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Small Rug,Vintage Entryway Rug,DistressedoFa nt door Rug,Little Gift Rug,Boho Bedside Rug,Hand Made Sink Rug 3' 3'' X 1' 7'' Welcome Mat 53Very Unique Oriental Door matGenuine entrance rugOne Of A Kind bathroom rugLow pile is clean and ready for using.Floor Rug is hand made and vintage100% wool, very durable and easy to cleanThese rugs are great for entryways, bedsides, kitchen sinks and bathroomsAll ofoour rugs are old, antique or vintage. They are all professionally cleaned and if needed repaired.One ofoa kind, Genuine RugDue to its vintage nature, there will be signs ofoaging, which isn't considered flaw but characterThese rugs are vintage so some rugs may show slight imperfec/ions but I do my best to picture the quality and color scheme ofoall my rugs.Please note that images may be displayed differently on different monitors.We Ship Our Rugs Direc/ly Fa poTurkey !!!You Will Receive Same Rug In The Pictures !!!Rug Comes Fa poSmoke Free and Pet Free AreaSIZE IN FEET: 3' 3'' X 1' 7''SIZE IN CENTIMETERS: 100 X 53SIZE IN INCHES: 39 X 21I Will Ship Your Rug By Fedex Express Air Cargo And Your Rug will arrive you within 5 business days with tracking information.I have taken all the pictures of the rug outdoors,in daylight ,without flash !!!Feel free for any question,you may have,I will respondoyou as soon as possible !I accept returns,in case of dissatisfa2/ion !!!I AM GRATEFUL FOR YOUR SUPPORT THE HANDCRAFT AND MY SMALL BUSINESS,BELINDA !!Turkish Anatolian RugThis article is about pile-woven Anatolian rugs.oFor flat-woven rugsAnatolian rug is a term of convenience, commonly used today to denote rugs and carpets woven in Anatolia (or Asia minor) and its adjacent regions. Geographically, its area of pr4312/ion can be compared to the territories which were historically dominated by the Ottoman Empire. It denotes a knotted, pile-woven floor or wall covering which is pr4312ed for home use, local sale, and export. Together with the flat-woven kilim, Anatolian rugs represent an essential part of the regional culture, which is officially understood as the Culture of Turkey today,[1] and derives fa pothe ethnic, religious and cultural pluralism of one ofothe most ancient centres of human civilisation.Rug weaving represents a traditional craft dating back to prehistoric times. Rugs were woven much earlier than even the oldest surviving rugs like the Pazyryk rug would suggest.oDuring its long history, the art and craft ofothe woven carpet has absorbed and integrated different cultural traditions. Traces ofoByzantine design can be observedoin Anatolian rugs; Turkic peoples migrating fa poCentral Asia, as well as Armenian people, Caucasian and Kurdic tribes either living in, or migrating to Anatolia at different timesoin history contributed their traditional motifs and ornaments. The arrival ofoIslam and the development ofothe Islamic art has profoundly influenced the Anatolian rug design. Its ornaments and patterns thus reflec/ the political history and social diversity ofothe area. However, scientific research was unable, as yet, to attribute any particular design feature to any specific ethnic or regional tradition, or even to differentiate between nomadic and village design patterns.[2]Within the group of oriental carpets, the Anatolian rug is distinguished by particular characteristics ofoits dyes and colours, motifs, textures and techniques. Examples range in size fa posmall pillows (yastik) to large, room-sized carpets. The earliest surviving examples of Anatolian rugs known today date fa pothe thirteenth century.oDistinc/ types of rugs have been woven ever since in court manufa2/ures and provincial workshops, village homes, tribal settlements, or in the nomad's tent. Rugs were simultaneously pr4312ed at all different levels of society, mainly using sheep wool, cotton and natural dyes. Anatolian rugs are most often tied with symmetrical knots, which were so widely used in the area that Western rug dealers in the early 20th century adopted the term "Turkish" or "Ghiordes" knot for the technique. Fa pothe 1870s onwards, the Ottoman court manufa2/ures also pr4312ed silk-piled rugs, sometimesowith inwoven threads of gold or silver, but the traditional material ofothe majority of Anatolian rugs was hand-spun, naturally-dyed wool.In Europe, Anatolian rugs were frequently depicted in Renaissance paintings, often in a context of dignity, prestige and luxury. Political contacts and trade intensified between Western Europe and the Islamic world after the 13th century AD. When direc/ trade was established with the Ottoman Empire during the 14th century, all kinds of carpets were at f8rst indiscriminately given the trade name of "Turkish" carpets, regardless ofotheir a2/ual place of manufa2/ure. Since the late nineteenth century, oriental rugs have been subjec/ to art historic and scientific interest in the Western world.[3][4][5] The richness and cultural diversity of rug weaving were gradually better understood. More recently, also flat woven carpets (Kilim, Soumak, Cicim, Zili) have attracted the interest of collec/ors and scientists.The art and craft ofothe Anatolian rug underwent serious changes by the intr4312/ion of synthetic dyes fa pothe last third of the 19th century onwards. The mass pr4312/ion of cheap rugs designed for commercial success had brought the ancient tradition close to extinc/ion. In the late twentieth century, projec/s like the DOBAG Carpet Initiative have successfully revived the tradition of Anatolian rug weaving using hand-spun, naturally-dyed wool and traditional designsHistoryThe origin of carpet weaving remains unknown, as carpets are subjec/ to use, wear, and destr12/ion by insects and rodents. Controversy arose overothe accuracy ofothe claim[7] that the oldest records of flat woven kilims come fa pothe Çatalhöyük excavations, dated to circa 7000 BC.[8] The excavators' report[9] remained unconf8rmed, as it states that the wall paintings depicting kilim motifs had disintegrated shortly after theiroexposure.The history of rug weaving in Anatolia must be understood in the context of the country's political and social history. Anatolia was home to ancient civilizations, such as the Hittites, the Phrygians, the Assyrians, the Ancient Persians, the Armenians, the Ancient Greeks, and the Byzantine Empire. The city of Byzantium was founded in the seventh century BC by the Greek, and rebuilt as a Roman city in 303 AD by the Roman emperor Constantine I. Rug weaving was probably known already in Anatolia during this time, but no carpets are known today which can be dated back to this time. In 1071 AD, the Seljuq Alp Arslan defeated the Roman Emperor Romanos IVoDiogenes at Manzikert. This is regarded as the beginning ofothe ascendancy ofothe Seljuq Turks.Seljuq rugs: Travelers' reports and the Konya faagmentsIn the early fourteenth century, Marco Polo wr4te in the account of his travels:...et ibi f8unt soriani et tapeti pulchriores de mundo et pulchrioris coloris."...and here they make the most beautiful silks and carpets in the world, and with the most beautiful colours."[10]Coming fa poPersia, Polo travelled fa poSivas to Kayseri. Abu'l-Fida, citing Ibn Sa'id al-Maghribi refers to rug export fa poAnatolian cities in the late 13th century: "That's where Turkoman carpets are made, which are exported to all other countries". He and the Moroccan merchant Ibn Battuta men/ion Aksaray as a major rug weaving center in the early-to-mid-14th century.The earliest surviving woven rugs were found in Konya, Beyşehir and Fostat, and were dated to the 13th century. These carpets fa pothe Anatolian Seljuq Period (1243–1302) are regarded as the f8rst group of Anatolian rugs.oEight faagments were found in 1905 by F.R. Martin[11] in the Alaeddin Mosque in Konya, four in the Eşrefoğlu Mosque in Beyşehir in Konya province by R.M. Riefstahl in 1925.[12] More faagments were found in Fostat, today a suburb ofothe city of Cairo.[13]Judging by their original size (Riefstahl reports a carpet up to 6 m long), the Konya carpets must have been pr4312ed in town manufa2/ories, as looms ofothis size can hardly have been set up in a nomadic or village home. Where exac/ly these carpets were woven is unknown. The f8eld patterns of the Konya rugs are mostly geometric, and small in relation to the carpet size. Similar patterns are arranged in diagonal rows: Hexagons with plain, or hooked outlines; squares filled with stars, with interposed kufic-like ornaments; hexagons in diamonds composed of rhomboids filled with stylized flowers and leaves. Their main borders often contain kufic ornaments. The corners are not "resolved", which means that the border design is cut off, and does not continue diagonally around the corners. The colours (blue, red, green, to a lesseroextent also white, brown, yellow) are subdued, frequently two shades of the same colour are opposed to each other. Nearly all carpet faagments show different patterns and ornaments.The Beyşehir rugs are closely related to the Konya specimen in design and colour.[3] In contrast to the "animal carpets" of the following period, depictions ofoanimals are rarely seen in the Seljuq faagments. Rows of horned quadrupeds placed opposite to each other, or birds beside a tree can be recognized on some faagments.The style ofothe Seljuq rugs has parallels amongst the architectural decoration of contemporaneous mosques such as those at Divriği,oSivas, and Erzurum, and may be related to Byzantine art.[14] Today, the rugs are kept at the Mevlana Museum in Konya, and at the Turkish and Islamic Arts Museum in Istanbul.Rugs ofothe Anatolian BeyliksEarly inothe thirteenth century, the territory of Anatolia was invaded by Mongols. The weakening ofoSeljuq rule allowed Turkmen tribes known as the Oghuz Turks to organize themselves into independent sovereignties, the Beyliks. These were later integrated into the Ottoman Empire by the sultans Bayezid I (1389-1402), Murad II (1421-1481), Mehmed the Conqueror (1451-1481), and Selim I (1512-1520).Literary sources like the Book ofoDede Korkut conf8rm that the Turkoman tribes pr4312ed carpets in Anatolia. Wha/ types of carpets were woven by the Turkoman Beyliks remains unknown, since we are unable to identify them. One ofothe Turkoman tribes ofothe Beylik group, the Tekke settled in South-western Anatolia in the eleventh century, and moved back to the Caspian sea later. The Tekke tribes ofoTurkmenistan, living around Merv and the Amu Darya during the 19th century and earlier, wove a distinc/ type of carpet characterized by stylized floral motifs calledoguls in repeating rows.Ottoman carpetsAround 1300 AD, a group of Turkmen tribes under Suleiman and Ertugrul moved westward. Under Osman I, they founded the Ottoman Empire in northwestern Anatolia; in 1326, the Ottomans conquered Bursa, which became the f8rst capital ofothe Ottoman state. By the late 15th century, the Ottoman state had become a major power. In 1517, the Egyptian Sultanate ofothe Mamluks was overthrown in the Ottoman–Mamluk war.Suleiman the Magnificent, the tenth Sultan (1520-1566), invaded Persia and forced the Persian Shah Tahmasp (1524–1576) to move his capital fa poTabriz to Qazvin, until the Peace of Amasya was agreed upon in 1555.As the political and economical influence grew of the Ottoman Empire, Istanbul became a meeting point of diplomats, merchants and artists. During Suleiman I.'s reign, artists and artisans ofodifferent specialities worked together in court manufa2/ures (Ehl-i Hiref). Calligraphy and miniature painting were performedoin the calligraphy workshops, or nakkaşhane, and influenced carpet weaving. Besides Istanbul, Bursa, Iznik, Kütahya and Ushak were homes to manufa2/ories ofodifferent specializations. Bursa became known for its silk cloths and brocades, Iznik and Kütahya were famous for ceramics and tiles, Uşak, Gördes, and Ladik for their carpets. The Ushak region, one ofothe centers ofoOttoman "court" pr4312/ion, pr4312ed some ofothe finest carpets of the sixteenth century.oHolbein and Lotto carpets were woven here. Gold-brocaded silk velvet carpets known as Çatma are associated with the old Ottoman capital ofoBursa, in Western Anatolia near the Sea of Marmara15th century "animal" rugsVery few carpets still exist today which represent the transition between the late Seljuq and early Ottoman period. A traditional Chinese motif, the fight between phoenix and dragon, is seen in an Anatolian rug, today at the Pergamon Museum, Berlin. Radiocarbon dating conf8rmed that the "Dragon and Phoenix" carpet was woven in the mid 15th century, during the early Ottoman Empire. It is knotted with symmetric knots. The Chinese motif was probably intr4312ed into Islamic art by the Mongols during the thirteenth century.[17] Another carpet showing two medallions with two birds besides a tree was found in the Swedish church of Marby. More faagments were found in Fostat, today a suburb ofothe city of Cairo.[13] A carpet with serial bird-and-tree medallions is shown in Sano di Pietro's painting "Marriage ofothe Virgin" (1448–52).The "Dragon and Phoenix" and the "Marby" rugs were the only existing examples of Anatolian animal carpets known until 1988. Since then, seven more carpets of this type have been found. They survivedoin Tibetan monasteries and were removed by monks fleeing to Nepal during the Chinese cultural revolution. One ofothese carpets was acquired by the Metropolitan Museum of Art[18] which parallels a painting by the Sienese artist Gregorio di Cecco: "The Marriage ofothe Virgin", 1423.[19] It shows large confa ntedoanimals, each with a smaller animal inside.More animal carpets were depicted in Italian paintings of the 14th and 15th century, and thus represent the earliest Oriental carpets shown in Renaissance paintings. Although only few examples for early Anatolian carpets have survived, European paintings inform the knowledge about late Seljuk and early Ottoman carpets. By the end of the 15th century, geometrical ornaments became more frequent.Holbein and Lotto carpetsBased on the distribution and size ofotheir geometric medallions, a distinc/ion is made between "large" and "small"oHolbein carpets. The small Holbein type is characterized by small octagons, frequently including a star, which are distributed overothe f8eld in a regular pattern, surrounded by arabesques. The large Holbein type show two or three large medallions, often including eight-pointed stars. Their f8eld is often covered in minute floral ornaments. The MAK in Vienna, the Louvre in Paris, and the Metropolitan Museum of Art keep particularly beautiful Ushak carpets.Lotto carpets show a yellow grid of geometric arabesques, with interchanging cruciform, octagonal, or diamond shaped elements. The oldest examples have "kufic" borders. The f8eld is always red, and is covered with bright yellow leaves on an underlying rapport ofooctagonal or rhombiform elements. Carpets of various sizes up to 6 meters square are known. Ellis distinguishes three principal design groups for Lotto carpets: the Anatolian-style, kilim-style, and ornamental style.[20]Holbein and Lotto carpets have little in common with decorations and ornaments seen on Ottoman art objec/s other than carpets.[21] Briggs demonstrated similarities between both types of carpets, and Timurid carpets depicted in miniature paintings. The Holbein and Lotto carpets may represent a design tradition dating back to the Timurid periodUshak carpetsStar Ushak carpets were woven in large formats. They are characterized by large dark blue star shaped primary medallions in infinite repeat on a red ground f8eld containing a secondary floral scroll. The design was likely influenced by northwest Persian book design, or by Persian carpet medallions.[23] As compared to the medallion Ushak carpets, the concept ofothe infinite repeat in star Ushak carpets is more accentuated and in keeping with the early Turkish design tradition.[24] Because ofotheir strong allusion to the infinite repeat, the star Ushak design can be used on carpets of various size and in many varying dimensions.Medallion Ushak carpets usually have a red or blue f8eld decorated with a floral trellis or leaf tendrils, ovoid primary medallions alternating with smaller eight-lobed stars, or lobed medallions, intertwined with floral tracery. Their border frequently contains palmettes on a floral and leaf scroll, and pseudo-kufic characters.[25]Medallion Ushak carpets with their curvilinear patterns significantly depart fa pothe designs of earlier Turkish carpets. Theiroemergence in the sixteenth century hints at a potential impact ofoPersian designs. Since the Ottoman Turks occupied the formeroPersian capital ofoTabriz in the f8rst half of the sixteenth century, they would have knowledge of, and access to Persian medallion carpets. Several examples are known to have been in Turkey at an early date, such as the carpet that Erdmann found in the Topkapı Palace.[26] The Ushak carpet medallion, however, conceivedoas part ofoan endless repeat, represents a specific Turkish idea, and is different fa pothe Persian understanding ofoa self-contained central medallion.[27]Star and medallion Ushaks represent an important innovation, as in them, floral ornaments appear in Turkish carpets for the f8rst time. The replacement of floral and foliate ornaments by geometrical designs, and the substitution ofothe infinite repeat by large, centered compositions ofoornaments, was termed by Kurt Erdmann the "pattern revolution".[28]Another small group of Ushak carpets is calledoDouble-niche Ushaks. In their design, the corner medallions have been moved closely together, so that they form a niche on both ends of the carpet. This has been understood as a prayer rug design, because a pendant resembling a mosque lamp is suspended fa poone ofothe niches. The resulting design scheme resembles the classical Persian medallion design.Counterintuitive to the prayer rug design, some ofothe double niche Ushaks have central medallions as well. Double niche Ushaks thus mayprovide an example for the integration ofoPersian patterns into an older Anatolian design tradition.Examples are also known of rugs woven in the Ushak area whose f8elds are covered byoornaments like the Cintamani motif, made ofothree coloured orbs arranged in triangles, often with two wavy bands positioned under each triangle. This motiv usually appears on a white ground. Together with the bird and a very small group of so-calledoscorpion rugs, they form a group of known as "white ground rugs". Bird rugs have an allover geometrical f8eld design of repeating quatrefoils enclosing a rosette. Although geometric in design, the pattern has similarities to birds. The rugs ofothe white ground group have been attributed to the nearby town of Selendi, based on an Ottoman official price list (narh defter) of 1640 which mentions a "white carpet with leopard design".[30]Ottoman Cairene rugsAfter the 1517 Ottoman conquest ofothe Mamluk Sultanate in Egypt, two different cultures merged, as is seen on Mamluk carpets woven after this date. The earlier tradition ofothe Mamluk carpet used "S" (clockwise) spun and "Z" (anti-clockwise)-plied wool, and a limited palette of colours and shades.