Entryway Rug,Distressed Fa nt door 2024 Rug,Little Gift Carpet,Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53

$210.00

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Small Rug,Vintage Entryway Rug,Distressed Fa nt door 2024 Rug,Little Gift Carpet,Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53, .

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Product code: Small Rug,Vintage Entryway Rug,Distressed Fa nt door 2024 Rug,Little Gift Carpet,Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53
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Small Rug,Vintage Entryway Rug,Distressed Fa nt door 2024 Rug,Little Gift Carpet,Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53

307 review

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