Anatolian Carpet is a term of comfort, commonly used today to show carpets and carpets woven in Anatolia (or Asia Minor) and surrounding areas. Geographically, its production area is comparable to an area historically dominated by the Ottoman Empire. It shows a floor tied or stacked with a pile, which is produced for home use, local sales, and exports. Along with flat woven fabrics, Anatolian rugs are an important part of regional culture, officially understood as Turkish culture today, and derived from ethnic, religious and cultural pluralism from one of the most ancient centers of human civilization..
Carpet weaving is a traditional craft that comes from prehistoric times. The tapestries were woven much earlier than the oldest living carpets like the Pazyryk carpets. During its long history, woven art and craft carpets have absorbed and integrated different cultural traditions. The Byzantine design trail can be observed on the Anatolian rug; The Turkish people who migrated from Central Asia, as well as the Armenians, Caucasians and Kurds who lived there, or migrated to Anatolia at different times in history contributed their traditional motives and ornaments. The arrival of Islam and the development of Islamic art have greatly influenced the design of Anatolia carpets. The ornaments and patterns thus reflect the political history and social diversity of the area. However, scientific research can not, to link specific design features with certain ethnic or regional traditions, or even to distinguish between nomadic and village design patterns.
In an oriental carpet group, Anatolian rugs are distinguished by certain characteristics of dye and color, motifs, textures and techniques. Example of various sizes from small pillows ( yastik ) to large carpets. The earliest examples of Anatolian rugs today are from the thirteenth century. Different types of carpets have been knit since in court producing and workshop of provinces, village houses, tribal settlements, or in tent nomads. Rugs are simultaneously produced at all different levels of society, mainly using sheep's wool, cotton and natural dyes. Anatolian rugs are most often tied with symmetrical knots, which are so widely used in the area that Western carpet traders in the early 20th century adopted the term "Turkish" or "Ghiordes" knot for this technique. From the 1870s onwards, the Ottoman court produced also produced silk-stacked carpets, sometimes with gold or silver threads, but the traditional materials of most Anatolian rugs were hand-woven spun fabrics.
In Europe, Anatolian rugs are often depicted in Renaissance paintings, often in the context of dignity, prestige and luxury. Contact and political trade intensified between Western Europe and the Islamic world after the 13th century. When direct trade was established with the Ottoman Empire during the 14th century, all types of carpets were initially indiscriminate given the trade name "Turkish" carpets, regardless of the actual manufacture site. Since the late nineteenth century, oriental carpets have been subject to historical and scientific art in the Western world. The richness and cultural diversity of carpet weaving is gradually better understood. Recently, flat-woven carpets (Kilim, Soumak, Cicim, Zili) have attracted the interest of collectors and scientists.
Art and craft of Anatolian carpets underwent serious changes with the introduction of synthetic dyes from the last third of the 19th century onwards. The mass production of cheap carpets designed for commercial success has brought ancient traditions near extinction. At the end of the 20th century, projects such as the DOBAG Carpet Initiative have succeeded in reviving the Anatolian carpet weaving tradition using wool spinning manually and traditional designs.
Video Anatolian rug
Histori
The origin of carpet weaving is still unknown, because the carpet is subject to wear, wear and tear and destruction by insects and rodents. The controversy arose over the accuracy of the claim that the oldest records of flat kilims of woven cloth were derived from the excavation of ÃÆ'â € atalhÃÆ'¶yÃÆ'¼k, dated about 7000 BC. The excavator report has still not been confirmed, as it is claimed that the wall paintings depicting the kilim motif have been destroyed shortly after their exposure.
The history of carpet weavers in Anatolia must be understood in the context of the country's political and social history. Anatolia is home to ancient civilizations, such as the Hittites, Phrygians, Assyrians, ancient Persia, Armenia, Ancient Greek and Byzantine Empire. Byzantine city was founded in the seventh century BC by the Greeks, and rebuilt as a Roman city in 303 AD by the Roman emperor Constantine I. weave carpets may have already known in Anatolia during this time, but no rugs that are known today which can be dated back to this time. In 1071 AD, Seljuqs Alp Arslan defeated the Roman Emperor Romanos IV Diogenes at Manzikert. It is considered as the beginning of the power of the Seljuk Turks.
carpet Seljuqs: tourists and fragments Konya Reports
At the beginning of the fourteenth century, Marco Polo wrote in his travel record:
... et ibi fiunt soriani and 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 colors."
Coming from Persia, Polo traveled from Sivas to Kayseri. Abu'l-Fida quotes Ibn Sa'id al-Maghribi as referring to carpet exports from the cities of Anatolia at the end of the 13th century: "That's where the Turkoman rugs are made, which are exported to all other countries". He and the Moroccan trader Ibn Battuta named Aksaray as the main woven tapestry center at the beginning of the 14th century.
The earliest wicker carpets found in Konya, Bey? Ehir and Fostat, and dated to the 13th century. These carpets from the Anatolian Age (1243-1302) were considered the first group of Anatolian rugs. Eight fragments were discovered in 1905 by F.R. Martin at the Alaeddin Mosque in Konya, four in Masjid E? Refo? Il di Bey? Ehir in Konya province by R.M. Riefstahl in 1925. More fragments are found in Fostat, today a suburb of Cairo.
Judging from its original size (Riefstahl reports carpets up to 6m long), Konya rugs must be manufactured in municipal factories, as these looms can hardly be installed in nomadic or village homes. Where these carpets are woven is unknown. The pattern of the Konya carpet field is largely geometric, and small in relation to the size of the carpet. A similar pattern is arranged in a diagonal line: Hexagon with a plain outline, or hook line; boxes filled with stars, with kufik-like decorations; The hexagon in diamond consists of rhomboids filled with stylish flowers and leaves. Their main border often contains kufic ornaments. The corners are not "resolved", which means that the border design is disconnected, and does not continue diagonally in the corners. The colors (blue, red, green, on the lower levels are also white, brown, yellow) are quiet, often the same two colors that conflict with each other. Almost all carpet shards show different patterns and ornaments.
Bey Carpet? Ehir is strongly associated with Konya specimens in design and color. Unlike the "carpet of animals" in the next period, animal depictions are rarely seen in the Seljuq fragments. The rows of horned birds are placed face to face with each other, or the birds next to the tree can be recognized on some fragments.
Seljuq rug styles have parallels between the architectural décor of contemporary mosques such as Divri? I, Sivas, and Erzurum, and possibly associated with Byzantine art. Today, the carpets are housed in the Mevlana Museum in Konya, and at the Turkish and Islamic Art Museum in Istanbul.
Rugs of the Anatolian Beyliks
In the early thirteenth century, the Anatolian region was invaded by the Mongols. The weakening of the Seljuq government allowed the Turkmen tribes known as Oghuz Turks to set themselves into independent sovereignty, the Beyliks. It was then integrated into the Ottoman Empire by the Bayezid I sultan (1389-1402), Murad II (1421-1481), Mehmed the Conqueror (1451-1481), and Selim I (1512-1520).
Literary sources such as the Book of Dede Korkut assert that Turkoman tribes produce carpets in Anatolia. What kind of carpets weaved by Turkoman Beyliks are still unknown, as we can not identify them. One of the Turkoman tribes of the Beylik group, Tekke settled in Southwest Anatolia in the eleventh century, and returned to the Caspian Sea later. The Tekke tribe in Turkmenistan, who lived around Merv and Amu Darya during the 19th and earlier centuries, weave different types of carpets characterized by stylish floral motifs called guls in repetitive lines.
Ottoman carpet
Around 1300 AD, a group of Turkmen tribes under Suleiman and Ertugrul moved west. Under Osman I, they founded the Ottoman Empire in northwestern Anatolia; in 1326, the Ottomans conquered the Exchange, which became the first capital of the Ottoman state. By the end of the 15th century, the Ottoman state had become a major force. In 1517, the Mamluk Egyptian Sultanate was overthrown in the Ottoman-Mamluk war.
Suleiman the Great, the tenth Sultan (1520-1566), attacked Persia and forced the Persian Shah Tahmasp (1524-1576) to move his capital from Tabriz to Qazvin, until the Amasya Peace was agreed in 1555.
As political and economic influence grew from the Ottoman Empire, Istanbul became the meeting point of diplomats, merchants, and artists. During the reign of Suleiman I., artists and artists of various specialties worked together in court producing ( Ehl-i Hiref ). Calligraphy and miniature painting done in manuscripts, or nakka? Hane , and carpets that weave. Besides Istanbul, Bursa, Iznik, KÃÆ'¼tahya and Ushak are home to different specialization factories. Bursa became famous for its silk and brocade, Iznik and KÃÆ'¼tahya are famous for ceramics and tiles, U'ab, GÃÆ'¶rdes, and Ladik for their carpets. The Ushak region, one of the Ottoman "palace" production centers, produced some of the finest sixteenth century carpets. The Holbein and Lotto carpets are woven here. The silk velvet gold silk carpet known as ÃÆ'â € atma is associated with the old Ottoman capital at Bursa, in Western Anatolia near the Marmara Sea.
15th century "animal" carpet
Very few carpets still exist today that represent the transition between the late Seljuq and the early Ottoman period. A traditional Chinese motif, a battle between the phoenix and the dragon, is seen on the Anatolian rug, today at the Pergamon Museum, Berlin. The radiocarbon dating confirmed that the carpet "Dragon and Phoenix" was woven in the mid-15th century, during the early Ottoman Empire. It's tied with a symmetrical node. Chinese motifs might have been introduced into Islamic art by the Mongols during the thirteenth century. Another carpet featured two medals with two birds apart from a tree found in the Swedish Marby church. More fragments are found in Fostat, today a suburb of Cairo. A carpet with bird medals and sequential trees is shown in the Sano di Pietro "Marriage of the Virgin" (1448-52).
The "Dragon and Phoenix" and "Marby" rugs were the only examples of Anatolian animal carpets known until 1988. Since then, seven other rugs of this type have been found. They survived in Tibetan monasteries and were displaced by monks who fled to Nepal during the Chinese cultural revolution. One of these rugs was obtained by the Metropolitan Art Museum which parallels paintings by artist Sienese Gregorio at Cecco: "The Marriage of the Virgin", 1423. It shows the large animals confronted, each with a small animal inside.
More animal carpets are depicted in Italian paintings in the 14th and 15th centuries, and thus represent the earliest Oriental rugs shown in Renaissance paintings. Although only a few examples for the earliest surviving Anatolian rugs, European paintings informed the knowledge of the late Seljuks and the early Ottoman rugs. At the end of the 15th century, geometric ornaments became more frequent.
Holbein and Lotto Carpet
Based on the distribution and size of their geometric medallions, differences are made between the "big" and "small" Holbein carpets. The small Holbein type is characterized by a small octagon, often including a star, which is distributed over the field in a regular pattern, surrounded by arabesque. Large Holbein types show two or three large medals, often including eight-pointed stars. Their fields are often covered with small flower ornaments. MAK in Vienna, the Louvre in Paris, and the Metropolitan Art Museum store the beautiful Ushak rugs.
The Lotto Carpet shows an arabesque geometric yellow box, with cross, octagonal, or diamond-shaped interchanging elements. The oldest example has a "kufic" limit. The field is always red, and is covered with bright yellow leaves on the relationships that underlie the octagonal or rhombiform elements. Carpets of any size up to 6 square meters are known. Ellis differentiates three major design groups for the Lotto carpets: Anatolian style, kilim style, and decorative style.
The Holbein and Lotto carpets have little in common with decorations and ornaments seen on Ottoman art objects other than carpets. Briggs shows the similarities between the two types of carpets, and the Eastid carpet is depicted in miniature paintings. The Holbein and Lotto carpets may represent design traditions originating from the Eastern period.
Ushak Carpet
Rugs Star Ushak are woven in large format. They are characterized by a large blue star-shaped large medallion in an infinite repetition of red plane containing secondary flower scrolls. The design was probably influenced by western Persian design books, or by Persian carpet rugs. Compared to the Ushak medallion carpet, the concept of infinite repetition on the Ushak star carpet is more accentuated and conforms to the early Turkish design traditions. Due to their strong allusion to infinite repetition, Ushak's star design can be used on various size rugs and in various dimensions.
The Medallion Ushak carpet usually has a red or blue plane adorned with flower buds or leaf tendrils, alternating ovoid medallions with stars with eight smaller lobes, or pillared medals, linked with flower arrangements. Their borders often contain palmettes on flower and leaf scrolls, and pseudo-kufic characters.
The Ushak Medallion carpet with their curved pattern significantly departs from the previous Turkish carpet design. Their emergence in the sixteenth century signaled the potential impact of the Persian design. Since the Ottoman Turks occupied the former capital of Persia Tabriz in the first half of the sixteenth century, they will have knowledge of, and access to the Persian medallion rugs. Some examples are known to be in Turkey at an early date, like the carpets Erdmann found in Topkap? Palace. However, the Ushak carpet medal, which was conceived as part of an endless repetition, represents a specific Turkish idea, and differs from Persian understanding of an independent medal.
Stars and Ushaks medals represent important innovations, as in them, floral ornaments appeared on Turkish rugs for the first time. The replacement of floral or foliate ornaments with geometric design, and unlimited repetition of repetitions by large and centralized ornament compositions, is termed by Kurt Erdmann as "pattern revolution".
Another small group of Ushak carpets is called Double-niche Ushaks . In their design, the angle medals have been moved together, so they form a niche at either end of the carpet. This has been conceived as a prayer design, since a pendant resembling a mosque's lamp is suspended from one of the alcoves. The resulting design scheme resembles a classic Persian medal design. Contrary to the design of the prayer mat, multiple Ushaks double niches have a central medal as well. Thus, Ushaks double niches can provide examples for the integration of Persian patterns into older Anatolian design traditions.
White ground (Selendi) carpet
An example is also known from carpets woven in Ushak areas whose fields are covered by ornaments such as the Cintamani motif, made of three colored orbs arranged in triangular shapes, often with two wavy bands positioned beneath each triangle. This motivation usually appears on white ground. Together with the birds and very small groups of so-called carpet scorpions , they form a group known as "white ground carpet" . The bird carpet has a geometric allover design of a recurrent quatrefoil that encloses the rosette. Although geometric in design, the pattern has similarities with birds. The white-group carpet has been linked to the nearest town of Selendi, based on the official 1640 preliminary Ottoman (narh defter) price list which mentions "white carpet" with leopard design ". Ottoman Cairene Carpet
After the Ottoman conquest of the Mamluk Sultanate in 1517 in Egypt, two different cultures joined, as seen on the Mamluk tapestries that were woven after this date. The previous traditions of the Mamluk rugs use "S" (clockwise) rotates and "Z" (anti-clockwise) -linked wool, and the palette is limited in color and nuance. After the conquest, the Cairene weavers adopted the Ottoman Turkish design. The production of these carpets continued in Egypt, and possibly also in Anatolia, until the early 17th century.
carpet "Transylvania"
Transylvania, in Romania is now part of the Ottoman Empire from 1526-1699. It is an important center for carpet trading with Europe. Carpets are also appreciated in Transylvania, and Turkish rugs are used as decorative wall hangings in Protestant Christian churches. Among the others, Bra? Ov Black Church still protects the various Anatolian rugs, called the comforts of the "Transylvanian carpet". With their preservation in Christian churches, unusually, rugs are protected from wear and historical changes, and often remain in excellent condition. Among the carpets are the well-kept carpet of Holbein, Lotto and Bird Ushak.
The carpet called "Transsylvanian carpet" by the present comfort comes from the Ottomans, and is woven in Anatolia. Usually their formats are small, with oval borders, angle jaws whose centers are filled with customized vegetation motifs, sometimes interspersed with shorter rosettes or cartels. Their fields often have a prayer niche design, with two pairs of vases with symmetrical branches arranged in the direction of the horizontal axis. In another example, the field decor is summarized into a concentric throat medallion and a row of flowers. Spandrels of a prayer niche contain rigid arabesque or geometric roses and leaves. The color of the ground is yellow, red, or dark blue. The records of the Transylvanian church, as well as the Dutch paintings of the seventeenth century depicting in detail the carpets with this design, allow for a proper date.
As the "Transylvania" carpet appeared in Western paintings for the first time, the subjects of royalty and aristocracy mostly advanced to sit for portraits depicting Persian rugs. The less affluent nanny is still displayed with the Turkish type: 1620 Portrait of Abraham Grapheus by Cornelis de Vos, and Thomas de Keyser "Portrait of an unknown man" (1626) and "Portrait of Constantijn Huyghens and Officers" 1627) is one of the earliest paintings depicting the "Transylvanian" type of Ottoman Turkish carpet factory. Transylvania volatility accounts, customs bills, and other archival documents provide evidence that these carpets are exported to Europe in large quantities. Perhaps the increase in production reflects the increasing demand by the upper middle class who are now able to afford this carpet. Pieter de Hoochs 1663 painting "Portrait of a musical family" portrays an Ottoman prayer mat of the "Transylvanian" type.
Anatolian rugs of the "Transylvanian" type are also stored in other European churches in Hungary, Poland, Italy and Germany, from where they are sold, and reach European and American museums and private collections. Apart from Transylvanian churches, the Brukenthal National Museum in Sibiu, Romania, the Fine Arts Museum (Budapest), the Metropolitan Museum of Art, and Skokloster Castle near Stockholm in Sweden hold important collections of "Transylvanian" rugs.
Carpets are rarely found in Anatolia itself from the transitional period between the classical Ottoman era and the nineteenth century. The reason is still unclear. Reliable carpet dated to the eighteenth century is a small format. At the same time, western European settlements are more rarely equipped with Oriental rugs. It looks like the carpet was not exported on a large scale during this time.
19th century: " Mecidi "style, and the making of the Hereke court
At the end of the 18th century, the style of "turkish baroque" or " mecidi " evolved from French baroque designs. The carpets are woven following the French Savonnerie and Aubusson tapestry patterns. Sultan AbdÃÆ'¼lmecid I (1839-1861) built the DolmabahÃÆ'§e Palace, which mimics the Palace of Versailles.
A weaving workshop was established in 1843 in Hereke, a coastal city 60 kilometers from Istanbul in the Gulf of Izmit. It also provides a royal palace with silk brocade and other textiles. The Hereke Imperial Factory initially includes a loom that produces cotton fabrics. Silk and velvet brocades for curtains and upholstery are produced in the workshop known as "kamhane ". In 1850, the cotton loom was moved to a factory in BakirkÃÆ'¶y, west of Istanbul, and a Jacquard loom was installed in Hereke. Although in the early years the factory was produced exclusively for the Ottoman palaces, as production increased the loom products available on the Ship? ÃÆ'§ar ?? or the Grand Bazaar, in the second half of the 19th century. In 1878 the fire at 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 Sivas carpet weaving centers, Manisa and Ladik. The carpets are all woven, and in the early years they were made for the Ottoman palace or as a gift to visit the statesman. Then, they are also woven for export.
The Hereke carpet is known primarily for its fine weave. Silk yarn or fine wool yarn and occasionally gold, silver and cotton threads are used in their production. The wool rugs produced for the palace have 60-65 knots per square centimeter, while the silk carpets have 80-100 knots.
The oldest Hereke carpet, now on display at Topkap? and other palaces in Istanbul, containing a variety of colors and designs. The typical "castle rug" features intricate floral designs, including tulips, daisies, carnations, crocus, roses, lilacs, and hyacinths. Often there is a quarter of medals in the corners. The design of the Ushak carpet medalion was previously used in the Hereke factory. This medallion is curved on the horizontal axis and taper to a point on the vertical axis. Hereke's prayer carpet features geometric pattern of motifs, tendrils and lights as a background design in the mihrab representation (a niche of prayer). After referring only to the carpet woven in Hereke, the term "Hereke carpet" now refers to high-quality carpeted woven using the same technique. Hereke carpets are still the best and most valuable examples of woven carpets in the world.
Modern history: Reject and resurrection
The history of modern carpets and rugs began in the nineteenth century as the increasing demand for handmade rugs appeared on the international market. However, traditional Turkish carpets, hand-woven, naturally dyed fabrics are labor-intensive, as each step in the making takes a considerable amount of time, from preparation, spinning, wool dyeing to loom making, which ties each node with hand, and finish the carpet before going to the market. In an effort to save resources and costs, and maximize profits in competitive market environments, synthetic dyes, non-traditional looms such as power loom, and standard designs are introduced. This caused rapid destruction of tradition, resulting in the degeneration of art that has been cultivated for centuries. This process was recognized by art historians as early as 1902. It is not yet known exactly when this degeneration process began, but this has been observed, especially since the introduction of synthetic colors on a large scale.
At the end of the 20th century, the loss of cultural heritage was recognized, and efforts began to revive the tradition. The initiative began with the aim of rebuilding the ancient tradition of woven carpets from handspun, naturally dyed wool. The return of traditional dyeing and weaving by producers, and the interest of new customers on this carpet is called by Eilland as "Renaissance Carpet". Thus, Anatolia carpets can still be distinguished from carpets woven in other areas. Carpet weaving: Materials, techniques, processes
In traditional households, women and girls take carpets and kilim as a hobby and also a way of making money. The women learn their weaving skills at an early age, taking months or even years to complete the piles of carpets and flat woven fabrics that are created for use in everyday life. As in most weaving cultures, traditionally women and girls are both weavers and weavers.
Materials
Only natural fibers are used in handmade rugs. The most common materials used for piles are wool, silk and cotton. Sometimes, goat and camel hair is also used by nomadic and village weavers. Traditionally, spinning is done by hand. Several strands of yarn are then joined together so that the resulting yarn is strong enough to be used for weaving.
Wool Sheep is the most commonly used stack material on Turkish rugs because it is soft, durable, easy to work and not too expensive. It is less susceptible to dirt than cotton, does not react electrostatically, and insulates against heat and cold. The combination of these characteristics is not found in other natural fibers. Wool comes from a mantle of sheep. Natural wool comes in white, brown, yellowish brown, yellow and gray, which is sometimes used directly without going through the dyeing process. Sheep wool also needs a good dye. Traditionally, the wool used for Turkish rugs spins by hand. Before the yarn can be used for weaving, some strands should be twisted into one for additional strength.
Cotton is used mainly in foundations, warp and wefts of carpets. Cotton is stronger than wool, and when used for the foundation, it makes the carpet lie flat on the ground, as it is not easily distorted like a woolen thread. Some weavers like Turkoman also use cotton to weave small white details onto the carpet to create contrast.
Wool on wool (wool pile on warp wool and feed): This is the most traditional type of Anatolian rugs. Wool on the woolen carpet weaving dates back further and uses a design motif that is more traditional than its counterparts. Since wool can not be rotated more finely, the number of knots is often not as high as seen in "wool on cotton" or "silk over silk" rugs. Wool on woolen carpets is more often associated with tribal or nomadic production.
Wool on cotton (wool pile on warp and weft cotton): This special combination facilitates a more elaborate design pattern than "wool on a woolen carpet", because cotton can be spun smooth which allows for higher number of knots. The carpet "wool on cotton" often shows the city weavers. Due to their higher pile density, the wool on the cotton rug is heavier than the wool on the woolen carpet.
Silk on silk (silk pile on silk weft and feed): This is the most complicated type of carpet, featuring a very fine woven. The number of knots on some high quality silk carpets can be as high as 28ÃÆ'â € "28 knots/cm 2 . The number of knots for the silk carpet intended for floor coverings should not be greater than 100 knots per square cm, or 10ÃÆ' â € "10 knots/cm 2 . Woven carpets with knots larger than 10ÃÆ' â € "10 knots/cm 2 are intended to be used as wall or pillow rugs, as their fabrics are less resistant to mechanical stress. Carpets and rugs are very delicate and complicated is usually no larger than 3ÃÆ' â € "3 m.
Dyes and coloring
Traditional dyes used for Anatolian rugs are obtained from plants, insects and minerals. In 1856, the English chemist William Henry Perkin invented the first aniline dye, mauveine. Various other synthetic dyes were created thereafter. Inexpensive, easy to prepare and easy to use as compared to natural dyes, its use is documented in Ushak rugs in the mid-1860s. The natural immersion tradition was recently revived, based on the chemical analysis of natural dyes from antique wool samples, and the recreation of experimental immersion recipes and processes, in the early 1980s.
According to this analysis, natural dyes used in Anatolian rugs include:
- Red from Madder (Rubia tinctorum) root,
- Yellow from plants, including onions (Allium cepa), some chamomile species (Anthemis, Matricaria chamomilla), and Euphorbia,
- Black : Oak apples, oak beans, Tanner sum,
- Green with double immersion with Indigo and yellow dye,
- Orange with double immersion with angry red and yellow dyes,
- Blue : Indigo is obtained from Indigofera tinctoria.
The dyeing process involves the preparation of the yarn to make it susceptible to proper dye by immersion in the mordan, soaking the yarn in the immersion solution, and allowing it to dry in the air and sun. Some colors, especially dark brown, require an iron mordan, which can damage or fade the fabric. This often results in faster pile wear in areas dipped in dark brown, and can create a relief effect on the antique Turkish rugs.
With modern synthetic dyes, almost every color and shadow can be obtained so it is almost impossible to identify, in finished carpets, whether natural or artificial coloring is used. Modern carpets can be woven with carefully chosen synthetic colors, and provide artistic and utilitarian value.
Anatolian rugs differ from carpets from other provenience that make the use of primary colors more prominent. Western Anatolian rugs prefer red and blue, while Central Anatolia is redder and yellow, with sharp contrast white.
Weaving and finishing
Various tools are needed in the construction of handmade carpets. A loom, horizontal or vertical frame, is required to attach a vertical arch where the pile node is tied, and one or more shoots from the horizontal pile are woven ("shot") in each row of knots to make the fabric more stable. Wefts can be either undyed or dyed, mostly in red and blue.
Knots are usually held by hand. Most carpets from Anatolia make use of the symmetrical double symmetrical Turkish node. Each node is created on two warps. With the shape of this knot, each end of the pile thread is rotated about two warp threads periodically, so that the two ends of the knot appear between two strands on one side of the carpet. The yarn is then pulled down and cut with a knife.
After a row of knots is inserted, one or two, sometimes more, wefts weaves are woven, and the fabric is compressed by hitting with a thick comb. Once the carpet is finished, it is cut from the loom. The sides or edges of the gutters are usually cloudy with wool. Selvages consist of up to ten warp threads. Particularly the village and nomadic rugs have flat kilim weaves, sometimes including tacked tribal signs or village symbols. Piles of shaved carpets with special knives to get the same surface. In some carpets, the aid effect is obtained by mopping the stack unevenly. Finally, the carpet was washed before use, or go to the market.
The straight Turkish tapestry pile usually falls in one direction, because the knots are always pulled down before the pile threads are disconnected and the work returns on the next node, stacking row by row node on top of each other. When touching the carpet, this creates a feeling similar to petting fur. This can be used to determine where the weavers start cutting the stack. Piles on Turkish carpets are usually between 2 and 4 mm. Rough nomadic rugs such as YÃÆ'¼rÃÆ'¼k carpet, can be as thick as 12 mm. Special carpet rugs called yatak can reach a thickness of stacks 20 to 25 mm.
Maps Anatolian rug
The origins and traditions of Anatolian carpet design
Anatolian carpet designs integrate different traditions. These special elements are closely linked to the history of Turkish society and their interaction with the surrounding cultures, in their central Asian country as well as during their migration, and in Anatolia itself. The most important cultural influences come from Chinese culture, and from Islam. Carpets from the Bergama and Konya regions are considered the most closely related to the previous Anatolian rugs, and its significance in art history is now better understood.
Central Asian Traditions
The early history of the Turks in Central Asia was closely related to China. Contacts between Turkey and China have been documented since the beginning of the Han dynasty.
In his essay on central design, Thompson attributes the central medal pattern, often found on the Anatolian rug with the motif of "lotus base" and "cloud collar (yun chien)", used in Asian Buddhist art, which he returned to the Chinese dynasty Yuan. More recently, Brüchgemann further elaborated on the relationship between Chinese and Turkish motifs such as "cloud tape" ornaments, the origins he relates to the Han dynasty. The early Anatolian Dragon and Dragon carpets illustrate the traditional motifs of other Chinese mythologies, the fight between phoenix (Fenghuang) and dragons.
Romano-Hellenistic Tradition
There is a record of the carpet documentation used by the ancient Greeks. Homer writes in Ilias XVII, 350 that Patroklos's body is covered with "beautiful carpets". In Odyssey Book VII and X "carpets" are mentioned. Pliny the Elder wrote (nat VIII, 48) that the carpet ("polymita") was found in Alexandria. It is not known whether this is a flat plate or a pile of stacks, as no detailed technical information can be obtained from the text.
Athenaeus of Naucratis describes a plush carpet in his Deipnosophists, written around 230 AD.
"And here are the best woolly purple rugs, with carpet patterns on both sides, and there are beautiful rugs beautifully described to them." (Book V, page 314)
"[...] to lie on the sofa with silver legs, with a fine Sardian carpet spread underneath from the most expensive description." (Book VI, p.401)
Carpets "with patterns on both sides" can be either flat woven carpets or woven piles. Whether "purple" refers to the color of the fabric or dyestuff (either Tyrian purple or angry red can be used) is still unknown. The city of Sardis is located in Western Anatolia, thus, this may be the earliest reference for carpet production in the small Asian region.
Anatolia was ruled by the Roman Empire since 133 BC. The East Roman (Byzantium) and Sasanian Empires have been living side by side for over 400 years. Artistically, the two empires have developed the same decorative style and vocabulary, as exemplified by the mosaics and architecture of Roman Antioch. The Turkish carpet pattern depicted in the painting "Paele Madonna" Jan van Eyck is traced back to the late Roman origins and linked to an early Islamic floor mosaic found in the Umayyad Khirbat al-Mafjar palace. The architectural elements seen in the Khirbat al-Mafjar complex are considered exemplary for the continuation of pre-Islamic, Roman design in early Islamic art.
Islamic Traditions
When Turkish migrants moved from Central Asia to Anatolia, they migrated primarily through lands that had adopted Islam. Describing animals or humans is prohibited in the Islamic tradition, which does not distinguish between religious and profane life. Since the codification of the Quran by Utsman Ibn Affan in 651 M/19 H and the reform of Umayyad Abd al-Malik ibn Marwan, Islamic art focuses on writing and ornaments. Anatolian carpet borders often contain ornaments derived from Islamic calligraphy. Usually, this "kufic" frontier consists of lam-alif or alif-lam sequences in an interwoven pattern.
The major areas of Anatolian rugs are often filled with braided patterns that are multiplied in "infinite repetition". Thus, the carpet represents part of an infinite pattern, which is imagined as continuing beyond its borders and becoming infinite. Anatolian carpet of the "Lotto" or "Holbein" type provides an example for the pattern of "infinite repetition".
A particular Islamic pattern is the mihrab pattern that defines the Prayer carpet. The prayer rug is marked with a niche at one end, representing the mihrab in every mosque, a point of direction to direct the worshipers to Mecca. The mihrab pattern on Turkish rugs is often modified and can consist of a single, double, or vertical or horizontal niche. Thus the niche patterns can range from concrete, architecture to a more ornamental understanding of the design. Prayer carpets are often woven "upside down", as seen when the direction of the pile is felt by touching the carpet. It has both technical (weavers can focus on the more elaborate niche design first), and practical reason (piles sloping in the direction of prostration worship).
Other cultural influences
Large geometric shapes are thought to originate from the Caucasus or Turkmen. The Caucasian tradition may have been integrated either by migrating Turkish tribes, or through contacts with Turkmen people already living in Anatolia.
A central medal consisting of a large and concentrically concentrated rhomboid pattern with hook hook ornaments is associated with the nomadic YÃÆ'¶rÃÆ'¼k Anatolia. The name YÃÆ'¼rÃÆ'¼k is usually given to nomads whose way of life is most unchanged from its central Asian origin.
In Anatolia, some ethnic minorities have maintained separate traditions, for example, Greece, Armenia and the Kurds. While the Greeks and Armenians were involved in carpet weaving and trading in the past, there is no design motif that is clearly linked to their different Christian cultures. Kurdish carpet design is different from Anatolia. Kurdish carpets are more often discussed with Persian rugs.
Social context: Court and town, village and nomadic production
Carpets and carpets are produced simultaneously by and for the four different levels of social courts, towns, rural villages, and tribes. Urban design elements are often reproduced in rural production, and are integrated by village weavers into their own artistic traditions with a process called stylization.
Court creation
Representatives of carpet "court" woven by a special workshop, often established and occupied by the ruler, with a view to representing power and status. Thus, the representative carpet has developed a special design tradition that is influenced by adjacent royal courts. Carpets manufactured in court produce as commission or special gift. Their intricate design requires the division of labor between an artist who creates a design plan (termed "cartoon") on paper, and a weaver who is given a plan for execution on a loom. Thus, artists and weavers are separated.
Urban and village production
The woven carpet in the city is produced by an organized factory. Typically, municipal factories have a greater range of patterns and ornaments and more artistic designs that can be executed by weavers, rich color palettes, and weaving techniques may be better because of their access to high quality wool, and special weavers' work. Larger formats can be produced on larger stationary looms. Carpets are woven from cartoons, using materials supplied by the manufacturer. The municipal factory can receive commissions even from abroad, and produce carpets for export.
Carpets produced in the village are often produced in individual homes, but at least partially assigned and supervised by guilds or producers. Home production may not require full-time labor, but can be done when time permits, in addition to other household duties. The village carpet as an important household item is part of a tradition that is sometimes influenced, but essentially different from the design created from the production of the workshop. Often, mosques have gained rustic carpets as charity gifts, which provide material for study. Rustic rustic carpets include cotton for warps and wefts, and almost never silk, as these materials must be bought on the market by individual weavers.
Patterns and ornaments from court factory carpets are reproduced by smaller workshops (cities or villages). This process is well documented for the Usmani prayer carpets. As prototypical court designs are forwarded to smaller workshops, and from one generation to the next, the design undergoes a process called stylization, consisting of a series of minor and additional changes in either the overall design, or in details of more patterns and ornaments small, over time. As a result, the prototype can be modified to an almost unrecognizable level. Initially misunderstood as the "degeneration" of the design, the stylization process is now considered a genuine creative process in different design traditions.
Stylization dalam desain sajadah Anatolian
Produksi nomaden dan suku
With the end of the traditional nomadic lifestyle in Anatolia, and due to the loss of certain traditions, it is difficult to identify the original "nomad carpet". Social or ethnic groups known for their nomadic lifestyles such as YÃÆ'¼rÃÆ'¼k or Kurdish in contemporary Turkey have in large part gained a sedentary lifestyle. Some aspects of tradition, such as the use of specific materials, dyes, weaving or finishing techniques or designs may have been preserved, which can be identified as nomadic or tribal specialty.
Criteria for nomadic production include:
- Unusual materials such as warps made of goat hair, or camel wool in the pile;
- high-quality wool with long piles (Anatolian and Turkmen nomads);
- a small format that fits horizontally;
- irregular format due to frequent re-assembling looms, resulting in irregular tension of the arch;
- pronounced abrash (irregularities in the same color due to dyeing yarn in small batches);
- the inclusion of a woven flat at the end.
In the genre of carpet weaving, the most authentic villages and nomadic products are woven to serve the needs of the community, which is not meant for export or trade other than local. These include special bags and quilted blankets ( yastik ) in Anatolia, which show designs adapted from the earliest weavers tradition.
Areas
Anatolia can be divided into three major areas of carpet production, centered around the city and local markets, which often lend their name to carpets produced in the surrounding area. Western, Central and Eastern Anatolians have different weaving traditions. However, commercially produced carpets are often woven in spite of local design traditions. Different use of materials and dyes, as well as distinctive designs, sometimes allows more specific carpet placement into one of three areas, or to more specific weavings.
Regional technical characteristics
Western Anatolia
Central Anatolia is one of the main areas of carpet production in Turkey. Regional weaving centers with different designs and traditions are: Konya, Konya-Derbent, SelÃÆ'§uk, KeÃÆ'§imuslu, Ladik, Innice, Obruk)
The city of Konya is the old capital of the Seljuq Empire. The Mevlana Museum in Konya has a large collection of Anatolian carpets, including some carpet parts found in the Alaeddin and E mosques? Refo? Lu. The rugs from Konya's manufacture often show an elaborate mat design, with bright bright monochrome red fields. The rugs from Konya-Derbent often have two flower medals woven into the field under the mihrab. The Konya-SelÃÆ'§uk carpet tradition utilizes a slim octagonal medallion in the center of the field, with three geometric shapes opposed by tulips. What is also typical is the large ornamental main frontier with detail, filigree patterns flanked by two secondary borders with tortuous vines and flowers. Carpets from KeÃÆ'§imuslu are often sold as Konya rugs, and show the same crazy red fields, but with prominent green color on the main frontier.
Konya-Ladik rugs often feature carpet-carpet designs. Their fields are mostly bright red, with mihrab designs stepping. Opposite, and sometimes above, the prayer niche is a smaller roof. The gable is often arranged in groups of three, each gable roof adorned with tulip ornaments, in a geomeric style. Tulip flowers are often shown upside down at the lower end of the prayer niche. Spandrels are often golden yellow, and show an ewer water ornament. The "Ladik sinekli" design is also specific to Ladik. In the white or cream-white field, many small black ornaments are arranged, which resemble flies (Turk.: " sinek "). Innice carpets resemble Ladik carpets in the use of tulip ornaments, a thick red square furnished with bright green foundations of spandrels. Obruk rugs show Konya's distinctive designs and colors, but their ornaments are bolder and stylish, resembling the YÃÆ'¼rÃÆ'¼k tradition of the weavers from this village. Carpet Obruk is sometimes also sold in Kayseri. Kayseri, Avanos, ÃÆ'Ã… "rgÃÆ'¼p, K? r? ehir, Mucur, OrtakÃÆ'¶y ,? ncesu)
The Kayseri carpets are distinguished by their fine weaving that characterizes factory production, which is prevalent in this area. Carpets are manufactured mainly for export, and mimic designs from other areas. Wool, silk, and artificial silk are used. Kayseri's flagship product is very close to that of Hereke and Kum-Kap. ÃÆ'Ã… "rgÃÆ'¼p, Avanos and? Ncesu are the cities of Cappadocia.
The carpets of Avanos, often in the design of prayer mats, are distinguished by the lush weavings. Typically, a complex pendant representing a mosque lamp or a triangular protective amulet (" mosca ") that hangs in a prayer niche adorning the field. The niches of prayer are often trodden, or drawn on the sides in classical "head-and-shoulders". The fields are often bright red, and are surrounded by golden yellow spandrels and borders. The fine weave allows for intricate decorative patterns, which make Avanos carpets easily identifiable among other rugs.
Carpet ÃÆ'Ã… "rgÃÆ'¼p is distinguished by their color. Dominant golds, bright orange and yellow are often seen. A medal in the medal is often set to the field, which is a typical color "ÃÆ'Ã…" rgÃÆ'¼p red ", decorated with florals. Palmettes fills the corners and main border medals. The outer secondary border often has reciprocal crenellations.
The tapestry from K'ir? Ehir, Mucur and Ortaky are very closely related, and not easily distinguished from each other. Prayer and design medallions are woven, as well as garden design (" mazarlik ", or "grave"). Pale pale blue, pale green and roses are common. The carpet from OrtakÃÆ' showy shows hexagonal center ornaments, often including a cross pattern. The border shows a stylish carnation arranged in a row of square compartments. Mucur rugs often show a niche of "clever prayer in the recesses of prayer" design, with bright bright colors and bright reds separated by yellow lines. The border consists of a row of squares filled with geometric or rhomboid diamond patterns. Mucur and K'r? Ehir is also known for their multi-niche prayer rugs, or "saph" .
- Ni? de (Ni? de, Ta? p? nar, Fertek, Maden, Yahyal ?, Ye? ilhisar, Karapinar, Karaman)
Ni? De is a market place for the surrounding area, and many carpets woven in the surrounding villages are sold under the trade name of Ni? De. If the design of the prayer mat is used, the niche and spandrels are usually tall and narrow. Likewise, the central field is not much larger than the main frontier. Typical for Ta? P? Nar is elongated, almost the middle medal ogival, dominant colors red warm, blue, and light green. Fertek rugs are distinguished by their simple flower orname
Source of the article : Wikipedia
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