Little Turkish buy Low Pile Rug,Hand Made Faded Entryway Rug,Tiny Muted Rug,Distressed Bedroom Rug,Bathroom Rug3' 3'' x 1' 8'' Small Gift Carpet

Little Turkish Low Pile Rug,Hand Made Faded Entryway Rug,Tiny Muted Rug,Distressed Bedroom Rug,Bathroom Rug3' 3'' x 1' 8'' Small Gift Carpet


I belive that every rug has it's own story !!!

100% Hand Made Turkish wool Unique rug !!!

This gorgeous rug can be used as:Room size rug,Dining room rug,Living room rug,Nursery,Offce,Present for loved ones,Bedroom,kids room,saloon,Studio.

Most of the items we offer for sale are antique or vintage and carry with them flaws and imperfections from prior use and age.
We do our best to show and describe these imperfections in photos and the description

skillfully crafted by the revitalization of a genuine hand knotted vintage Turkish rug woven in the 60's or 70's. Made from wool on cotton

Feel the warmth of the hand spun sheep wool in the office or at home !!!

Elegantly faded handmade original vintage rugs which would seamlessly work in a classic or contemporary interiors.
Carefully washed through a long traditional cycle of washing to create a unique look and over dyed with special
care using a subtle blend of colours which can make these rugs easy to blend and harmonise with any furniture or decor.

Each rug in our Etsy store is unique and authentic.

The Rug Comes From Smoke Free And Pet Free Area

Photos of the rugs may differ from screen to screen !!!

I ship directly from Turkey !!!

You will receive same rug in the pictures !!!



This is Turkish vintage wool rug,muted colors rug ,unique design .

This hand made doormat was made in the middle of Turkey as a wedding gift many years ago ,not a factory

rug,not a mass production.

This Vintage Turkish rug has been made from hand spun sheep wool and organic cotton material and

vegetable dyes !!!


Hand made rug recently washed by professional people and ready to use.

Bath room rug is in good condition.

Entrance rug will bring a wonderful image and a decor to your home or office !!!



SIZE IN INCHES:: 39 X 22


SIZE IN FEET: 3' 3'' X 1' 8''


SIZE IN CENTIMETERS: 100 X 56



Feel the warmth of the hand spun sheep wool in the office or at home !!!

Each rug in our Etsy store is unique and authentic.

All our rugs come to you from pet and smoke free place.

we will ship your rug via Fedex express and you will receive it within 5 business days with tracking

details.

we have shot all the pictures outdoors,no flash used ,naturel day light .

Please feel free for any questions, you may have, we will respond it ,as soon as possible.

In case you don't want to have the rug,you may return it but before doing it,please read our returning
policy.

Please look at our other rugs, for sure you will find something for your floor or for the wall.



I AM GRATEFUL FOR YOUR SUPPORT THE HANDCRAFT AND MY SMALL BUSINESS,LAILA !!!



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Turkish Carpets


Various Well-Known Anatolian Rugs
There are different types of rugs produced in Turkey and they are classified according to the materials used:

Silk on silk
Wool on cotton
Wool on wool
Viscose on cotton
Kilims
Tulu
Anatolian Turkish Rugs
At present, it is impossible to prove exactly when and where rug weaving began,
as there is no reliable source, but it can be traced back as early the Neolithic
age (7000 B.C.). The first examples consisting of warp and weft were textile products which resembled flat weave kilims.
Then rugs were created by forming knots to make a pile. According to scientist, rug weaving must have originated in the dry
steppe regions where the nomadic tribes lived.
Central Asia was a suitable location for the first rug-weaving center because of the availability of land for herding sheep
and because of the climate of the region.

Rugs have been used in the home as floor coverings, blankets, tablecloths and decorations. They acquire value as they are used,
whereas most objects decrease in value over time.

The oldest example known in the history of hand-make rugs is the one which is exhibited in the St. Petersburg Hermitage Museum in Russia.
This fantastic Altai rug was discovered by the Russian archaeologist Sergei Rudenko in the year 1949 and is known as the "Pazirik Rug",
woven around the 3rd century B.C. The majority of experts believe that there is a link between ancient Turkish culture and this particular rug;
they also believe that the other items found in the Pazirik Tumulus have some connection to Turkish civilization.

Rug weaving in Anatolia first began with the arrival of the Turkish tribes from Central Asia, who settled in this region.
Therefore, Anatolian rugs form a branch of ethnic Turkish rugs. Some of the oldest examples known are the eighteen
surviving pieces woven by the Selcuk Turks in the 13th century. The motifs in these pieces represented in stylized
floral and geometrical patterns in several basic colors and were woven in Sivas, Kayseri and Konya.

The art of rug weaving which began with the Selcuks continued with the Ottoman Turks. After the Selcuk Turks and before the Ottomans,
during the transition period in the 14th century, animal figures began to appear on the rugs. Although very few of these exist today,
they can be seen in the paintings of famous Italian, French and Dutch painters. Due to the animal figures on these rugs, they are called as "Rugs with Animals".

By the 15th century there was a wider variety of animal motifs on the rugs. A new group of rugs with a combination of animal motifs
and geometrical patterns appeared around this time. These rugs were called "Holbein Rugs" since they appear in paintings by the
German artist Hans Holbein. As there are no surviving examples of these rugs today, all research is carried out from the paintings.
The works of artists such as Lotto, Memling, Carlo Crivelli, Rafaellino de Gardo, B.Van Orley, Carpaccio, Jaume Huguet were also important
sources of research. In this century, Bergama and Usak became important weaving centers in western Anatolia.

The 16th century was the beginning of the second successful period of Anatolian rug-weaving. The rugs from this period are called
"Classical Ottoman Rugs". The reason these rugs are called "Palace rugs" is that the design and colors would have been determined
by the palace artists and then sent to the weaving centers. this method was similar to that used in the ceramic tile production of that period.

The designs, which consisted of twisting branches, leaves and flowers such as tulips, carnations and hyacinths, are woven in a
naturalistic style and establish the basic composition of the rug. This style was continued in other regions and can be seen in Turkish rugs today.

In the 16th, 17th and 18th century, Gördes, Kula, Milas, Ladik, Mucur, Kirsehir, Bandirma and Canakkale gained importance as rug-weaving centers,
along with Usak and Bergama. The rugs woven in some of these areas are known as "Transylvanian Rugs" because they were found in churches in Transylvania.

In the beginning of the 19th and 20th centuries, the rugs woven in Hereke (nearby Istanbul) gained worldwide recognition.
These rugs were originally woven only for the Sultans of the Ottoman Empire. The finest silk rugs in the world are still being woven in Hereke today.

We can identify the rugs woven in different regions as town or village rugs. The rugs woven in the agricultural areas of
Anatolia owe their origins to the settlers or nomadic cultures. In Europe, these rugs (which are woven with wool on wool) are
generally called "Anatolian Rugs" In towns where people have settled permanently, the rugs are woven with a wool on cotton combination.

Today in Turkey there are regions which keep this wonderful tradition alive; such rugs are woven in Konya, Kayseri, Sivas, Hereke,
Yagcioglu, Kula, Dösemealti, Taspinar, Isparta, Milas, Bergama, Canakkale, Kars, Usak, Gordes, Fethiye and Yahyali.

The Craft of Weaving Rugs
A rug is a handicraft which consist of two parts; the skeleton of the rug, which is formed by vertical and horizontal threads
called "warps" and "wefts" and the part which resembles a picture and is like velvet, which is called the "pile" of the rug,
made by knotting different colors of thread. In order to form motifs, there are two knotting techniques:

Turkish double knotSymmetrical knotting, double or Turkish knotting. Each knot is made on two warps. In this form of knotting,
each end of the pile thread is wrapped all the way around the two warps, pulled down and cut.
Non-symmetrical or single (Persian) knotting. While one end of the thread is wrapped all the way around the warp, the other end
goes just beside the other warp. Then both ends are pulled down and cut.
Persian single knotThe steps for weaving a carpet are written below:

The weaving is started from the bottom of the loom. First the kilim part (flat woven part) is woven at the lower edge.
The weaver then takes a piece of wool which corresponds with the pattern and forms a knot on two warps.
Then she cuts the surplus wool with a knife.
After one row of knotting is completed, she then passes a weft thread in between the front and back warps. The weft threads are
used to strengthen the weaves of the carpet.
Then she will take the "kirkit" (a heavy comb like tool) and vigorously beat down the row of knots and weft, in order to obtain
the desired tightness and to make the knots and weft compact.
Following this step, with a pair of adjustable scissors she cuts the surplus colored threads to obtain a uniform level of pile thickness.
This process is continued until the carpet is complete.
Dyes
There are two types of dyes which are used to dye wool for weaving: vegetable dyes and chemical dyes. Rugs which are made using
natural dyes are the most preferred. The natural dyes are obtained from three sources: plants; animals; and minerals.
Plant sources are used most widely in rug production. Some of the examples of colors obtained from plants and animal sources are:
red (RUBIA TINTORIA); yellow (GENISTA TINTORIA); navy blue (ISOTIS TINCTORIA and INDIGO FERETINTORIA); gray and black
(OVER LUS); brown (JUNGLAND REGIA); and red (DACHYLOPIUS COCUS). Dyeing threads by using sources from nature is an art
which has been practiced since ancient times. Anatolia has a large variety of plants available for dyeing purposes
and this is where the craft of dyeing has been improved throughout centuries of experience. Plants gathered from natural sources are still widely used today.

Motifs
There are many different types of motifs and emblems which can be seen on the rugs. These are classified into two groups:

Geometrical or Stylized Motifs
Naturalistic and Floral Designs
The motif on the rugs represent Anatolia and Central Asia and their civilizations. These compositions, motifs, and
designs represent the origins and culture of a society; therefore, a rug can be considered a cultural item.
Each of the designs is meaningful, not an accidental drawing. To understand the meaning of every motif would be a
very long and tiring process, as there are so many of them which have accumulated throughout the centuries.
The motifs on the rugs represent Anatolia, Central Asia and their civilizations. Some of the most common motifs on rugs are the
TREE OF LIFE symbolizing long life and re-birth; the HORNS OF ANIMALS which symbolize power; HANDS ON HIPS symbolizing female
fertility and the mother of God; and the HANGING CANDLE symbolizing the holy (eternal) light.

TURKISH RUG MOTIFS

Turkish rug motifs and the way they are arranged in patterns are the keys to discovering each weaver's story. This is true of pile rugs as well as
flat woven kilims from Turkey.

If the weaver is single, she may express this by the motif of a hair band announcing she is ready for marriage. If she is married, she will often use
the yin-yang motif, expressing love and unity between a man and a woman. If she wishes to have a child, she may include the tulip motif. If she
wishes protection for her flock from wolves, she can use the wolf's foot motif.

Turkish rug motifs can vary in shapes and sizes, as well as colors, all chosen according to the taste and the tradition of a given village or tribe.
Some motifs, such as the dragon and the scorpion both share the same basic diamond shape with a hooked or stepped boundary and it can be difficult to
distinguish between them.

There are certain motifs found only in Anatolia (Turkey). Others can also be found in Persia (Iran) and the Caucasus region. Rug weaving appeared very
early in all regions inhabited by nomadic Turkish groups. Turkish rug designs appeared prominently in many early European artists' paintings in the
14th to the 16th centuries, such as Holbein, Memling, and VanEyck, etc.

TURKISH RUG MOTIFS SYMBOLIZING PROTECTION
A large number of Turkish rug motifs symbolize protection against wild animals and any kind of evil or malice a weaver may feel threatens her or her family.

Weavers have believed from earliest times that imitating or weaving part of a dangerous animal will give them power over it and protection from it.
Examples of these are the scorpion, the snake, and the wolf's foot or wolf's mouth.

A large number of Turkish rug motifs contain motifs woven as protection against the evil eye and the harm it can do to the weaver,
her family, and her tribe. These motifs include the human eye, the cross, hook, scorpion, and burdock, etc.

The most common Turkish rug motifs symbolizing protection are noted below:

THE ARROW MOTIF (Ok)

The arrow motif is a general protective symbol usually used in borders.

Arrow Motif (Ok)

THE DRAGON MOTIF (Ejder)

The dragon is a mythological creature whose feet are like the lion's, whose tail is like a snake and who has wings.
The Turks of Central Asia stylized the dragon with a beak, wings, and a lion's feet.

Believed to be a great serpent, the dragon is the guardian and protector of treasures and secret objects as well as the tree of life.
The dragon is the sacred imaginary animal of the sea, sky, mountains, and forests.

It is a symbol of power, force, and might because of its ability to produce flames from its mouth as well as by its supernatural appearance.
The dragon also offers specific protection from the sting of the scorpion.

Dragon Motif (Ejder)

THE EVIL EYE MOTIF (Nazarlik)

The weavers have always believed some people possess a power in their glance which can cause harm, injury, misfortune, and even death.
At immediate risk are babies, pets, important objects in the home, and property.

The evil eye motif itself is used in the same way an animal is depicted on a rug in order to control it or to reduce its effect.

The Muska is a triangular package containing a sacred verse carried by the tribal people for protection. When woven into a rug,
it serves as an amulet, conferring protection by its presence.

Evil Eye and Amulet Motifs

THE BURDOCK MOTIF (Pitrak, Dulavratotu)

The burdock, a plant with burrs that stick to clothing and animal hair, is believed to avert the evil eye. It is also a symbol of abundance.

Burdock Motif (Pitrak)

THE CROSS MOTIF (HAC)

The cross motif can divide the evil eye into four pieces, thus reducing its power. The cross motif was used well before Christianity and does not
represent religious meanings.

The swastika is a variation of the cross motif and has been used for centuries as a motif in rugs.

Cross Motif (Hac)

THE EYE MOTIF(Goz)

The belief is the human eye is the most effective precaution against the evil eye. Very often it is depicted as a spot (usually of blue color)
inside a triangle, square or quadrangle. A common form of the human eye is a diamond divided into four parts. The particular eye motif used on
rugs can vary from one region to another.

Eye Motif (Goz)

THE HAND (El), FINGER (Parmak), and COMB (Tarak) MOTIFS

The hand, finger, and comb motifs are very similar. All are used against spells and the evil eye. The use of this theme dates back to very early times.
The fingers on the hand number five, which is considered a lucky number.

The comb motif is largely related to marriage and birth. When used against the evil eye, it expresses the desire to protect birth and marriage against evil eye.

Hand (El), Finger (Parmak), Comb (Tarak) Motifs

THE HOOK MOTIF (CENGEL)

The hook is another motif used to avert the evil eye.

Hook Motif (Cengel)

THE MONSTER'S FEET MOTIF (Canavar Ayaklan or Kurt Izi)

The monster's feet motif is a common protective symbol.

Monster's Feet Motif (Canavar Ayaklan or Kurt Izi)

SCORPION MOTIF (Akrep)

The weavers seek protection from the sting of the scorpion. Repeated use of the scorpion motif means the rug was woven as a means
of protection against malice. The scorpion can also be used as a symbol of pride and liberty.

Scorpion Motif (Akrep)

SNAKE MOTIF (Yilan)

The snake motif is used for protection as well as a symbol of fertility. Black snakes are also used as a symbol of happiness
and fertility in Anatolian weavings and can mean rebirth, immortality, and infinity. The snake can also be found guarding the tree of life.

Snake Motif (Yilan)

WOLF'S FOOT MOTIF (Kurt Agzi or Kurt Izi)

The wolf's foot or wolf's mouth motif expresses the desire of the weavers for protection of their flocks from wolves.

Wolf's Foot Motif (Kurt Agzi)

TURKISH RUG MOTIFS SYMBOLIZING LOVE and MARRIAGE
THE CHEST MOTIF (Sandik)

The chest motif implies marriage. It actually represents the trousseau chest in which the young lady keeps the material to be used in the husband's
house. Her expectations and hopes are reflected in the pieces she has woven, knitted, and embroidered.

Chest Motif (Sandik)

THE EARRING MOTIF (Kupe)

The earring motif symbolizes marriage because in Turkish culture earrings are a common wedding present. When a girl weaves the earring
motif into her rug it means she is letting everyone know she wants to get married.

Earring Motif (Kupe)

THE FETTER MOTIF (BUKAGI)

The fetter motif represents the desire to tie a family or lovers together. A fetter is a cuff-like item placed on the legs of
horses to keep them from running away. The cuffs are connected to each other by a chain. It is a symbol of harmony and togetherness of lovers.
The fetter motif is also called 'kostek'.

As used on Anatolian weaves, it symbolizes the continuity of the family union, the devotion of the lovers, and the hope they should always stay together.

Fetter Motif (Bukagi)

THE HAIR BAND (Sac Bagi)

The hairband motif implies a desire for marriage. It is traditional in Anatolian villages for girls to keep their hair
long and not cut it until they get married. The hair band is also an ornament used by the bride in the wedding ceremony.

These hair bands can be made of black cord wool and contain doubly twisted silk thread, horse tail, beads, sea shells,
gold thread, etc. The type and form of the hair band and the motifs used to represent it changes according to the the region.

Hair Band Motif (Sac Bagi)

THE RAM'S HORN MOTIF (Kocboynuzu)

The ram's horn motif denotes fertility, heroism, and power. When applied as a love and marriage motif, it may represent
the husband or lover of the rug weaver.

Ram's Horn Motif(Kocboynuzu)

THE TOMBSTONE MOTIF (Mezar)

The use of a tombstone motif may indicate not simply death but the desire to die rather than be parted from the loved one.

Three tombs under the oil lap of a prayer rug implies the rug was woven for a convent.

Tombstone Motif (Mezar)

THE YIN YANG MOTIF (Ask Ve Birlesim)

The oriental symbol of yin/yang is used to represent love, unity, and harmony between a man and a woman.
It is a symbol of dualism. The motif usually consists of 2 opposing colors, each having a dot in the color
of the other indicating that in nature nothing is pure or free of error.

Yin/Yang Motif (Ask Ve Birlesim)

TURKISH RUG MOTIFS SYMBOLIZING THE DESIRE FOR
FERTILITY & PREGNANCY
THE APPLE BLOSSOM MOTIF (Elma Cicegi)

The apple blossom motif is a symbol of fertility.

Apple Blossom Motif (Elma Cicegi)

THE CHEST MOTIF (Sandik)

As mentioned above, the chest motif can also symbolize fertility.

THE EWER MOTIF (Ibrik)

The ewer motif symbolizes purification as well as pregnancy.

Ewer Motif (Ibrik)

THE FERTILITY MOTIF (Bereket)

The fertility motif contains the hands on hips and ram's horn motifs used together to denote a man and a women. An eye motif
in the middle is used to protect the family against the evil eye.

The Fertility Motif (Bereket)

THE FLOWER MOTIF (Cicek)

There are many different types and styles of flowers used as motifs. Some denote fertility, the desire to have a child, purification, and pregnancy, etc.

The grain (Tahil) and wheat (Bugday) motifs are symbols of fertility.

Grain (Tahil) and Wheat (Bugday) Motifs

The pomegranate motif (Nar) represents the fruit of paradise, abundance and fertility. The pomegranate, a tree whose fruits carry many seeds,
implies the desire for many children.

The tulip motif (Lale) can imply the desire to have a child.

Pomegranate Motif (Nar)

Others include the oleander (Zakkum), hyacinth (Sumbul), and dahlia (Yildiz Cicegi), etc. Flowers can be found arranged in vases as well.

Oleander Motif (Zakkum)

THE FLY MOTIF (Sinek)

The fly motif represents the rush of the flies towards fertility.

Fly Motif (Sinek)

THE GOOSE FEET MOTIF (Kaz Ayagi)

The goose feet motif is the symbolic representation of female fertility.

Goose Feet Motif (Kaz Ayagi)

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THE HANDS ON HIPS MOTIF (Elibelinde)

The hands on hips is a very common and widely used motif. It symbolizes the mother goddess, a mother with child in womb,
fertility, abundance or the hope of giving birth to healthy children, and the productivity of animals and plants.

Hands on Hips Motif (Elibelinde)

RUNNING WATER MOTIF (Akar Su)

The running water motif symbolizes the life giving power of water. It can also symbolize fertility and purification.
It is the belief drinking this water makes people immortal, strengthens the old and the weak, and transforms
the ugliest into the most beautiful. This motif is usually found on the borders of Turkish rugs.

Running Water Motif (Aker Su)

THE SPIKE MOTIF (Basak)

The spike motif is a fertility symbol.

Spike Motif (Basak)

THE STAR MOTIF (Yildiz)

The star motif, though it generally symbolizes happiness, can represent the womb, thus it may mean fertility as well. See below.

TURKISH RUG MOTIFS SYMBOLIZING
THE DESIRE FOR IMMORTALITY
THE MOSQUE MOTIF (Cami)

The mosque motif is an expression of the wish for an afterlife.

Mosque Motif (Cami)

THE TREE OF LIFE MOTIF (Hayat Agaci)

The tree of life motif symbolizes the desire for immortality. It can also mean the afterlife. This motif is the worldwide
symbol of life rising up to heaven and it encompasses both earth and heaven.

Tree of Life Motif (Hayat Agaci)

The cypress tree motif (Selvi Agaci) is a prominent feature in Anatolia but many tree symbols can be used for the tree of life.
They include plane-tree leaves (Cinar Yapraklari) as well as olive, oak, fig, palm, etc.

Cypress Motif (Selvi Agaci)

TURKISH RUG MOTIFS SYMBOLIZING THE DESIRE FOR
GOOD LUCK and HAPPINESS
THE BIRD MOTIF (KUS)

The bird is the symbol of happiness, joy, and love. The use of the eagle, falcon and hawk denotes power and strength.

Eagle Motif (Kartal)
Eagle Motif (Kartal)
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The use of birds can also refer to them as divine messengers. They can represent long life, the soul of the dead, and longing and expectation of news.

The use of pigeons, doves, and nightingales mean good luck.

On the other hand, when owls or raven motifs are used, they signify bad luck.

Bird Motif (Kus)

THE ROSE MOTIF (Gul)

Rose motifs used on the border express a hope for good luck and happiness. See below.

THE STAR MOTIF (Yildiz)

The star motif generally means happiness. It does not imply heaven. A cloud, dragon or a phoenix would be used instead.

The star motif could also symbolize the womb and may be related to fertility.

Star Motif (Yildiz)

TURKISH RUG SYMBOLS
DEPICTING
FATE and HEAVENS
THE CARKIFELEK MOTIF

The carkifelek motif is a variation of the cross motif and is the symbol of fate and heavens. The motif is used to indicate a supernatural force,
known as the wheel of fortune, which is believed to control the destiny of people.

Carkifelek Motif

THE FIGHT OF THE DRAGON and PHOENIX MOTIF

(Ejderha Ve Anka Kusunum Dovusu)

The fight of the dragon and the phoenix is used to symbolize the coming of the fertile rains of spring because the fertile rains are
thought to be an outcome of the fight between the dragon and the phoenix. It is a representation of a common mythological theme of
the meeting of earth and heaven or the mother goddess and the god.

The phoenix is a symbol of immortality and rebirth. Legend has it at the end of its life, it burns itself by setting fire to its
nest built of the branches of spring trees. Then a new phoenix comes to life. In Islamic mysticism, since the phoenix is invisible,
it symbolizes the soul as liberated from the body and the material weight of the world.

Fight of the Dragon and Phoenix (Ejderha Ve Anka Kusunum Dovusu)

THE NUT GALL MOTIF (Mazigulu)

The nut gall motif is used to express the fight between the dragon and the phoenix.

Nut Gall Motif (Mazigulu)

TURKISH RUG MOTIFS SYMBOLIZING
RELIGION
The prayer rug is a type of rug that is very easy to identify. It will always contain a niche. The niche represents the mihrab in every mosque,
a directional point which shows the worshipper the way towards Mecca. It is signifies a place of hope or a doorway to paradise.

The niche can be plain or decorated with oil lamps, flowers, etc. Carnations inside a niche represent the tree of life.

Prayer Rug

THE TOBACCO LEAF MOTIF (Tutun Yapragi)

The tobacco leaf motif is usually found on borders and is one of the symbols of the Garden of Eden.

Tobacco Leaf Motif (Tutun Yapragi)

Many other floral motifs used on borders stand for the Garden of Eden. The carnation (Karanfil) and rose (Gul) are 2 examples of these.

Carnation Motif (Karanfil)

THE OIL LAMP MOTIF (Kandil)

The oil lamp motif implies the rug was woven as a vow and assigns a religious characteristic to the rug.

Oil Lamp Motif (Kandil)
Oil Lamp Motif (Kandil)
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MEANING OF
TWO or MORE TURKISH RUG MOTIFS COMBINED
When 2 or more symbols are found together, there may be a special meaning to the combination:

Birds in flight - Symbol for good news.
Pair of birds (Bir Cift Kus) - Happiness.
When the feminine hands on hips (Elibelinde) and the masculine ram's horn (Kocboynuzu)are each drawn twice,
overlapping at the center, they form a figure of the sacred union of the sexes.
When the hands on hips (Elibelinde), the female symbol of fertility, and the ram's horn Kosboynuzu) are arranged
to fit into each other, it symbolizes marriage.
Birds on the Tree of Life symbolize life and soul.
Birds, the dragon, and the tree of life together stand for the continuity of the soul and immortality.
This is true also of the dragon and the tree of life used together.
The star used with the Tree of life indicates the eternity of the tree of life.
The ewer placed beside the tree of life suggests the wish a baby will lead a long and happy life.
The repeated use of the ram's horn motif is called Toplu Kocboynuzu and is used to symbolize fertility.
The earring and a plain niche in a prayer rug imply expectation for marriage.
The use of a triple niche motif indicates the prayer rug was woven to be used in a mosque.
The chest and comb used together are symbols of marriage and happiness.
TURKISH RUG SYMBOLS
USED FOR
FAMILY SIGNS (Im)
Turks have always used specific figures as family signs. These can be found not only in their weavings but on their grave stones as well.


SOME MISCELLANEOUS
TURKISH RUG MOTIFS
ANIMAL & HUMAN FIGURE MOTIFS (Hayvan) and (Insan)

Animal (Hayvan) and Human (Insan) Motifs

THE HOUSE MOTIF (Ev)

House Motif (Ev)

WE HOPE YOU ENJOY THE STORIES TURKISH RUG MOTIFS TELL

From early history to the present, Turkish rugs relay valuable traditional messages through meaningful motifs and patterns.

The nomad woman was and is blessed in that she does not have to leave home or change her life to find herself.
She can weave a rug that makes a statement and tells a story that will outlast her own lifetime and possibly even
those of her children and grandchildren.

Although many of the motifs have variants that may make it difficult to identify them, the majority, once learned,
can open a whole new world of appreciation for the weavers who produce them and the stories they tell.

Enjoy!


CLEANING AND DAILY CARE OF HANDMADE TURKISH CARPETS

Cleanliness is the first and major step towards the preservation of a handmade carpet and it is the best defense against damage.
There are no hard fast rules to stipulate when and how often to clean a carpet since every handmade carpet is different and every
household exposes a carpet to different amounts of wear and dirt. There are many professional cleaning.However, the following advice
and information are the basic general instruction that the average homeowner may exercise in the care and cleaning of Oriental carpets.
The best recommendation is regular brushing with an old-fashioned hand room with natural bristles or the use of an 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 of vacuum cleaner
will eventually start to loosen the knots and pull the fibers out of the pile also never use the revolving brush attachment on a carpet for
it will actually pull the fibers apart. The nozzle attachment is the best and may be used once a month.

An old-fashioned carpet beater used every few weeks or alternatively a 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 from both the back and front of the carpet.
Never beat a handmade carpet violently and never beat antique or silk carpets.

Washing or Cleaning
How often one needs to clean a carpet, depends on the amount of traffic and the type of carpet such cleaning may vary from every
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 buy intricately patterned. The first indication that a carpet needs cleaning will be from the feel of the 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 over the palm of the hand. If a fine powder of dust, grit and lose fibers falls into your hand it is certainly
the time to clean the carpet.