introductions

For centuries, highly skilled artisans have been crafting beautiful, functional masterpieces we call Oriental rugs. These works of art are hand-woven of natural fibers and made in the geographical regions of the Near, Middle, and Far East, as well as the Balkans. There is a rich history involved in the making of Oriental rugs, and these traditions continue today, often with awe-inspiring results.

Fortunately for modern consumers, Oriental rugs are more available and affordable than ever, making it easier for many people to enjoy their artistry and craftsmanship. In merging commerce with culture and art, often it is wholesalers in the United States and abroad often dictate which designs to produce, which colors to use, and which sizes to make based on their consumers’ preferences. Even with predetermined designs and colors, each rug can be unique because the artisan’s own interpretation of a pattern can be found in individual rugs.

In the following sections we will examine specifically how Oriental rugs are made and which issues affect the consumer making an Oriental rug purchase. Finally, we will take a look at many of the rug-producing countries, such as China, Egypt, India, Iran, Nepal, Pakistan, Romania, Russia, Tibet, and Turkey.

It is our hope and intent that a cross-section of readers will profit from this wealth of information. For the potential Oriental rug consumer, we will include information to demystify the selection and purchase process to help ensure that he or she will make a wise buying decision.

For the student who wishes to learn about Oriental rugs for a school project, we will provide the details to assist her. For the Oriental rug retailer, we will present an overview of the countries where these rugs are crafted, as well as cultural insights into those peoples. We will also include insights into the rug industry.

Oriental Rug Basics

Definition

Let's begin our journey by traveling back in time to see how Oriental rugs have been made over the centuries. In order to be classified as an authentic Oriental rug, it must be hand-woven or hand-knotted of natural fibers, usually wool, but sometimes cotton or even silk. Depending on the size of the rug, it can take several months or even years to complete. What makes Oriental rugs unique is that the part we walk on, called the pile, is actually comprised of individual threads which are each tied by hand to the rug’s foundation. With other types of rugs and floor coverings such as carpeting, this is not the case; glue is usually applied to make the rug adhere to its foundation. This helps explain Oriental rugs’ longevity, up to 100 years or more.

Origins

Although no direct evidence exists to date the origins of Oriental rugs, two theories have been put forth to explain why they were first crafted. According to the first theory, nomadic peoples, who were trying to provide a means of protection between themselves and the elements, crafted rugs, using their limited resources of wool and dyestuffs. Instead of using animal skins, they knotted primitive types of rugs to avoid direct contact with the cold, hard ground. These rugs were constructed on horizontal looms, which could be easily dismantled and moved. Thus, the purpose of the rugs was utilitarian in nature.

The second theory provides a decidedly different scenario. Rugs were not crafted as a means of protection, but of decoration. People who were settled in their communities knotted the rugs on vertical, less portable, looms. They used their creations as a way to make their dwellings more aesthetically appealing.

Concrete support for the second theory was revealed in excavations of a Shiite chief’s tomb in Siberia in 1947. Archaeologists uncovered a wool carpet that had been encased in a block of ice, perfectly preserved. Dated to the 5th century BCE, the "Pazyryk Carpet" is the oldest known ancient carpet. Its workmanship seems to confirm that from the beginning rugs served an artistic purpose.

History

Because weaving is one of the most ancient arts in the world, Oriental rugs have a rich, prolific history. Although the specific origins of rug-weaving are unknown, it is clear from rug fragments that weaving existed as early as the 5 century BCE. Fortunately, records exist from the 14th century Anatolia and 16th century Persia. What we know about rug weaving occurs primarily from paintings, including those of Holbein, Memling, Crivelli, and Lotto. This artistic record shows an evolution in how rugs were viewed; the earliest paintings portray the Virgin Mary resting on them. Later paintings show rugs at the feet of kings, illustrating the transition from the religious to the royal. With commercial development came the collection of rugs by Europeans, especially the Dutch.

Persia became important in rug trading in the 17th century, because of commerce passing through the famous Silk Road, the 7,000 mile route which spanned China, Central Asia, Northern India, and the Parthian and Roman Empires. It connected the Yellow River Valley to the Mediterranean Sea and passed through places such as Chinese cities Kansu and Sinkiang and present-day countries Iran, Iraq and Syria.

After many years of declining interest in Oriental rugs, a rebirth occurred in the mid-19th century when rug weaving expanded in Turkey, the Caucasus, Persia, Central Asia, India, and China. In fact, many of the rugs most prized today come from this period in rug weaving history.

France, too, has its own unique history of rug-making, which began in 1608. France’s King Henry IV appointed an experienced weaver to begin producing Oriental rugs in French factories. Once the king recognized their quality, he ordered that they would be available only to the royal family. Rug designs were primarily floral and mirrored other French art. However, rug production was limited, because of the slowness of the weavers.

Henry’s successor, Louis XIII, established a second rug-weaving factory; named for the building in which the factory was housed, Savonneries. Approximately 100 years later, the prohibition against non-nobility ownership was lifted, but a ban was placed on imported Oriental rugs. To fulfill demand, the Aubusson factory opened, producing tapestry-like rugs. These rugs were quite similar to Savonneries, except they were quicker to make, in part because of their smaller size.

The Weavers

The gender of the weaver will differ depending on factors such as: the country’s culture, its traditions, its economic situation, and its political situation. Some cultures and communities consider rug weaving as "women’s work" and others consider it "men’s work". Different parts of the weaving process may also be done more often by women or men. For instance, the weaving of the rug may be done by women, while the finishing (the washing, and shearing of it) is almost always done by men. For the purposes of this text, we will use the terms "he" and "she" interchangeably when referring to the weavers.

The number of weavers per rug also differs. One or two people at a time weave some rugs, particularly in those made in homes and villages. But both men and women are weavers in the more factory-like settings, where two to four weavers can all be working on the same rug, although most times they do not work together.

Nomadic people or those from nomadic origins, make nomadic-style rugs. Typically, these rugs are made of wool, with few colors. Patterns are either geometric or simple, stylized floral designs. Horsehair or goat hair may be used on the edges, which are usually irregular.

Those who live in agricultural communities weave village rugs. Although they may tend animals, just as nomads do, they also farm the land and grow their own wool. What they produce is offered for sale. Village rugs are usually made of cotton and wool; there are several colors in the rugs, from five to 10. Patterns are varied, both geometric and floral. The edges on village rugs are finished and even.

City rugs are generally woven in factory settings with numerous looms and more than one weaver working per rug. These rugs are the most intricately designed and woven. Cotton, wool, and even silk are used as materials; up to 20 colors may be used in the rug. Patterns are curvilinear, and designs are woven as the weavers follow a cartoon, the knot-by-knot pattern for the rug. The edges of the rugs are finished, enhancing the effect of a more precise look and feel.

How is an Oriental Rug Made?

Tools

Looms

A few basic tools are required before an artisan can begin the process of knotting an Oriental rug. The loom, the device on which the Oriental rug will be made, is the main requirement. Depending on the artisan herself and her environment and culture, the loom may be either horizontal or vertical. If the artisan is of nomadic origin, she may continue to use the loom of her ancestors: the horizontal loom. It's easy portability makes it simple to transport from place to place; modern weavers may use the loom strictly because of tradition. The horizontal loom is smaller and more rudimentary than the vertical loom. It is constructed of four pegs and two crossbeams at either end. The warp threads, the vertical threads that form part of the rug’s foundation, are looped around the crossbeams. The pegs can be taken up when needed, with the warp and weft threads still attached. The weaver can roll the rug and is free to take it to another location. The pegs can be replaced into the ground, and weaving can resume. Because of the size of the horizontal loom, it can accommodate only small to medium-sized rugs, up to about a 5’ x 7’.

These are photographs of horizontal looms used by the nomadic tribes such as the Bedouin.

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On the other hand, if the artisan lives in a more settled area, town, or village, she will probably use a vertical loom, of which there are three types: village loom, Tabriz loom, and roller beam loom. These looms are used to weave rugs of all sizes, including those much wider or longer than usual. Two vertical posts and two horizontal crossbeams form the vertical loom.

These are photographs of vertical looms.

To allow the weaver to make rugs of several different sizes, the crossbeams on the vertical loom are adjustable. Factory looms are used as well, which are also vertical looms used to fulfill export orders.

The Backstrap Loom

Simple Horizontal Loom

A Nomadic Horizontal Loom

Stringing diagram for a vertical loom

Vertical Loom Diagram

1. Lower loom beam 7. Heddle
2. Cloth beam 8. Shed Rod
3. Warp selvage cords 9. Yarn Beam
4. Weft slevage cords 10. Tension Bar
5. Weft yarn in plain weave 11. Upper Loom Beam
6. Batten 12. Weaving Fork

Wrapping the Loom

Vertical Villiage Loom

Others

In addition to looms, other tools are needed to weave an Oriental rug. A hooked knife called a tikh is used to clip the yarn after the knots are tied. A large comb called a daftun is used to pound the knots down tightly, and a pair of scissors called gaichi is used to trim the yarn evenly.

Flatweaves

Once the weaver has all of her tools ready, she must then decide which type of rug to craft: either flatweave or pile. Flatweaves, primarily kilims and soumaks, but also including namda, gabba, Jewel of Kashmir, dhurrie and drugget, are rugs which don’t have knots or pile. They are crafted using weft strands (horizontal threads) threaded through a number of warp strands (vertical threads) and then looped back again.

Flatweaves, as the name suggests, are woven flat, much like tapestries. Their designs are usually angular and consist of simple geometric patterns. Colorings may be similar to pile rugs, but they are less elaborate, using fewer colors.

In order to form the pattern on flatweaves, a shuttle is used to carry the cotton or wool thread across the warp as the pattern and color dictate. Then, the thread is turned back on itself, finishing on the same side that it started. Different colored threads that meet but do not join form the resulting design. Holding a kilim up to a light, you can easily see the gaps in the threads.

Flatweaves were traditionally designed to be used for tent hangings, curtains, coverings, and decorations. In addition, nomadic peoples used flatweaves for such practical purposes as blankets, saddlecloths, cushions, and sacks. Today, they are often used for home decorating as floor coverings, furniture upholstery, pillows, or wall hangings.

The Indian version of the kilim is called a dhurrie; these are reversible and have angular designs or stripes. They are made of wool or cotton and were originally designed for use during extremely hot weather, when pile rugs would have been inappropriate.

Pile Rugs

Oriental rugs are known as pile rugs. This simply means that the part we walk on, the pile, is tied thread by thread to the rug’s foundation. The result is a product that is not only beautiful, but also extremely durable.

Rugs are an ancient family tradition among the nomadic tribes.

Weaving a Pile Rug

After the artisan has acquired the dyed wool to make the rug, she then begins the process of hand-weaving the rug. If the rug is being woven in her home, other family members, even her children, seated beside her, will often help. Tribal or nomadic weavers memorize certain basic patterns, which they may vary as they weave. Other more complex patterns are sketched and colored on graph paper first, in a process known as cartooning, where each square in the paper represents one knot. However, modern technology has recently affected this process in the form of computer-generated cartoons using software such as Tech Style. To ensure easy readability and protection, the cartoons are then cut horizontally into quarters and encased in plastic.

These are examples of cartoons in use.

The first step in the actual weaving process is to string the loom with vertical threads called warp threads.

Bedouin women beginning the weaving process.

Cotton yarn is generally used for most warp threads because of its durability, but sometimes wool is used. After the warp threads are in place, the weaver will begin making the rug by weaving cotton weft threads horizontally in and out of the warp threads, creating the flat woven part of the rug called the kelim. After the one to three inches of the kelim is complete, the weaver, following the design cartoon, will begin the process of creating the pattern of the rug by actually wrapping each warp thread with the appropriate colored wool strand. The strand is then roughly cut with the geichi (scissors), and the process continues as a knot is wrapped around each warp thread all the way across the rug. After every one or two rows of pile is completed, a weft thread, generally cotton but sometimes wool, is woven across the top of the knots and pounded down with a daftun (comb). Then, another row is started.

These are photographs of the weaving process.

Even though a skilled artisan can tie approximately 10,000 to 14,000 knots per day, a 6’ x 9’ rug will take about five or six months to weave, depending on the fineness of the weave. However, if the artisan is working in conjunction with two to four other weavers, at a factory loom, the process can be much more efficient. In the factories, one weaver, known as a salim, directs the others’ work by reciting the design being copied. When this system is used, it is unlikely that any variation in the design will occur, unlike rugs woven by individual artisans. These rugs are known as programmed rugs, and are made primarily for the American and European markets. They are produced in standard sizes of 3’ x 5’, 4’ x 6’, 6’ x 9’, 8’ x 10’, 9’ x 12’, 10’ x 14’ and larger and runners of various lengths.

These are rugs being produced in a factory.

Knotting

Although the term "knotting" is used, the fibers are actually wrapped or looped around the warp threads, and never actually tied in knots. There are typically two different types of knots used in Oriental rugs, although there are 11 variations of these. They are the Turkish knot (also called the Ghiordes or symmetrical knot) and the Persian knot (also called the Sennah or asymmetrical

knot). The Turkish knot is used most often in Turkey, Western Iran, and the Caucasus, while the Persian knot is used further east, in India, Pakistan, central and western Iran, and China. However, the type of rug being woven, not the country of origin, may dictate which type of knot is used.

For the Turkish knot, the yarn is wrapped around both warp strands, and then the two ends are looped around the warp strands and drawn back out to protrude between the strands. The pair of free ends forms a tuft of pile. For the Persian knot, the yarn is wound around one warp strand and then looped under and back around the other, leaving the two ends of the tuft separated by one free strand. To see the difference, fold the pile of a rug horizontally in the direction of the weft and examine a row of knots. It is apparent which knot was used.

Even though most experts agree there is no quality difference between the two knots, they are used for two different purposes. The Turkish knot is used most often for geometric designs, because it is large and square. On the other hand, the Persian knot is used most often with curvilinear motifs, because it is smaller and more irregular.

Click here to view our flash-animated examples of the 11 most common knots used in the creation of an Oriental Rug!

Finishing

When the knotting is finished and the kelim section at the end of the rug is complete, the rug is removed from the loom. The loose warp threads that will become the fringe will be either left as loops, cut to form a straight fringe, or knotted into tassels. Eventually, the fringe may be tea-stained if an antique look is desired. The sides of the rug, known as the selvedges, can be completed either as the rug is woven or when the weaving is finished. If the latter occurs, a cotton cord wrapped in the same color as the border is hand-sewn to the edges of the rug to create a binding.

These are from the finishing process.

All rugs need to be cleaned; in fact, some are cleaned more than once. They are either dunked in the nearest stream or soaked with water from vessels in a designated cleaning area. The rug will then be scrubbed from the back with a long-handled brush to remove as much dirt as possible from its foundation. After the dirt is removed and the rug is rinsed repeatedly, the remaining water will be removed by pushing it out with a long-handled metal blade. The rug will than be laid out in the sunshine to dry.

After the rug has thoroughly dried, the Master Shearer shears it to give the rug a smooth, even finish. Because of the delicate nature of this operation, only those who are most skilled will be allowed to shear the rug. One wrong cut could mean months of work needlessly ruined. Sometimes, shearing is done more than once, after each washing. Ironing may even occur as a finishing touch to remove any remaining wrinkles and to help the rug lie flat. If the sides of the rug are uneven, the rug will be blocked and stretched by placing it on a rectangular, horizontal frame and affixing it with nails.

Some rugs, primarily Chinese, Tibetan, and Nepalese, are then carved to outline the particular designs on them. In order to heighten the effect of the carving, the artisan will weave the motif to be sculpted with a longer pile than the rest of the rug. Once the sculpting is completed, the trimming of the motif will be done at a slant to further enhance the sculpted effect. Also, depending on the intended buyers, rugs may be washed in chemical solutions to mute their colors or give a high sheen to the wool. These washings can give the illusion of age to the rug, making them highly comparable to authentic antique rugs. In addition, the chemical washes used today create the muted, soft colors buyers desire, without damaging the wool, unlike earlier chemical washes.

How are the fibers prepared?

Before the artisan can begin the process of crafting an Oriental rug, the fibers he or she will use must first be prepared. Spinning of the wool is the first step; it refers to the act of drawing out and twisting the fibers into thread. For thousands of years, it was the only way to prepare wool for rug making until the invention of the spinning machine. By the 1940s, nearly all wool was spun by machine.

Spinning Wool

Because hand-spun wool is of different tensions along the length of the strand and appears nubby, it tends to create a rug that has more of a "homemade" feel. The dye is absorbed irregularly depending on the degree of twist, resulting in color that is non-uniform along the strand. The opposite is true of machine-spun wool. The appearance is more regular and uniform in terms of color and twist, resulting in a more "polished" feel. The art of hand spinning had nearly died out, however in the mid-1980s there was a resurgence of hand spinning initiated by rug producers in the U.S. It is important to remember that the type of rug being woven most often dictates whether hand-spun or machine-spun wool will be used and what appearance it will have.

Once the wool is prepared, the next step is preparing the fibers for dyeing. The yarn is dipped into a solution of alum or iron, which prepares the wool fibers to bond permanently with the dye. Then, the yarn is placed in vats of dye to soak for various times, depending on the amount, type, and the shade of dye color desired.

Dyeing

Natural dyes, also called vegetable or vegetal dyes, are produced much the same they were thousands of years ago. The dyes take a great deal of time to prepare, but the colors they produce are truly magnificent. These colors have the added benefit of becoming even more lustrous with time and use. Made from natural substances occurring in nature, these dyes are brewed in large kettles, often using secret formulas. For instance, a dyer could use saffron crocus, pomegranate skins, or vine leaves to make yellow. Cherry juice can make red; indigo for blue; and nutshells, tobacco, or tea for black and brown.

In order for the dyes to adhere properly to the wool, it is necessary for the dyer to treat the wool with a mordant; a metallic salt. After that process has been completed and depending on the shade desired, the wool might soak in the color for several hours or even days.

An English chemistry student, William H. Perkin, invented synthetic dyes in 1856. A class of synthetic dyes known as aniline was in use by 1900. Their usefulness was called into question, primarily because the colors were not as vibrant, were prone to fading, and were likely to bleed. In fact, Iran even banned their use, concerned that the inferior quality of the dyes would have a negative impact on its rug industry.

Fortunately, a new technique in making synthetic dyes changed the industry. In use over 50 years now, new synthetic dyes, known as chrome dyes, are more colorful, fade-resistant, and less likely to bleed. Is it possible to tell the difference between rugs made with natural dyes and the other with synthetic? In many cases, the answer is no, without some kind of chemical analysis from a laboratory.

Wool, Cotton, and Silk

Knowing how fibers are actually prepared, let’s look at the three specific fibers most often used in making Oriental rugs: wool, cotton, and silk. Used for thousands of years in a variety of ways, wool is by far the fiber of choice in rug making. Why? Wool is extremely durable, versatile, resilient, and strong. Just as important, wool has a natural affinity for dyes, enabling artisans to create breathtaking, colorful Oriental rugs.

Wool

Wool fibers consist of overlapping scales (plates) all flowing in the same direction. This interlocking quality works similar to tiles on a roof, protecting from and withstanding pressure, heat, and moisture. There can be over 2,000 interlocking plates in one inch of wool! This accounts for wool’s resistance to breaking and fraying. In fact, wool can be bent 20,000 times without breaking. Another advantage to the interlocking plates is that wool is a natural insulator. Wool is also the most water-absorbing of all natural fibers, with the potential

to absorb as much as 30% of its weight in liquid without feeling wet. In comparison, cotton only absorbs 8% liquid, and synthetic fibers just 5%. The liquid, just like air, becomes trapped between each fiber, making them swell and become heavier. When air is trapped between the fibers, it provides warmth while remaining lightweight.

Wool quality varies greatly, depending on the breed of sheep, age of the animal, the climate, the season of shearing, and even the food consumed by the sheep. Fine wool sheep include the Merino, Rambouillet, Corridale, and Columbia, bred in Spain, France, New Zealand/Australia, and the U.S. Because of the temperate climate in which these sheep live, the fleece from these animals is prized. Living in higher, cooler regions, they grow a full fleece. Before shearing, the sheep are usually washed twice. After being sheared, the wool is washed again in water with a small amount of lime added to free the wool of impurities. The Cheviot, Hampshire, Shropshire, Suffolk, Dorset, Oxford, and Southdown comprise the medium wool sheep; all were first bred in the United Kingdom.

Cotton

The practice of using cotton in weaving originated in India and Egypt. Because of its strength, it is most often used for the warp and weft threads which serve as the rug’s foundation. It occasionally appears in the pile when a brilliant white is desired; it is then called mercerized cotton, also referred to as "artificial silk" or "art silk."

The major cotton producers in the world are China, the U.S., India, Pakistan, and Uzbekistan. Smaller producers include Brazil, Turkey, Mexico, Egypt, and the Sudan. Though many varieties are grown commercially, they may be divided into three types:

Type 1: These are the highest quality fibers, including as Egyptian, Sudanese, and Sea Island varieties.

Type 2: These are coarser varieties which form the bulk of the world crop, including as American Upland cotton.

Type 3: Lesser varieties still, these include fibers produced in various Asian countries.

Silk

Silk has been much admired for its beauty, luster, and fineness of weave. Originally from China, it is now produced in Iran and Turkey. The finest silk comes from the first part of the amazingly long single thread the silkworm spins its cocoon with. One single strand can measure over 5,000 feet in length. The more the cocoon is unraveled, the coarser the silk becomes, until the slub silk is reached. Slub silk is used only for inferior rugs, and it is usually mixed with cotton. These rugs look coarse and have almost no natural sheen.

Fine silk is also used in combination with wool and cotton; these rugs are referred to as "silk inlaid." In this case, the face of the rug consists of wool pile with various features of the design woven in silk. Be aware that there are "real silk" rugs and there are "art silk" rugs. "Art silk" is actually for artificial silk, and is mercerized cotton. Rugs made from art silk are generally more affordable than those made with real silk. Both types of rugs, however, are beautiful and it often takes an expert to tell the difference between them.

Even though wool, cotton, and silk are the fibers most often found in Oriental rugs, it is possible to find rugs made with camelhair, goat hair, or horsehair. Used for its natural color, camelhair is most often found in the pile. By contrast, goat hair or horsehair can be found in the edges of rugs, as either dark brown or black, because of their strong durability.

Choosing an Oriental Rug

In today’s competitive marketplace, it is important that a consumer have as much knowledge as possible about potential purchases. We have compiled a list of questions to assist you as you begin your search for just the right rug.

What kind of lifestyle do you have? Is your home a place where several family members and friends congregate on a regular basis? Consider whether or not the colors and fibers you choose will be appropriate, given the amount of traffic in the area where the rug will be placed.
Would one rug work best in your room, or multiple rugs? What size rug do you think would be appropriate for your needs?
Are you interested in a finely-knotted, investment rug or a more practical, decorative rug?
Are you interested in more traditional-looking rugs or contemporary ones?
Do you actually like the rug? Will the rug you have chosen harmonize with the other colors and textures present in the room?
What are the minimum and maximum sizes you can use? Keep in mind that not all rugs are precise standard sizes.

Decorating with Oriental Rugs

There are no hard and fast rules that apply when decorating with Oriental rugs. Interior designers use a countless array of colors and designs when working with traditional and contemporary motifs. A balance of color, texture, and pattern are really the only factors to be conscious of as you delve into the beauty of a hand-knotted rug. There is virtually no space in your home in which an Oriental rug cannot be used.

Before you select a rug for your home, however, there are several factors to be considered, which will make the selection process easier.

Where will the rug be placed? Will it be placed in a family room where it will need to be both practical and beautiful? Or, will it be placed in a formal living room, where practicality is less important than what it does for the room?

What size will you need? Keep in mind that an Oriental rug is not just a floor covering; it also "art for the floor." Therefore, it should be seen with a frame such as hardwood, tile, marble, or carpeting surrounding it. You should allow at least 1 foot (31 cm) on either side of the carpet and at least 1foot 4 inches (41 cm) on either end.

In the room where the rug will be placed, what kind of décor is present? Is it traditional or contemporary? Are there lots of bold colors and patterns? If so, more understated designs and colors in the Oriental rug would probably work best.

Do you want to eventually use the rug in another room in your home?

Size

One of the most common mistakes that people make when decorating with a rug is choosing one that is too large. An Oriental rug needs a frame around it to be seen properly. Whether you are designing a room with one large area rug in mind or several rugs scattered throughout will depend on the size and shape of the room and the placement of furniture.

Size is especially important when you are working with your dining room. The rug you select should be wide enough for the width and length of your table plus

approximately two feet around the sides. A general rule of thumb is that an 8’ x 10’ will likely work with a table using six chairs, whereas a 9’ x 12’ or larger will be needed for a table using eight chairs.

Standard sizes for hand-knotted rugs are 2’ x 3’, 3’ x 5’, 4’ x 6’, 6’ x 9’, 8’ x 10’, 9’x12’, 10’ x 14’, and 12’ x 15’. Runners are mostly 2’ 6" by even lengths of 8, 10, 12, 14, feet, etc. Occasionally, one can find round and octagonal rugs. Machine-made rug sizes differ somewhat and are more common in 4’ x 6’, 5’ x 7’, and 8’ 6" x 11’. Keep in mind, however, that not all hand-knotted rugs are precise standard sizes, especially those from China. Many may measure just a bit smaller than the stated size, like 3’ 6" x 5’ 6", 5’ 6" x 8’ 6", 7’ 9" x 9’ 9", and 9’ 9" x 13’ 9".

Style, Design, and Color

The style and design of your rug should directly relate to the furnishings and the scale of the elements in the room that you are decorating. Determine whether the room is bold or soft, contemporary or traditional, etc., and begin to assess the feeling of the space. For best results, it is good to contrast the scale of the elements in the room with the pattern and design in the rug. For instance, if you have big, bold designs in your fabric, then you should probably have a small designs in your rug.

Color should be approached in the same manner as style and design. Whether your room has contemporary or traditional hues, at least one of the colors in the room should appear in the rug. This will unify your rug with your décor. Although the somewhat textbook approach to interior decorating works wonderfully, it is fun and dramatic to mix and match colors, textures, and patterns.

Try to choose combinations of colors in your rug that will accentuate the hues you wish to highlight in your décor, but don’t be afraid to use a rug that may include accent colors that you do not have in your setting. Most likely, once the rug is in your room, it is the colors that the rug and the room have in common that will be prominent. The accent colors used in the rug will serve to add to the depth and richness of the rug, without clashing with your decorating scheme.

No Rules, No Limits

Oriental rugs offer a vast selection of colors and designs that gives you complete freedom and flexibility when decorating. There are virtually no rules and no limits to how you decorate with rugs and use them in your home.

A stunning effect can be achieved by simply contrasting an Oriental rug with your furniture. An old rug paired with a contemporary décor can make a room look distinctive. And, contemporary rugs with antique furniture can be equally effective if the colors blend with the surroundings.

Mix and match rugs that have at least two characteristics in common: design, texture, or color. The rugs should be similar in design, whether it be rectilinear or curvilinear; the texture should be relative to one another; and the color and tone should be balanced. Generally, it is safe to mix rugs that come from the same country and are the same age; equally effective is the mixing of reciprocal pieces. You’ll find it easier and a lot more interesting to mix and match rugs, rather than try to find matching pieces.

Some decorators even use Oriental rugs as wall hangings, especially silk or antique rugs. It can be an effective way to divide a room or simply use them as artwork, just as one would hang a painting. To heighten dramatic appeal, hang rugs on walls painted a neutral color.

Finding an Oriental Rug for Your Room

An Oriental rug can make any room come alive and is often the largest single design statement you can make when decorating. A well-chosen rug can fill a room with color and personality. So before choosing a rug for your home, define the room you are decorating and begin to narrow your choices

If you are decorating a room from scratch, try starting with the rug. You will have more freedom to choose the rug you love. It’s much easier to find paint, wallpaper, and fabric to go with your rug than it is to find a rug to complement a nearly finished room.

Keep in mind, too, that each rug has a light side and a dark side, depending on whether one looks into the nap or with the nap. The color intensity you see from one end of the rug may be vastly different from what you see on the opposite end. Once you have a rug in your home, examine both sides, since it may be necessary to turn it 180 degrees to ensure the best possible effect.

When you need more than one rug, consider choosing rugs that are reciprocals of each other. If one rug has a beige background with burgundy accents, choose another rug with a burgundy background and beige borders. This technique will provide your room with an overall unity as well as dramatic appeal.

Symbolism of Motifs and Colors

Not surprisingly, different regions attribute different symbolism to their motifs (dominant design elements in a rug) and colors. Be aware, however, that rug motifs and colors made in Romania, India, or Pakistan do not have inherent meanings, because their designs are borrowed from other locations. On the other hand, rugs made in China and Tibet have a rich history of symbolism, although these are traditional symbols that may no longer have any significant meaning. What follows is a listing of motifs and colors and their traditional meanings:

Tree of Life: Eternal Life
Lion: Power or Victory
Weeping Willow: Sorrow or Death
Cypress Tree: Life after Death
Pomegranate: Fertility or Riches
Dove: Peace
Camel: Wealth or Happiness
Peacock: Sacred Bird
Dog: Vigilance
Green: Paradise, "Prophet’s Color"
Red: Happiness or Joy
Orange: Devotion or Piety
Yellow: Power or Glory
Blue: Solitude or Truth
Black: Destruction
Brown: Fertility
White: Purity or Peace, Grief

Why are some Oriental rugs more or less expensive than others?
An Oriental rug does not necessarily need to be expensive to be beautiful, and prices of rugs can vary greatly. For example, an 8’ x 10’ antique rug in good condition can cost more than $30,000 while a hand-tufted rug of the same size can be as low as $500. There are many factors that will give you definite indications of quality: knot count, quality of wool, design, colors, cost of labor, age, and hand knotting.

Knot Count

You can see the density of the knots by looking at the backside of a rug. The more knots per square inch, the denser the weave and the more labor involved in the actual weaving process -- the more labor, the more expensive the rug.

Quality of Wool and Cost of Materials

The quality and price of the materials used to make each rug greatly determine a rug’s price even before it is ever woven. The type of wool used, whether it is handspun or machine-spun, the type of dyes used (natural or chrome) are all factors that go into the cost of materials. Lamb’s wool, called kurk, is the best wool used, although there are many other wools of good quality. Any silk in rugs will also add to the quality. Generally speaking, the higher the quality of the materials, the more the rug will cost.

Design

The design of a rug can have a direct affect on its price in a few different ways. One way is that in certain fine quality, tightly-woven rugs, the intricacy, precision, and detail of the design require more highly-skilled (i.e. more expensive) weavers, and also require more time and labor to make. These rugs with small, elegant patterns are exquisite, but are usually more expensive than a less detailed design.

However, some designs may be more expensive than others, even though they may not be as intricate and finely detailed as other rugs. Today, well-known designers using the newest patterns and color trends are creating more and more rug designs. As is the case in clothing and other home furnishings, the prices of these rugs may be higher than rugs of comparable quality strictly because of their designer labels. Another design factor that has an effect on rug prices is what’s popular or "hot" in current decorating trends. Persian Herizes, for example, have never been considered finely woven rugs, however, their traditional geometric patterns and their muted colors work very well with many design schemes. In the past decade the demand for these rugs has increased their prices disproportionately when compared to other rugs of similar quality.

Colors

Some rugs have more colors in their palette than others, but all should blend together so that no single color predominates. Rugs with ten or more well-balanced color tones will likely cost more than a rug using fewer colors.

Cost of Labor and Materials

Hand-spun wool will add to the cost of materials. In addition, the types of dyes used to color the wool can also increase material costs. Rugs that are imported are subject to international political and economic conditions that have a direct impact on exchange rates and labor costs.

Age

Oriental rugs are classified according to their date of manufacture. Several criteria are used to help determine the general period: these include the design, method of weaving, colors, and materials used. Oriental rugs are considered to be antiques if they were made earlier than the 1930s; semi-antiques if they were made during the 1930s or 1940s; and old if they were made after the 1950s.

Hand-knotting

Finally, keep in mind that in order to be classified as an authentic Oriental rug, the rug must be hand-knotted. By contrast, rugs that are "termed" handmade, tufted, machine-made, or Oriental design (an adhesive, stamped carpet) are generally less expensive.

Protecting Your Investment

If Oriental rugs have survived for centuries in comparatively good condition, it is because of their incredible durability. Most Oriental rugs will give remarkably long service with proper care and consideration. Hand-knotted rugs are virtually indestructible. However, to keep your rug looking beautiful, you must be aware of a few precautions. Given a minimal amount of care, you will protect your investment and have an heirloom that will last a lifetime.

Padding

Always use padding between the floor and your Oriental rug. A good quality pad will achieve three objectives: reduce the wear and tear on the underside of your rug, make it almost impossible for your rug to slip and slide beneath your feet, and make your rug much softer to walk on. If you’re planning to use a rug on wall-to-wall carpeting, you will need a good quality pad between them to keep the rug from "crawling" across the room. The type of padding will depend on several factors, such as whether or not furniture will be placed on top of the rug.

Vacuuming

Like most carpeting, Oriental rugs should be vacuumed to remove the dirt that might cut into the warp threads. Vacuuming your rug once a week will restore life to the rug fibers, however, be careful not to vacuum against the nap of the rug because this presses dirt back into the foundation. Avoid vacuuming the fringe unless you are using just the floor attachment, not the beater bar; continued catching of the fringe in the suction of a vacuum causes it to break or tear. For best results, always vacuum with low-level suction and use a new bag.

Sweeping and Blotting

Sweeping your Oriental rug with a broom is the best way to remove loose dirt. It should be swept at least once a week to help bring out the natural patina in the fibers. To care for rugs that are displayed on walls, simply brush them lightly once or twice a month.

Blotting is the best way to prevent a spill from turning into a stain. Always attack spills immediately, using clean towels to blot as much moisture as possible. Begin at the outer edge of the spill and work inward. Never rub the spill because that will make it spread. Solid spills should be scooped up before blotting the area. Whenever you clean a spill, it is essential that you finish the process by brushing the nap back in the direction of the other pile, otherwise, that area will always be noticeable.

Stains

Spills of virtually any kind may be removed without permanent stain if they are treated immediately. Particularily in the case of pet urine, be sure to dilute the spill by saturating the area with water. Then, use towels to blot the area. Be sure to use a fan to dry the underside of the rug as well as the pile.

Washing

An Oriental rug cannot be cleaned effectively in your home. Because it needs to be vacuumed repeatedly from the back in order to remove the dirt from the its foundation. It also should get wet enough in the washing process that it takes ample space and time to dry.

Depending on the amount of traffic, a professional cleaning is recommended every two to four years. The beauty and life of your Oriental rug are dependent on keeping it clean. Lack of proper maintenance will contribute to a potential loss in the value of your investment.

Never use standard carpet cleaning companies to clean your Oriental rug. Commercial methods of cleaning use steam and chemicals that may damage or destroy your rug. Steam will melt and strip essential lanolin from the wool fibers, and dry chemicals will burn the wool and damage the colors. In addition, most of the damaging dirt remains deep in dense wool piles because commercial cleaning companies do not vacuum effectively. The remaining dirt, combined with foot traffic, will cause your rug to wear out from the bottom up.

Rotating

To insure even wear; your rug should be rotated about once a year. Depending on the traffic, the rotation may vary from six months to two years. You should rotate your rug from sunny areas of the room to the other side of the room to equalize the effect of the sun. Continual exposure to direct or even indirect sunlight can cause fading of the dyes used in your rug.

Moths

Moths can cause permanent damage to your rug. Not only do moths eat the pile, but they also eat the knots on the back of the rug. Moth problems are usually caused when rugs are in damp areas with limited air circulation. Adequate air circulation, elimination of excess moisture, and proper storage are the best safeguards against moth damage.

Storage

Before storing an Oriental rug be sure that it is free moth-free, otherwise, permanent damage can occur to your stored rug.

Then select a dry, cool place where you can store your rug, either rolled or flat. If you opt to store the rug rolled, don’t leave it rolled for more than a couple of weeks because deep creases may result. If your rug will be stored flat, place it on a piece of plastic large enough to encase the entire rug. Sprinkle the rug with camphor powder and then seal the edges once the plastic is wrapped around the rug.

Indentations

From time to time, you may wish to move your rugs to another room. If furniture leaves indentations on your rug, all you need to do is spray the area with water and lift the crushed pile by brushing it upward. Be sure to end the brushing process in the nap direction of the rug. Use a brush with coarse bristles instead of a fine, sharp-bristled brush so the ends of the pile will be less likely to fray.

Protecting Your Investment

Padding

Vacuuming

Sweeping and Blotting

Stains

Washing

Rotating

Moths

Storage

Before storing an Oriental rug be sure that it is free moth-free, otherwise, permanent damage can occur to your stored rug.

Indentations

Antique Oriental Rugs

For some individuals, antique Oriental rugs represent a certain cachet and prestige they want reflected in their homes; for others, antiques are a virtual necessity if they are seeking rugs that are in unusual, large sizes. How is an antique Oriental rug defined? If a rug was made earlier than the 1930s, it is considered to be an antique. Rugs made between the 1930s and 1940s are classified as semi-antiques; rugs are classified as old if they were made during the 1950s.

Because rug weaving has changed very little over the years, it can be difficult to approximate how old a rug actually is. However, there are some clues to help, including woven dates, colors, sizes, and types.

Sometimes, Oriental rugs have dates woven into the rug. Be careful, though, to proceed with caution. First, some weavers simply copy dates they find around them, which may or may not be the actual dates of construction. Second, some dates may be difficult to read, given that the Moslem calendar is so vastly different from our own. (To decipher a Moslem date, divide the date by 33, subtract the resulting number from the Moslem date, and then add 622.)

Colors are another criteria used to judge the age of rugs. Some dyes used in antique rugs may have deteriorated to such a degree that it should be fairly easy to distinguish them; recall that synthetic dyes, which were much more colorfast and fade-resistant, have only been in use about 50 years.

Size can also be a good indicator of age. Manyl antique rugs were made in unusual sizes that may not fit easily in modern homes.

Rugs made in Romania, Pakistan, China, and India are all modern, as are Persian Qums and Kashans.

With these tips in mind, it may be a bit easier to ascertain whether a rug is an antique or not.

It is possible to find antique rugs at reasonable prices and an excellent place to begin learning about antique rugs is in auction catalogs, such as Sotheby’s or Christie’s. Find out which antique Orientals sell in which price ranges. Hali Magazine might also be helpful, as would contemporary books written on the subject.

Once this step is completed, decide whether you are interested in antique Oriental rugs as art, an investment, or as a home furnishing. This decision might influence your choice of antique Oriental rugs.

A possible compromise between buying a new rug or buying an antique could be the purchase of a reproduction. Just like all Oriental rugs, the reproductions are all made by hand, but the difference in price between them can be astonishing. For example, an antique, 8’ x 10’ Oushak would sell for approximately $25,000. However, a reproduction of this same rug, in the same size, would sell for $2,500-$3,500.

Rug Types and Designs
As one might imagine, there are numerous types of Oriental rugs, depending on the regions of the world in which they are made.

Iran/Persian Rugs

When most people think of Oriental rugs, the patterns and designs of Persian rugs come to mind immediately, even if it’s in a subtle way. Some rugs from other geographical areas have borrowed Persian designs, like the Indo-Heriz rug from India.

Persian rugs are classified according to the region from which they came: Northwest, North, Central, Southwest, Northeast, and Southeast. The following descriptions follow this particular order.

Northwest Iran

Picture Rug

Four compartments in the center of the field contain scenes involving people and places. In the very center of the field, however, is a medallion slightly overlapping the four compartments, bearing the image of a ruler being shaded with an umbrella. The fringe is multi-colored and contains the same hues seen in the field.

Hunting Carpet

A huge medallion in the center of the field characterizes the Persian Hunting Carpet; smaller medallions can be found in the border. Colors include reds, browns, blacks, and yellows. Several animals appear in the field of the rug, including lions, bears, deer, and hares.

Medallion Rug

Several rugs fall into the category of Medallion Carpets, including the Medallion and Arabesque; the Medallion and Animal; the Multiple Medallion; and the Silk Medallion. The intricately designed arabesque pattern is dominated by intertwining vines and branches, in reds, yellows, whites, and blacks. Intended to show Paradise, the animal pattern portrays a garden inhabited by various animals. Dominant colors include reds, browns, yellows, and whites. The

multiple medallion design includes different scenes from one medallion to the next. Various colors are used both in the field and in the three-banded border. Finally, in some medallion designs, silk is the primary fiber used, and designs vary considerably from rug to rug.

Prayer Rug

The Persian Prayer Rug is dominated by the mihrab, as one would expect. Vivid shades of red, yellow, brown, and orange are found throughout the pattern.

Tabriz

Designs in Tabriz carpets include medallions, hunting scenes, gardens (including the tree of life design), and florals with arabesques. Colors are predominately browns, yellows, reds, and blacks, in varying degrees of vividness.

Heriz

Designs in the Heriz carpets include florals with arabesques, medallions of various sizes, and geometric patterns. Colors are usually vibrant, with reds and browns dominating the designs.

Sarab

This long, narrow carpet has medallions in the field, on a beige background. Red, blue, and brown florals with arabesques are found in the border.

Bakhshayesh

These rugs are similar to the Heriz designs. A large area of plain, bright red surrounds a central medallion. Flowers can be found around this red section and in the border. Besides red, other colors include black, white, blue, and yellow.

Ardebil

This carpet resonates with religious imagery. The pattern contains mosque lamps, suggesting it was meant to used in a religious setting. Yellows, blacks, browns, and whites are used extensively throughout the field and the border. This rug is considered to be one of the world’s greatest.

Northern Iran

Khorasan

Dominated by an interesting fish pattern, these rugs are framed by three borders and have lively, multicolored surfaces.

Luri

Luri rugs abound with diamond shapes and earthy colors, including browns, reds, and golds. Even the border sports diamond shapes in varying sizes.

Bijar

Florals, including roses, dominate the fields of Bijar rugs; arabesques are sometimes found, as well. Colors range from the very vibrant to the more muted shades.

Sennah

A floral pattern densely woven into the field characterizes Sennah rugs. In some Sennah rugs, it is nearly impossible to say which colors dominate the pattern. In others, greens, reds, browns, and blacks create a stunning effect.

Kilim

Vases highlight the kilim design; inside the vases are flowers. Arabesques, other flowers, and symbols cover the remainder of the field. Dominant colors include browns, yellows, reds, blues, and blacks.

Hamadan

Vibrant colors in the field highlight various small motifs; muted colors in the borders showcase a floral motif.

Central Iran

Yalameh

These rugs are lively and colorful, with several geometric designs and medallions sprinkled throughout. Sometimes, separate compartments divide the geometric designs.

Mir

Multiple borders, vibrant shades of red and orange, and pear-shaped figures reminiscent of paisley designs make the Mir rugs easy to identify.

Seraband

A central medallion filled with bright red, blue, and yellow shapes and surrounded by red and blue complementary figures highlights the Seraband rug. Multiple borders of various colors and figures frame its field.

Joshagan

A floral motif and an unusual motif using the Arabic number 2 highlight Joshagan rugs. Vibrant colors of red, green, yellow, and blue can be found in the former, while shades of orange, brown, and yellow dominate the latter.

Floral Carpet with Arabesques

Intricately designed, this rug combines the floral motif with surrounding vines and branches. Reds, yellows, blacks, and whites dominate the color scheme, both in the field and the borders.

Vase Carpet

The so-called Vase Carpet is designed with several different shapes dominating both the field and border, including the vase shape. Its unique design is complemented by multiple, vibrant colors.

Teheran

Designs in the Teheran rugs include arabesques, hunting scenes, and hanging lamp motifs, sometimes found in mosque rugs. Colors range from muted to brilliant.

Qum

Medallions and floral designs highlight the Qum rugs. While some of the rugs have only three or four colors, others have multiple colors of various intensities.

Kashan

Designs found on Kashan rugs include pictures, medallions, florals with arabesques, medallions with animals, florals, and prayer motifs. These rugs have complex and intricate designs as well as multiple colors.

Isfahan

As with Kashan rugs, designs on Isfahan rugs include florals with arabesques, prayer motifs, medallions, tree of life motif, and florals. Colors are usually brilliant and varied.

Tafresh

A highly ornate and complex medallion can be found in the center of the Tafresh rug. Dominant colors include red, blue, yellow, green, and white. The three-banded border contains pinks, whites, yellows, purples, and blues.

Bakhtiari

Bakhtiari rugs have several different designs, including medallion, garden, and a star motif. Colors are usually brilliant and various.

Sarouk

A floral pattern dominates the field of Sarouk rugs. The border contains medalions and birds symbolizing happiness.

Ferahan

Florals fill the fields and borders of Ferahan rugs, some more elaborately and densely than others. Colors are mostly vibrant and include greens, reds, browns, whites, and yellows.

Malayer

The dark blue field is covered with florals and arabesques in reds, oranges, blues, yellows, and whites. A floral motif can also be found in the three-banded border.

Nain

Prayer motifs and medallions characterize Nain rugs. Colors are either more muted shades of brown, yellow, and red or are more vibrant red, blue, white, and yellow.

Yazd

These densely decorated rugs have multiple borders and vivid colors, including reds, yellows, whites, blacks, blues, and pinks.

Sarouk

Floral patterns dominate this rug, sometimes with rectilinear designs. Colors are rich and various.

Mahal

Also called Meshkabad rugs, these floral-patterned rugs are known for their high-quality, beautiful, varied colors, and interesting designs. Flowers and leaves, on a contrasting-colored background, often surround a central motif.

Southwestern Iran

Shiraz

One prominent design of the Shiraz rugs is that of several hexagons with tarantulas inside each. Brilliant shades of blue, brown, red, and yellow dominate. Another design is that of stripes covering the entire field. Colors found in this design are browns, reds, and golds.

Kashgai

These rugs are best known for their lively colorings. Large hexagons, medallions, arabesques, and pear shapes can be found in the fields, while the borders are usually multiple in number and intricately decorated.

Abadeh

A multi-colored design of various geometric shapes can be found on Abadeh rugs. Multiple borders of various widths are also featured.

Northeastern Iran

Mud (Mood)

Intricate and densely decorated, this rug is filled with geometric shapes and florals. Reds, blues, yellows, browns, and blacks fill the field and the multiple borders.

Mashhad

Medallions, vase motifs, florals, and arabesques can be found in Mashhad rugs. Designs are incredibly dense and appear in red and gold.

Semnan

These rugs are characterized by high-quality workmanship. Patterns include the multiple-medallion with a triple border. Colors are muted browns, reds, blues, and blacks.

Birjand

Typical of Birjand rugs are medallions in the center of the field framed by other medallions, flowers, and arabesques. Multiple borders also adorn the rug. Colors are somewhat muted and include reds, browns, beige’s, and blacks

Southeastern Iran

Afshar

Afshar rugs have several different designs, including multi-colored motifs lining several rows, pear-shaped motifs, also lining several rows, medallions with florals, animal motifs. Borders are usually multiple in number, and colors include reds, blues, and browns.

Kerman

Dominant designs are florals, picture motifs, medallions, pear shapes, and vase motifs. Colors are varied and range from muted to brilliant.

Turkoman

Octagonal shapes and prayer rugs characterize Turkoman rugs. Vivid reds, yellows, and browns dominate the fields and borders, which are often densely decorated.

Baluchi

Prayer rugs, animal, and floral motifs fill these unusual rugs. Colors include reds, blues, browns, whites, and golds.

Turkey/Anatoly

Anatolian Makri

These rugs are known for their coarse weaving. Two or three vertical panels adorn these rugs. Each panel contains either floral motifs or the tree of life pattern. Usually, the wefts are red, and the selvage (side edges where wefts reverse direction) is blue. Makri is located on the Mediterranean Sea and is in the southern region of Turkey. Because of its location, its rugs have been influenced by designs from countries thousands of miles away, including China and the Caucasus.

Hereke

Several distinctive characteristics can be found in Hereke rugs. The rugs usually have short pile and open fields. Designs were copied from more complicated Persian rugs because this area, on the outskirts of Istanbul, claims no special tradition in rug weaving. Near the fringe it was common to find either initials or inscriptions, often telling for whom the rug was woven or quoting passages from the Koran.

Kula Prayer Rug

Kula, Ghiordes, and Ladik are credited with producing the finest prayer rugs in Turkey. Kulas have a more rectangular shape, higher pile, and softer wool. The colors are generally lighter. Two patterns can be found in a Kula rug: the tree of life motif and a design of small houses, once thought to be tombs, which some call the "Cemetary Kula."

Oushak

Located in central Turkey, the village of Oushak has produced rugs since the 16th century. They are recognizable in several paintings from that era. Oushaks are usually considered to be the most appealing to Westerners, because of their sophisticated red colorings and classic designs. The Oushak prayer rug can be found adorning mosque floors.

Kilim Anatol

The kilim, or flatweave carpet, is known for its irregular appearance, probably because of the horizontal loom on which it is woven. As is typical for flatweaves, designs for the Kilim Anatol are geometric, consisting of angles and straight lines. It is not unlikely that these rugs would have unbroken diagonal shapes, perhaps even octagonal ones, adorning the field.

Bergama

Bergama, on the site of Pergamum on the Aegean Sea, is noted for being a source of primitive Turkish rugs. Known for their bold colors and designs, Bergamas feature square and octagonal designs complemented by wide borders.

Bursa Prayer Rug

Renowned for their superb craftsmanship, the weavers of Bursa in northwestern Turkey produced some of the finest rugs from the 16th – 19th centuries. Their brilliant colors identify them immediately as silk rugs. The mihrab, or arch, symbolizes a prayer area in a mosque and dominates the field. A lamp is seen in the uppermost part of the mihrab; two borders frame the field.

Ghiordes Prayer Rug

Just like the Bursa Prayer Rug, the field consists of a mihrab, with a lamp hanging from the top. However, the colors are more muted, typically unichrome. The border can be either geometric or floral. On the back of the older Ghiordes Prayer Rugs, one can find a slash, the telltale sign that not just one weaver, but several, worked on the rug.

Melas

Rug weaving is thought to have begun in Melas, in southwestern Turkey, sometime during the 17th century. They are usually identified by their small sizes with asymmetrical designs that are red in color and coarsely knotted.

Yuruk

Yuruks are nomadic rugs with Persian influences readily apparent in their designs, because the tribe that makes them is located near the Persian border. The rugs have an earthy look to them, perhaps enhanced by the browns, reds, blues, blacks, and whites that predominate.

Central Asia (India, Pakistan)

Bokhara/Tekke

The gul design, quartered octagons, dominates the Bokhara rug. Colors include reds, yellows, whites, blues, and roses. Black is featured prominently in the lines which divide the rug through the center of each gul.

Afghan

Made by the Ersari tribe, these carpets are coarsely woven, usually with a gul or prayer design. Reds are featured prominently, although the color range can vary depending on the location of the weaver.

Samarkand

Delicate colors, coarse construction, and Chinese-influenced patterns are all characteristics of the Samarkand. Three borders surround the field of circular medallions.

Agra

These rugs, produced in India, are known for their luxurious qualities, including brilliant colors and silk thread. Three possible designs can be found in the Agra rugs: allover scrolls, floral, and naturalistic animals and flowers.

China

Esthetic Design (French Aubusson)

Formal and ornate, these rugs were developed specifically for sale overseas in the 1930s. They typically have a medallion in the center of the field, with floral designs around it; they are based on 18th and 19th century French designs.

Peking

There are several different types of Peking rugs, including the Antique Design, Antique Finished, Brocade, Bird and Flower, Figure, and Tendril. The Antique Design is based on Chinese art from the 14th century. The Antique Finished rug takes its design directly from Ming and Ching dynastic art. To simulate an aged appearance, these rugs are chemically washed to make them appear older than they actually are. The Brocade rug, first made in 1974, has a floral pattern. The legends and mythology between the 14th century BC to the 3rd century BC influenced Bronze design patterns. The Bird and Flower rug takes its pattern from paintings done between the 10th and 13th centuries. The Figure rug borrows designs from stone or brick tracings of figures done between the 3rd century BC and the 3rd century AD. The Tendril design is composed of a central medallion, surrounded by tendrils; its design dates to the 6th-10th centuries BC.

Floral

The Floral rug’s pattern, designed in the 1920s, is that of multiple flowers placed on the field in a seemingly random pattern. Interestingly, it has no borders. Common flowers found on these rugs include the lotus, peony, narcissus, orchid, and chrysanthemum.

Self-Tone Embossed

These rugs, also known as Plain Designs, take their patterns from either Esthetic or Floral Rugs. The backgrounds are a single color, and the patterns are either embossed or carved onto the rug.

Minzu

Using patterns inspired by Chinese minorities, these rugs were created in the mid-1970s to recognize the diversity of the Chinese people.

Persian-Chinese (Sino-Chinese)

Persian-Chinese rug quality is also determined by line count. However, the line counts progress a bit differently: 120, 140, 160, 200, 230, 260, 300, and 500 (silk rugs). Again, the higher the line count, the higher the quality of the rug.

Caucacus (Russia, Afghanistan, Romania)

Kazak

There are three different types of these rugs: Kazak, Chelaberd, and Chzondoresk. The Kazak field consists of three medallions of octagonal design. Red is used prominently to suggest energy. Similarly, the Chelaberd (also called the sunburst) is the most popular rug on the market today. The design is one of squares laid diagonally across a rectangle. A cross can be found in the center of each square, set off by arrows at the corners. Again, red is the dominant color.

Finally, the Chzondoresk is always a runner, not a carpet. It is coarsely knotted and red in color, with centered medallions. They are decorated with cloud bands,

a horseshoe-shaped motif which originated in China. In fact, some call the Chzondoresk the "Cloud band Kazak."

Kuba

The area of Kuba is characterized by a number of different tribes, all making distinctly different rugs. Kuba rugs are known for their short pile, thick-looking edges, and a variety of appealing colors. Three diamond shapes appear on the field, surrounded by several smaller geometric figures, leaves, and flowers.

Daghestan

The Daghestan rug can have three possible designs: prayer, story, and stripe. Prayer rugs generally combine a white field decorated with multicolored flowers and a wide red border. These rugs, quite small, are typically used as wall hangings. The story rug tells a tale, usually with a multitude of colors and different panels depicting several parts of the story. Finally, the stripe rugs embody one of the most popular designs in history. The interesting feature about these rugs, however, is that the stripes are irregular in both color and length. Three borders frame the field.

Shirvan

Multiple patterns can be found on Shirvan rugs, including hearth, diamond, Lesghi Star, prayer, Akstafa, Bidjov Dragon, and floral. Hearth rugs were probably used only in the most prosperous tribal homes. They are characterized by bold colors, a red frame in the center of the field, and multiple borders. Diamond patterned Shirvan rugs use more pastel colors. Multiple borders of varying widths surround the stepped-diamond pattern in the field. The Lesghi Star rug centers four star-shaped patterns in the center of the field, surrounded by several borders. Blues, reds, and browns dominate the color palette of this

rug. The prayer rug uses an all-over design in diagonal stripes, primarily in red, blue, and black, on a white background. The Akstafa rug is typically a runner, made with one of the most recognizable designs of the Caucasus: peacocks on either side of the rug. The field is comprised of three stars, one white and two red. As one might imagine, dragons adorn the Bidjov Dragon rug prominently. The background is dark blue, with nearly every color featured somewhere in the rug. Finally, the floral motif employs more muted colors than other Shirvans -- three borders (two narrow and one wide), surround the field.

Soumak

Dark blues, browns, and reds and four medallions in the field characterize these flatweave rugs. Octagons surround the central medallions. Other Soumaks are more imaginative, using what appears to be an allover design filled with flowers, knots, hooks, trees, and other symbols. The design doesn’t repeat itself.

Rug Weaving Today

Turkey/Anatolia

Rugs from this region are characterized by the use of at least some vegetable dyes. In fact, some Turkish weavers use vegetable dyes exclusively. Either medium-thick or firm wool is used for the nap of the rugs, with wool or cotton warps and wefts.

Caucasus (Russia, Afghanistan and Romania)

Because of the Soviet invasion of Afghanistan, many Afghani weavers fled to nearby Pakistan. Even so, good quality rugs still come from Afghanistan, principally from Kunduz and Daulatabad, in the northern part of the country and Herat, from west central Afghanistan.

Central Asia (India, Pakistan, Tibet, Nepal)

Varanasi and Jaipur are the two major rug-producing areas in India. Aubusson, Persian, and Chinese designs are available on Varansai rugs, although the quality varies widely. Indo-Tibetan rugs are made here as well, as are tufted rugs, which are not true Oriental rugs because they are not knotted. Jaipur rugs can be found in Aubusson and Persian designs, as well as florals.

Afghan weavers typically make Pakistani rugs, due to their displacement from their native land. In recent years, there has been a renewal of weaving with handspun wool and vegetable dyes. Tibetan rugs usually come in scatter sizes,

but larger rugs can be found. Although quality varies, there are many rugs made with handspun wool and vegetable dyes

Questions Regarding Purchasing an Oriental Rug:

Why do some rugs cost more or less than others?

Several criteria determine the price of an Oriental rug. The quality of the wool used, the intricacy of the design, the number of colors, and the cost of labor all play an important role. In addition, the age of the rug and the density of the weave, or knot count, can enhance the quality of a rug, as well as increase its price. For a complete discussion of these criteria, see our section "Why are some Oriental rugs more valuable than others?"

What knot count should I be looking for?

While knot count is one criterion used to judge a rug’s quality, it is not the only determiner of quality. It is, however, one way to compare rugs. All other factors being equal, such as design, wool quality, number of colors, etc., the rug with the denser knot count will most likely be more valuable because of the increased cost of labor and time required to create it.

Qualities of different rugs are expressed differently, depending on the country of origin. The number of knots per square inch varies from country to country and rug type to rug type. Not all countries, however, express their rug qualities in knots per square inch. Persian Tabriz rugs, for example, use a raj count to express a rug’s density of weave; in China, the number of lines occurring vertically in one foot is used. The overall point, though, is that the higher the knot count, raj count, or line count, the finer the weave.

What is the difference between a Persian rug and a Persian design?

A true Persian rug is a hand-knotted rug made in Iran; a Persian design rug may be hand-knotted, although it could also be machine-made. In addition, it can be made in any rug-producing country, using a pattern that once originated in Persia.

Should I accept noticeable flaws in a rug?

As with any other handmade item, hand-knotted rugs are sometimes less than precise, and that is the appeal of them. However, what may be a tolerable imperfection to one person may be unacceptable to the next. For example, one rug may have crooked edges or contain areas of abrash. These factors in and of themselves are not necessarily flaws; and, what may be considered a flaw in one type of rug is considered part of the character of a different type of rug. Only you, the consumer, can judge whether a rug will be suitable in your home, given any minor imperfections that may exist.

Why should I invest so much in a hand-knotted rug?

Oriental rugs are noted for their durability, in some cases lasting beyond 100 years. The fact that they are not only beautiful, but are also long-lasting make them the perfect choice for any area. Other floor coverings will not last nearly as long and will need to be replaced again and again. An Oriental rug, on the other hand, will continue to get more beautiful with time and use, and may also appreciate in value. In addition, Oriental rugs are considered to be art and are still made by hand, and handmade items of any kind are generally more valuable than their machine-made counterparts.

What are the differences between, hand-knotted rugs, handmade, tufted rugs, machine-made rugs, and wall-to-wall carpeting?

Hand-knotted rugs are the only true Oriental rugs. Industry standards insist that for a product to be labeled as "hand-knotted," it must actually be knotted by hand. Many other rugs are labeled and advertised as "handmade" or "hand-tufted" rugs, including hooked and needlepoint rugs. Tufted rugs can be made by hand or machine. They are punched into a cotton fabric, which is then covered with a cotton backing, and then clipped. Machine-made rugs, as the name suggests, are made by machine, not by hand. Wall-to-wall carpeting is not as durable as a hand-knotted rug, because its backing is glued to the foundation; knotting doesn’t occur.

I like the look of antique rugs, but I don’t want to spend that much. Is there any alternative?

Currently, there are some great alternatives to authentic, antique Oriental rugs. Many rugs produced today are made specifically to emulate the look and feel of an antique for a fraction of the price. There are some unique designs from Turkey and China being made with hand-spun wool and vegetable dyes that mimic the look of antique rugs, but at new rug prices.

Questions Regarding the Construction of Oriental Rugs and Where They Are Made:

Do all rugs have fringe? Can I have it removed?

Almost all Oriental rugs do have fringe, as it is an extension of the foundation of the rug itself. However, it can be professionally bound, or it can be simply tucked under the rug and taped for those who prefer a straight finish.

Which country makes better rugs?

That is a question that cannot be answered directly; it depends on what you’re looking for in a rug. Are you looking for intricacy of design? Wool quality? Durability? Those criteria are all important considerations. Each rug-producing country has a variety of different qualities, types, and designs that they produce. Nevertheless, many collectors of old rugs will insist that the best rugs have always been and always will be Persian rugs. For more information, see our section "Why are some Oriental rugs more valuable than others?"

How do rugs get their names?

Historically, different Persian cities and regions produced rugs of different designs and qualities, and rugs got their names from the cities in which they were made. For example, a Mashad was made in Mashad, an Isfehan in Isfehan, and so on. This is still true for many Persian rugs made in Iran today.

Most rugs today are still named after the Persian designs that they are based upon, but also may include a prefix that identifies their country of origin. For example, the rug name "Indo-Kashan" describes a rug with a Kashan design made in India, whereas a Sino-Tabriz is a Tabriz design made in China. This is not always the case, however, as new designs are constantly being created and are given their own names by the wholesale companies that have them produced.

What is a vegetable dye, a chrome dye, and a synthetic dye? Which is better? Why?

Vegetable dyes are those made from ingredients found in nature. Chrome dyes are a class of synthetic dyes, which were invented in 1856. Initially, chrome dyes were not highly appealing, but changes were implemented to enhance their effects. As to which is better, it depends on what you’re looking for in a rug. Vegetable dyes typically have slight variations within each color that give "depth" to the look of the rug. Chrome dyes are now also used quite skillfully to emulate the look of vegetable dyes. Sometimes only an expert can tell the difference.

If you want more of a primitive or authentic, handcrafted look, vegetable dyes might be more appealing to you. On the other hand, if you desire a more uniform look, chrome dyes might be better. For a complete discussion of this topic, see our section "How are the fibers prepared?"

What is hand-spun wool? What is machine-spun wool?

As the name suggests, hand-spun wool involves taking the wool fibers, drawing them out, and twisting them so they can be knotted. Wool was spun by hand for thousands of years until the invention of the spinning machine. Hand-spun wool offers a more "homemade" feel, because of different tensions along the length of the strand. By contrast, machine-spun wool looks more uniform and polished. For more information, see our section "How are the fibers prepared?"

What is a kilim? Is it durable?

A kilim is a flat woven rug, very similar to a tapestry. Designs are usually geometric in nature, and colorings are less elaborate than pile rugs. A kilim can be used as a floor covering, provided it is used in a low traffic area. It can also be used as wall hangings, pillows, or as furniture upholstery. For more information, see our section "How is an Oriental rug made?"

How is it that the same rug is made in many different sizes and is still hand-knotted?

Many rugs made today are produced in factory settings where the same rug design is still hand-knotted, but is made in all of the various standard sizes. This is done in order to fulfill consumer demand and to achieve continuity in the design and colors. These rugs are known as programmed rugs and are true Oriental rugs. For more information, see our section "Decorating with Oriental Rugs."

Where do hand-knotted rugs come from?

Many countries still produce hand-knotted Oriental rugs, including China, Egypt, India, Iran, Nepal, Pakistan, Romania, Russia, and Turkey.

Questions Regarding Decorating and Using Oriental Rugs :

How do I know what type of pattern to choose?

That really depends upon whether you are working with a room that is already furnished, painted, and wallpapered or whether you are decorating a room from scratch. Of course, the less restricted you are by your current décor, the more choices in rugs you will have. Personal taste should direct you to designs of your liking, but here are a few factors to consider. If your room has fabrics with large prints, for example, you many want to choose a rug that’s design is of a smaller scale or a tone-on-tone rug, so that the rug does not compete with the fabric. Conversely, if you have solid or small print fabrics, you many consider a design with larger, more geometric motifs. When considering colors for your rug you also need to consider factors such as how the rug will be used and how much traffic it will get. Do not be concerned with trying to match the colors in your room exactly, just choose a rug that blends with the colors in your room. For more information, see our section "Decorating with Oriental Rugs."

What are some of the more formal patterns, and what makes them look formal?

Some formal patterns can be found in the Kerman, Tabriz, Sarouk, Qum, Isfehan, and Nain rugs. They look more formal because the patterns are finer and busier, usually with floral, curvilinear designs.

What are some of the more casual patterns, and what makes them look casual?

Some casual patterns can be found in the Heriz, Serapi, Bidjar, and tone-on-tone rugs (made in Tibet and Nepal). They look more casual because the patterns are not as fine and are less busy, usually with geometric designs.

Do I need a pad under my rug?

Oriental rugs should always have a pad placed between them and either the bare floor or wall-to-wall carpet. A high-quality pad will make the rug much more secure and less likely to move or slip. The best type of padding for rugs on hardwood floors is one of solid rubber, at least 1/8 inch think. If a pad is too thin and flimsy it will not hold the rug as well, especially over time. For rugs placed on wall-to-wall carpeting, a pad with some body and stiffness will be necessary, especially if the pile of the carpeting is plush and if there is heavy furniture on the rug.

How do you decide which types of rugs to use together or within close proximity to each other? Should I buy matching rugs?

Most designers advise using complementary rugs instead of matching rugs. Using different types of Orientals within close proximity can be done brilliantly, resulting in a stunning effect. Some designers recommend that when using two or more rugs in combination, they should have at least two characteristics in common: design, texture, or color. As with other issues in decorating, however, your personal taste should dictate your approach. If they look good to you, use them! For more information, see our section "Decorating with Oriental Rugs."

How do I know which size to buy?

The first thing you need to do is measure your space where a rug is needed and then see which of the standard rug sizes would best fit the space. Standard sizes for hand-knotted rugs are 2’x3’, 3’x5’, 4’x6’, 6’x9’, 8’x10’, 9’x12’, 10’x14’ and larger. Runners are mostly 2’6" wide by even widths of 6, 8,10, 12, 14, 16 feet in length, and so on. Try to determine the maximum and minimum sizes that you can use, and remember that the more flexibility you have with the size, the more choices in rugs you will have.

One common mistake is choosing a rug that is too large. Remember that an Oriental rug needs a frame around it to be seen properly. For more information, see our section "Decorating with Oriental Rugs."

How can I put a good-quality rug in a high-traffic area? Won’t it get ruined?

A good-quality Oriental rug will last decades, many last beyond 100 years! These rugs are the best choice for high traffic areas of your home as they last much longer than any other type of floor covering, including wall-to-wall carpet. The fibers used and the method of construction help to ensure the durability of Oriental rugs. For more information, see our section "Oriental Rug Basics."

Will sun fade my rug?

It is possible that the sun might fade an Oriental rug, especially if the rug is placed in an intensely bright location. However, to prevent this problem, simply rotate your rug every three months.

Can rugs be used over wall-to-wall carpet?

Yes, they can. Be sure to invest in high-quality padding to keep the rug from "walking" across the carpet. Be aware, though, that even with a good pad, if your wall-to-wall carpet is too plush and/or if your rug has heavy furniture on it, your rug may still buckle or move. Also, even with a pad, test for color-fastness by rubbing the pile with a damp white cloth before placing the rug on carpet. See "Protecting Your Investment."

What sizes do Oriental rugs come in? How do I know which colors I should have in my rug?

Standard sizes are 2’ x 3’, 3’ x 5’, 4’ x 6’, 6’ x 9’, 9’ x 10’, 10’ x 14’, and 12’ x 15’. Runners are mostly 2’ 6" by even lengths of 6', 8’, 10’, 12’, 14’, etc. If you need an unusual size or a very large size, antique rugs may be your only option. The colors you should look for in a rug depend on which colors in your décor you wish to highlight. For more information, see our section "Decorating with Oriental Rugs."

Why does my rug look different from one end to the other?

Each rug has a light side and a dark side, depending on whether one looks into the nap or with the nap. The color intensity you see from one end of the rug may be vastly different from what you see on the opposite end. This is because as a rug is woven each knot is tied and the fibers are all pulled down. This creates the nap of a rug with all of the fibers laying in the same direction. Once you have your rug in your home, examine it closely from both ends, since it may be necessary to turn it 180 degrees to ensure the best possible effect.

Questions Regarding the Care and Cleaning of Oriental Rugs:

How should I care for my rug?

Always use a high-quality padding underneath the rug whether it is on bare floor or on wall-to-wall carpeting. Vacuum it when needed, being careful to stay away from the fringe with the vacuum’s motorized beater bar. Over time this will "eat" away at the fringe. If something has spilled on your rug, blot it immediately, and then remove any remaining stain. Have your rug professionally cleaned periodically, and rotate it every three months for even sun exposure. For more information, see our section "Protecting Your Investment."

Who should clean my rug? How often should it be cleaned?

Oriental rugs should never be cleaned by commercial carpet cleaning companies who use steam or chemicals, or who claim to be able to clean them effectively in your home. These methods of cleaning can damage or destroy the rug. In-home cleaning simply cannot get it completely clean because if only the surface of the rug is cleaned, the dirt remains in its foundation. Every two to four years (or more if needed), your rug should be cleaned by someone who specializes in cleaning hand-knotted Oriental rugs. For more information, see our section "Protecting Your Investment."

What should I do if something is spilled on my rug?

Blot the spill immediately to try to prevent the spill from turning into a stain. Begin at the outer edge and work inward; never rub the spill, because that may make it spread. Solid spills should be scooped up before the area is blotted. When the spill is properly removed, be sure to end the cleaning process by brushing the nap in the nap direction of the rug, otherwise, the spot will show even because the nap in that area will be pulled up. For more information, see our section "Protecting Your Investment."

How should I care for my silk rug?

Do not place your silk rug in a high-traffic area: as an alternative, try hanging your rug or placing it in a less-traveled area. Also, keep in mind that silk rugs do not clean as well as wool rugs. For more information, see our section "Protecting Your Investment."

Does vacuuming hurt the rug?

Yes and no. An Oriental rug should be vacuumed when necessary to remove the dirt that might damage warp threads. Be careful not to vacuum against the nap of the rug, because this will push the dirt into the foundation. Also, do not vacuum the fringe with the motorized beater bar as it will "eat" the fringe over time. It is best to clean the fringes with either the vacuum’s floor attachment or just shake the dirt from them, and then vacuum the floor. Shaking and beating rugs has been done for hundreds, if not for thousands of years; however, be careful not to beat rugs too hard as it may weaken or break the warp threads, thus damaging the rug. For more information, see our section "Protecting Your Investment."

GLOSSARY

Pile: the part of the rug we walk on; with Oriental rugs, the pile is knotted to the rug’s foundation, ensuring long-lasting wear.

Warp: vertical foundation of threads stretched from one end of the loom to the other end.

Turkish knot: also called the Ghiordes or symmetrical knot, used most often in rugs made in Turkey, Western Iran, and the Caucasus.

Persian knot: also called the Sennah or asymmetrical knot, used most often in rugs made in India, Pakistan, central and western Iran, and China.

Weft: horizontal threads woven across the top of the knots.

Cartooning: process whereby artisans sketch more complex patterns on graph paper before starting to weave.

Natural dyes: also called vegetable or vegetal dyes, dyes made from substances occurring in nature.

Synthetic dyes: dyes invented in a laboratory.

Aniline dyes: a class of synthetic dyes which were not color-fast or appealing to the eye.

Chrome dyes: newer synthetic dyes which are color-fast and appealing to the eye.

Distressing: a technique in which new rugs are washed in a chemical solution to make them appear older than they actually are.

Abrash: the use of wool dyed in different batches, bearing slightly different colors.

Antique rugs: rugs made earlier than the 1930s.

Semi-antique rugs: rugs made during the 1930s and 1940s.

Modern rugs: rugs made after the 1950s.

Pazyryk carpet: the oldest surviving Oriental rug, found in 1947 in Siberia.

Flatweaves: rugs which do not have knots or pile, reminiscent of tapestries.

Horizontal Loom: portable loom used by nomadic peoples for rugweaving.

Vertical Loom: non-portable loom used by settled peoples for rugweaving, can be one of three types: village, Tabriz, and roller beam.

Kilim: flatweave rug, without knots or pile, which is reversible. Alternate spellings: kelim, gelim, ghilim.

Soumak: flatweave rug, without knots or pile, which is not reversible.

Dhurri: Indian version of the kilim.

Spinning: first step in preparing fibers for knotting; the act of drawing out and twisting fibers into threads.

Oriental rug: a handwoven or handknotted rug, made of natural fibers, renowned for its beauty and durability.

Anatolian Makri: Turkish rug known for coarse weaving, vertical panels, and either floral or tree of life motifs.

Hereke: Turkish rug characterized by short pile and open fields, with designs copied from Persian rugs.

Kula Prayer Rug: Turkish rug with a rectangular shape, higher pile, and soft wool.

Oushak: Turkish rug considered to be most appealing to Westerners because of their colorings and designs.

Kilim Anatol: Turkish flatweave rug known for its irregular appearance and geometric designs.

Bergama: primitive Turkish rug known for its bold colors and designs.

Bursa Prayer Rug: Turkish rug made of silk, considered to be of superb craftmanship.

Ghiordes Prayer Rug: Turkish rug with more muted, unichrome colors and a geometric or floral border.

Melas: small-sized Turkish rug with assymetrical designs, usually red in color.

Yuruk: rugs made by Turkish nomads, with readily apparent Persian influences.

Kazak: one of three types of Caucasian rugs, two of which are full-sized and one of which is a runner, known for red colorings.

Kuba: known for their short pile, thick-looking edges, and a variety of appealing colors, these Caucasian rugs are made by a number of different tribes.

Quality/Value of an Oriental Rug: based on knot count, quality of wool, design, colors, cost of labor, age, and hand-knotting.

Daghestan: small Caucasian rug with one of three possible designs: prayer, story, and stripe, typically used as wall hangings.

Shirvan: Caucasian rug with multiple patterns, including hearth, diamond, Lesghi Star, prayer, Akstafa, Bidjov Dragon, and floral.

Soumak: flatweave Caucasian rug characterized by dark blues, browns, and reds.

Bokhara/Tekke: quartered octagons known as guls dominate this Central Asian rug.

Aghan: made by the Ersari tribe of Central Asia, these rugs are coarsely woven and feature either the gul or prayer design.

Samarkand: delicate colors, coarse construction, and Chinese-influenced patterns are all characteristics of this Central Asian rug.

Agra: produced in India, these rugs are known for their luxurious qualities, including brilliant colors and silk thread.

Tikh: hooked knife used to clip the yarn after the knots are tied.

Daftun: a large comb used to pound the knots down tightly

Gaichi: a pair of scissors used to trim the yarn evenly

Hand-spun wool: fibers which are manipulated by hand, giving the wool a "homemade" appearance.

Machine-spun wool: fibers which are manipulated by machine, giving the wool a more polished appearance.

Silk inlaid: pieces in which real silk is used in combination with wool and cotton.

Mihrab: the arch which is symbolic of a prayer area in a mosque, found in prayer rug designs from various rugmaking areas.

Finishing: the process undertaken once knotting is completed; includes forming the fringe, creating a binding, cleaning, shearing, ironing, carving, and washing in a chemical solution.

Artificial silk: also called "artsilk" or "mercerized cotton," cotton is used in the pile when a brilliant white is desired.

Slub silk: coarse silk which comes from several unravelings of the cocoon, used only for rugs of inferior quality.

Salim: the weaver who directs the other weavers’ work, in a factory setting, where several weavers work on a single piece.

Hajji Babas: a group of Oriental rug aficionados considered to be the oldest (founded in 1932) and most prestigious rug club in America.

Selvedges: sides of a carpet.

Motif: dominant design element in a rug.

Namda: flatweave rug made of felt in India, where the design is appliqued during the felting process.

Gabba: made in India, a flatweave rug with designs embroidered onto the wool.

Jewel of Kashmir: a chain-stitched, flat-weave rug, made in India.

Drugget: a flatweave rug, made of cotton in India, considered to be a genuine Oriental rug.

Hunting Carpet: Persian-made rug depicting scenes from the hunt, embedded in a medallion pattern.

Vase Carpet: Persian-made rug featuring floral designs springing from within vases, with multiple, vibrant colors.

Medallion Carpet: Persian-made rug with several variations, including Medallion and Arabesque, Medallion and Animal, Multiple Medallion, and the Silk Medallion.

Floral Carpet: Persian-made rug featuring floral designs on the field with arabesques.

Picture Carpet: Persian-made rug with four separate compartments in the center of the field, depicting people and places.

Tabriz: Persian-made rug with many designs, including medallions, hunting scenes, garden designs, and florals with arabesques.

Malayer: Persian-made rug with a dark blue field covered with florals and arabesques.

Ardebil: Persian-made rug resonating with religious imagery, including mosque lamps; considered to be one of the world’s greatest carpets.

Persian Kilim: Persian-made rug with a floral or vase pattern, surrounded by arabesques, other flowers, and symbols.

Heriz: designs in this Persian-made rug include florals with arabesques, medallions, and geometric patterns. Alternate name: Serapi.

Bakhshayesh: similar to the Heriz designs, a large area of plain red surrounds a central medallion, with surrounding flowers.

Sarab: a long, narrow carpet with medallions on the field, with a beige background.

Teheran: several designs are found on this rug, including arabesques, hunting scenes, and hanging lamp motifs.

Hamadan: vibrant colors in the field highlight various small motifs; muted colors in the borders showcase a floral motif.

Sarouk: Persian-made rug featuring a floral pattern, with the border showcasing medallions and birds symbolizing happiness. Alternate spelling: Saruk.

Tafresh: Persian-made rug with a highly ornate and complex medallion in the center of the field.

Bijar: Persian-made rug with floral and arabesque designs; colors range from muted to vibrant. Alternate spelling: Bidjar.

Sennah: a densely woven floral pattern characterizes these Persian-made rugs, so much so that it is often difficult to distinguish a dominant color. Alternate spelling: Senneh.

Ferahan: florals dominate both the field and borders of these Persian-made rugs, with various degrees of elaborateness and density.

Mir: multiple borders and pear-shaped figures make this Persian-made carpet easy to identify.

Seraband: a central medallion surrounded by complementary figures highlights this Persian-made rug; multiple borders frame the field. Alternate spelling: Serabend.

Qum: this Persian-made rug features medallions and floral designs, with a range of colors and intensities. Alternate spellings: Kum, Ghum, Ghom, Qoom.

Kashan: complex and intricate patterns abound on these Persian-made rugs, including picture designs, medallions, florals with arabesques, medallions with animals, and prayer motifs.

Isfahan: brilliant and various colors complement several patterns on these Persian-made rugs, including florals with arabesques, prayer motifs, medallions, tree of life (garden motif), and florals.

Nain: a wide range of colors and intensities highlight the prayer motif and medallion design of these Persian-made rugs.

Abadeh: multiple borders of various widths frame a field filled with geometric shapes in this Persian-made rug.

Joshagan: two designs dominate these Persian-made rugs: a floral motif and an unusual motif featuring the Arabic number 2.

Bakhtiari: several designs dominate these Persian-made rugs, including medallion, garden, and a star motif, complemented by brilliant colors.

Yalameh: these Persian-made rugs showcase geometric designs, sometimes divided into separate compartments, and medallions. Alternate spelling: Yallahmeh.

Shiraz: two designs dominate this Persian-made rug: several hexagons with tarantulas inside and stripes covering the entire field.

Kashgai: hexagons, medallions, arabesques, and pear shapes are found in the fields of these Persian-made rugs; multiple borders are intricately decorated.

Alternate spellings: Kashkai, Gashqai, Quashqa’i.

Kerman: dominant designs of these Persian-made rugs include florals, picture motifs, medallions, pear shapes, and vase motifs. Alternate spelling: Kirman.

Yazd: Persian-made rugs with multiple borders and vivid colors.

Afshar: Persian-made rugs with several designs, including multi-colored motifs, pear-shaped motifs, medallions with florals, and animal motifs.

Turkoman: octagonal shapes and prayer rugs characterize these Persian-made rugs; borders are often densely decorated.

Mud: Persian-made rugs with intricate geometric shapes and florals; multiple borders surround the field. Alternate spellings: Muhd, Mood.

Mashhad: multiple designs can be found on these Persian-made rugs, including medallions, vase motifs, florals, and arabesques; these designs are densely placed in the field. Alternate spelling: Meshed.

Baluchi: Persian-made rugs with prayer, animal, and floral motifs on the field.

Alternative spellings: Balouchi, Beloutchi.

Esthetic Design: Chinese-made rug, which is ornate and formal, containing a central medallion and surrounding flowers.

Mahal: Persian-made rugs characterized by high-quality, various colors, and interesting designs. Another name: Meshkabad.

Peking Design: Chinese-made rug with several patterns, including the Antique Design, Antique Finished, Brocade, Bronze, Bird and Flower, Figure, and Tendril.

Floral: Chinese-made rug created in the 1920s with no borders and seemingly random floral designs.

Self-Tone Embossed: Chinese-made rug which has a monochromatic background and designs either embossed or carved into the rug.

Minzu: Chinese-made rug created in the mid-1970s to recognize the diversity of the Chinese people; as such, it has designs inspired by Chinese minorities.

Persian Design rugs: made in any rug-producing country, these rugs may be either handknotted or machine-made, using a pattern that once originated in Persia.

Candlewick Embroidery: technique used in colonial America to raise woven fabrics, typically bedspreads; gave rise to tufted rugs and carpets.

Tufted Rugs: either handknotted or machine-made, these rugs are punched into a cotton fabric, which is then covered with a cotton backing and clipped.

Savonnerie rugs: rugs commissioned by Henry IV, initially for royalty in France, beginning in 1608.

Aubusson rugs: began to fulfill consumer demand for rugs in France; quicker to make than Savonneries, because of smaller size.

Factory loom: vertical looms used in factory settings, with multiple weavers per rug.

Programmed rugs: true Oriental rugs produced in multiple sizes, including runners, based on consumer demand for any given rug company’s bestsellers.

Knot count/line count/raj count: criteria used to judge quality for rugs made in different countries.

Kurk: the best wool used in Oriental rugs, made from lamb’s wool.