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Small Rug,Vintage Entryway Rug,Distressed Fa nt door Rug,Lit/le 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 of our rugs are old, antique or vintage. They are all pr4fessionally cleaned and if needed repaired.One of a kind, Genuine RugDue to its vintage nature, there will be signs of aging, which isn't considered flaw but characterThese rugs are vintage so some rugs may show slight imperfections but I do my bes/ to picture the quality and color scheme of all my rugs.Please note that images may be displayed differently on different monitors.We Ship Our Rugs Direc/ly Fa m Turkey !!!You Will Receive Same Rug In The Pictures !!!Rug Comes Fa m Smoke Faee and Pet Faee 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 faee for any question,you may have,I will respond you as soon as possible !I accept returns,in case of dissatisfaction !!!I AM GRATEFUL FOR YOUR SUPPORT THE HANDCRAFT AND MY SMALL BUSINESS,BELINDA !!Turkish Anatolian RugThis article is about pile-woven Anatolian rugs. For flat-woven rugsAnatolian 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 production 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 produced 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 m the ethnic, religious and cultural pluralism of one of the most ancient centres of human civilisation.Rug weaving represents a tradi/ional craft dating back to prehistoric times. Rugs were woven much earlier than even the oldes/ surviving rugs like the Pazyryk rug would sugges/. During its long history, the ar/ and craft of the woven carpet has absorbed and integrated different cultural tradi/ions. Traces of Byzantine design can be observed in Anatolian rugs; Turkic peoples migrating fa m Central Asia, as well as Armenian people, Caucasian and Kurdic tribes either living in, or migrating to Anatolia at different times in history contributed their tradi/ional motifs and ornaments. The arrival of Islam and the development of the Islamic ar/ has pr4foundly influenced the Anatolian rug design. Its ornaments and patterns thus reflect the political history and social diversity of the area. However, scientific research was unable, as yet, to attribute any particular design feature to any specific ethnic or regional tradi/ion, 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 of its dyes and colours, motifs, textures and techniques. Examples range in size fa m small pillows (yastik) to large, room-sized carpets. The earliest surviving examples of Anatolian rugs known today date fa m the thirteenth century. Distinct types of rugs have been woven ever since in court manufactures and pr4vincial workshops, village homes, tribal set/lements, or in the nomad's tent. Rugs were simultaneously produced 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 m the 1870s onwards, the Ottoman court manufactures also produced silk-piled rugs, sometimes with inwoven threads of gold or silver, but the tradi/ional material of the majority of Anatolian rugs was hand-spun, naturally-dyed wool.In Europe, Anatolian rugs were faequently 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 first indiscriminately given the trade name of "Turkish" carpets, regardless of their actual place of manufacture. Since the late nineteenth century, oriental rugs have been subjec/ to ar/ 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 collectors and scientists.The ar/ and craft of the Anatolian rug underwent serious changes by the introduction of synthetic dyes fa m the las/ third of the 19th century onwards. The mass production of cheap rugs designed for commercial success had brought the ancient tradi/ion close to extinction. In the late twentieth century, projec/s like the DOBAG Carpet Initiative have successfully revived the tradi/ion of Anatolian rug weaving using hand-spun, naturally-dyed wool and tradi/ional designsHistoryThe origin of carpet weaving remains unknown, as carpets are subjec/ to use, wear, and destruction by insects and rodents. Controversy arose over the accuracy of the claim[7] that the oldes/ records of flat woven kilims come fa m the Çatalhöyük excavations, dated to circa 7000 BC.[8] The excavators' report[9] remained unconfirmed, as it states that the wall paintings depicting kilim motifs had disintegrated shortly after their exposure.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 pr4bably 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 IV Diogenes at Manzikert. This is regarded as the beginning of the ascendancy of the Seljuq Turks.Seljuq rugs: Travelers' reports and the Konya faagmentsIn the early fourteenth century, Marco Polo wrote in the account of his travels:...et ibi fiunt 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 m Persia, Polo travelled fa m Sivas to Kayseri. Abu'l-Fida, citing Ibn Sa'id al-Maghribi refers to rug export fa m Anatolian 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 mention 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 m the Anatolian Seljuq Period (1243–1302) are regarded as the first group of Anatolian rugs. Eight 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 pr4vince by R.M. Riefstahl in 1925.[12] More faagments were found in Fostat, today a suburb of the city of Cairo.[13]Judging by their original size (Riefstahl reports a carpet up to 6 m long), the Konya carpets must have been produced in town manufactories, as looms of this size can hardly have been set up in a nomadic or village home. Where exac/ly these carpets were woven is unknown. The field 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 lesser extent also white, brown, yellow) are subdued, faequently 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 of animals 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 of the Seljuq rugs has parallels amongs/ the architectural decoration of contemporaneous mosques such as those at Divriği, Sivas, and Erzurum, and may be related to Byzantine art.[14] Today, the rugs are kept a/ the Mevlana Museum in Konya, and a/ the Turkish and Islamic Arts Museum in Istanbul.Rugs of the Anatolian BeyliksEarly in the thirteenth century, the territory of Anatolia was invaded by Mongols. The weakening of Seljuq rule allowed Turkmen tribes known as the Oghuz Turks to organize 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 of Dede Korkut confirm that the Turkoman tribes produced carpets in Anatolia. What types of carpets were woven by the Turkoman Beyliks remains unknown, since we are unable to identify them. One of the Turkoman tribes of the Beylik group, the Tekke set/led in South-western Anatolia in the eleventh century, and moved back to the Caspian sea later. The Tekke tribes of Turkmenistan, living around Merv and the Amu Darya during the 19th century and earlier, wove a distinct type of carpet characterized by stylized floral motifs called guls 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 first capital of the Ottoman state. By the late 15th century, the Ottoman state had become a major power. In 1517, the Egyptian Sultanate of the 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 m Tabriz to Qazvin, until the Peace of Amasya was agreed upon in 1555.As the political and economical influence grew of the Ottoman Empire, Istanbul became a meeting point of diplomats, merchants and artists. During Suleiman I.'s reign, artists and artisans of different specialities worked together in court manufactures (Ehl-i Hiref). Calligraphy and miniature painting were performed in the calligraphy workshops, or nakkaşhane, and influenced carpet weaving. Besides Istanbul, Bursa, Iznik, Kütahya and Ushak were homes to manufactories of different specializations. Bursa became known for its silk cloths and brocades, Iznik and Kütahya were famous for ceramics and tiles, Uşak, Gördes, and Ladik for their carpets. The Ushak region, one of the centers of Ottoman "court" production, produced some of the finest carpets of the sixteenth century. Holbein and Lotto carpets were woven here. Gold-brocaded silk velvet carpets known as Çatma are associated with the old Ottoman capital of Bursa, in Western Anatolia near the Sea of Marmara15th century "animal" rugsVery few carpets still exist today which represent the transi/ion between the late Seljuq and early Ottoman period. A tradi/ional Chinese motif, the fight between phoenix and dragon, is seen in an Anatolian rug, today at the Pergamon Museum, Berlin. Radiocarbon dating confirmed that the "Dragon and Phoenix" carpet was woven in the mid 15th century, during the early Ottoman Empire. It is knotted with symmetric knots. The Chinese motif was pr4bably introduced into Islamic ar/ 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 of the city of Cairo.[13] A carpet with serial bird-and-tree medallions is shown in Sano di Pietro's painting "Marriage of the Virgin" (1448–52).The "Dragon and Phoenix" and the "Marby" rugs were the only existing examples of Anatolian animal carpets known until 1988. Since then, seven more carpets of this type have been found. They survived in Tibetan monasteries and were removed by monks fleeing to Nepal during the Chinese cultural revolu/ion. One of these carpets was acquired by the Metropolitan Museum of Art[18] which parallels a painting by the Sienese artist Gregorio di Cecco: "The Marriage of the Virgin", 1423.[19] It shows large confa nted animals, 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 faequent.Holbein and Lotto carpetsBased on the distribution and size of their geometric medallions, a distinction is made between "large" and "small" Holbein carpets. The small Holbein type is characterized by small octagons, faequently including a star, which are distributed over the field in a regular pattern, surrounded by arabesques. The large Holbein type show two or three large medallions, often including eight-pointed stars. Their field 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 oldes/ examples have "kufic" borders. The field is always red, and is covered with bright yellow leaves on an underlying rapport of octagonal or rhombiform elements. Carpets of various sizes up to 6 meters square are known. Ellis distinguishes three principal design groups for Lotto carpets: the Anatolian-style, kilim-style, and ornamental style.[20]Holbein and Lotto carpets have lit/le 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 tradi/ion 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 field 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 of the infinite repeat in star Ushak carpets is more accentuated and in keeping with the early Turkish design tradi/ion.[24] Because of their 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 field 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 faequently contains palmettes on a floral and leaf scroll, and pseudo-kufic characters.[25]Medallion Ushak carpets with their curvilinear patterns significantly depart fa m the designs of earlier Turkish carpets. Their emergence in the sixteenth century hints at a potential impact of Persian designs. Since the Ottoman Turks occupied the former Persian capital of Tabriz in the first 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 a/ an early date, such as the carpet that Erdmann found in the Topkapı Palace.[26] The Ushak carpet medallion, however, conceived as part of an endless repeat, represents a specific Turkish idea, and is different fa m the Persian understanding of a self-contained central medallion.[27]Star and medallion Ushaks represent an important innovation, as in them, floral ornaments appear in Turkish carpets for the first time. The replacement of floral and foliate ornaments by geometrical designs, and the substitution of the infinite repeat by large, centered compositions of ornaments, was termed by Kurt Erdmann the "pattern revolu/ion".[28]Another small group of Ushak carpets is called Double-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 m one of the niches. The resulting design scheme resembles the classical Persian medallion design.Counterintuitive to the prayer rug design, some of the double niche Ushaks have central medallions as well. Double niche Ushaks thus maypr4vide an example for the integration of Persian patterns into an older Anatolian design tradi/ion.Examples are also known of rugs woven in the Ushak area whose fields are covered by ornaments like the Cintamani motif, made of three coloured orbs arranged in triangles, often with two wavy bands positioned under each triangle. This motiv usually appears on a white ground. Together with the bird and a very small group of so-called scorpion rugs, they form a group of known as "white ground rugs". Bird rugs have an allover geometrical field design of repeating quatrefoils enclosing a rosette. Although geometric in design, the pattern has similarities to birds. The rugs of the 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 of the Mamluk Sultanate in Egypt, two different cultures merged, as is seen on Mamluk carpets woven after this date. The earlier tradi/ion of the Mamluk carpet used "S" (clockwise) spun and "Z" (anti-clockwise)-plied wool, and a limited palette of colours and shades.