Carpet Wiki

When and where the manufacturing of carpets began is uncertain, but it is clear that it started in prehistoric times. It is entirely natural that nomads in ancient times needed carpets, both as protection against the cold and as decoration in their tents.
The patterns of the carpets from that time were fairly simple with repeated geometric or stylized motifs.
On several reliefs over 2,000 years old, carpets are depicted, for example, on a relief in Persepolis, which shows envoys from foreign realms delivering carpets as a gift to the Persian king. Ancient writings also testify that knotted carpets were present both in palaces and temples in most Oriental countries.
A knotted carpet, about 2,500 years old, was found at an excavation site in the Pazyryk valley on the border with Mongolia. This carpet, called the Gorny-Altai carpet.
Among known, still preserved carpets, are the 13th-century carpets in the Ala-ed-din Mosque in Konia and the Lesser Asia from the 14th century. The latter can be viewed in the State Historical Museum in Stockholm.
During the reign of Shah Abbas in Persia at the end of the 16th century, there was a significant development in the area. This ruler supported and encouraged carpet manufacturing, organized his own large so-called court knotteries, and acquired noble artists who composed wonderful floral and figural patterns that are knotted in the same way even today, nearly 400 years later.
Shah Abbas' father, Shah Tahmasp, had the famous Ardabil carpet made, which is now in the Victoria and Albert Museum in London and is considered one of the world's most magnificent carpets. This carpet, which is approximately 5.30X10.50 m, is quite densely knotted, has about 32,500,000 knots, warp and weft are of silk, the knotting technique is Senneh, that is, the Persian knot. It is worth mentioning that it took three years for five skilled knotters to complete the carpet.
Other carpets from this time are a magnificent silk carpet belonging to the Swedish royal house, and the so-called coronation carpet in Copenhagen.
The quality, the charm in the pattern drawing, the living color shading, and the noble execution characterize these carpets and make them works of art of the highest class. After Shah Abbas' death, the qualities worsened, and the decline continued progressively. It can be said that the standard of carpet manufacturing was highly dependent on the reigning prince's interest. The constant feuds and wars and the frequent throne changes hindered the monarchs from nurturing this industry.
From the end of the 19th century, the demand for oriental carpets increased sharply, and exports to other parts of the world grew significantly. In Turkey, an entirely new carpet manufacturing was organized in sizes more suitable for today's needs. Persian patterns were copied, the knotting was coarse, and the patterns and colors became stereotypical. These new carpets were called Oushak, Eskisher, Sparta, Ghiordes, etc.
In Persia, also at this time, an English business house began organizing knotteries both in Tabriz and in Sultanabad, now Arak. Later, other European and American companies also started production in various places in Persia. This reorganized production brought new qualities and patterns, and above all, standardized the sizes to certain dimensions more suitable for Europe and America.
For the continued Persian production after World War II, some new problems have arisen. The industry has expanded enormously and absorbed both labor and raw materials. Wages have risen, and with them, the standard of living. Wool prices are now also a more significant factor to consider than before due to the industry's increased demand for wool.
All this has forced the knotteries to rationalize their production, to set up their production in a limited number of differentiated qualities both in terms of density and wool quality, and to spin and dye the yarn in larger quantities at a time, in cases where spinning and dyeing do not occur at the knotteries, to thereby cheapen the transports. Today, however, carpets are still made in all qualities, from simple, affordable so-called bazaar carpets to the highest qualities. For example, in Tabriz or Kirman, you can order any size, any colors, or any pattern. And even today, one can buy wonderful qualities with a knot count exceeding one million knots per square meter and with the world's finest wool quality.
Among the nomads and in the countryside, carpets are still made in the traditional patterns and colors; the manufacturers aim to tie as good carpets as their ancestors did over a thousand years ago with the same simple tools as they. There, the tradition and sense for colors and pattern composition are preserved.
Finally, it must be emphatically pointed out that all purely oriental carpets are always knotted by hand; any talk of machine manufacturing is merely slander. This handiwork is too valuable for the Oriental to be falsified.
Different types of hand-knotted carpets have different lengths of pile. The function of a carpet can be sound and heat insulating, but also cooling, creating a soft surface, serving as decoration and status symbol, being a liturgical object (prayer mat), or protecting the underlying surface. Carpets come in all sizes and are usually rectangular, but other shapes also occur, such as round. Usually, they lie freely directly on the floor, but there are also carpets that are attached to the substrate and others, so-called wall-to-wall carpets that are cut based on the room's shape and cover the entire floor area.

The material in an Oriental carpet mainly consists of wool or silk along with cotton. Linen and jute are only used to a lesser extent.
The pile is made of wool from sheep, goats, and camels or of silk. The warp can be made of wool, cattle hair, or a mix of both, cotton, silk, linen, and in India even jute. The weft is made of the same material as the warp yarns.

Sheep Wool. The Asian fat-tailed sheep is widely famous for its good wool. However, the qualities vary quite a bit depending on many different reasons. Climate and feed are some; for instance, sheep that live in high-altitude mountain regions, where the climate is colder, have springier and stronger wool than sheep that live in warmer and lower-lying areas. Additionally, not only can wool from different sheep vary in quality, but there is also quite a significant quality difference in the wool from different body parts of the same sheep. The wool of the Asian fat-tailed sheep is particularly suitable for carpet yarn. It is a mix of fairly coarse, long, and shiny guard hairs and finer, shorter, and softer underwool. The guard hairs give the yarn the necessary durability and shine, but the underwool is necessary for the yarn's spinnability. Wool with predominantly soft, fine-fibred underwool is best suited for clothing but not at all for carpets. For these, one must have a coarser wool that for the pile satisfies high demands on elasticity, fullness, durability, and shine, i.e., wool with a majority of long guard hairs. For the weft yarns, however, the high shine is not necessary, nor are the same high demands on durability, as the yarn here is bound by the warp. Therefore, for the weft yarn, one can use a coarse and relatively short wool of a lower quality than for the knots.

The best sheep wool in Persia comes from Kurdistan in the western and from Khorassan in the northeastern part of the country. The sheep are usually shorn once a year, but sometimes twice. A particularly fine wool blend is obtained by mixing the spring wool with lamb's wool, i.e., the wool obtained in the fall from lambs born in the spring of the same year. This blend is used only for extra fine carpet qualities.

Of course, there is comparable wool quality in other oriental countries. Turkey, the Caucasus, Turkestan, India, and China produce wool fully on par with the Persian.

Goat hair (cattle hair) is not used to any great extent for pile material but mostly for warp and weft yarns and for edge stitching on the long sides of the carpets. Camel wool is now extremely rare. The camel hair brown colors, for example, in Hamadan carpets, are generally dyed sheep wool. Camel hair wool has the disadvantage that in warm and humid weather, it develops a rather unpleasant smell. Silk is produced in the areas around the Caspian Sea, which has a subtropical climate, and of course also in China and Turkey. It is used both for pile and for warp and weft when it comes to noble and densely knotted carpets.

In the newer production, artificial silk also occurs. However, this material is not as durable as genuine silk, especially as artificial silk loses in appearance after dirt and washing.

Cotton is now quite commonly grown in Persia and spinning mills are located in Tabriz, Qazvin, Mazanderan, Isfahan, Yazd, and Kashan, among other places. It is mostly used for warp and weft yarns.

Linen is not particularly common as warp and weft yarns in Oriental carpets. In Turkestan, India, and sometimes even in Persia, one can see carpets that have warp yarns of this material, but then it usually concerns particularly tightly knotted carpets that need to have a thin warp.

Jute was used in the past as warp material in Indian carpets, but not to a great extent. The material is hard and brittle and does not provide great durability.

After shearing from the sheep, the wool is cleaned and sorted into different qualities depending on what it will be used for, after which it is washed in streams or other waterways, and dried and bleached in the open air.

In the Orient, practically every family had its own recipe for dyeing yarn in different colors, and these recipes have been passed down from generation to generation. They are based on plant and animal dyes, and these are naturally the best. They give the yarn a natural luster.

Here are a few examples of the most common plant dye materials:
Blue: Indigo
Red: Madder root, kermes, and cochineal (dried scale insects)
Yellow: Vine leaves, pomegranate peel, saffron
Brown: Walnut shells, oak bark
Green: Indigo + vine leaves or pomegranate peel
Black: Indigo + henna, iron oxide (vinegar and iron filings)
Orange: Henna + madder
Cream: Walnut shells, pomegranate
In addition to those listed, there are countless mixtures and variations for dark and light shades, and the way the yarns are pre-treated also varies.

Dyeing in a certain color can be done in one day in one place, while the same color in another place and by other methods can take three or four days. In the old method of dyeing with indigo, a single dyeing could take no less than fifteen days.

The different carpet districts and countries typically have the following main colors.
Turkestan, Hamadan, Serabend, and Heriz: Madder red. Turkey, Meshed, and Birjand: Cochineal red. Caucasus, China, and nomads: Blue. Kirman, Ghom, Isfahan, and Nain: Cream or white. Arak: Pink. Many large districts, including Tabriz, do not have pronounced main colors but use all.

There are four different types of weaving looms, three upright and one horizontal. As it is difficult to obtain sufficiently strong timber for the looms, some may be somewhat flimsy in construction. This sometimes adversely affects carpets, causing them to become crooked or even blistered, depending on whether the crossbars have sagged during work due to the tension of the warp or the weight of the carpet. Nowadays, looms are reinforced with iron fittings at the most vulnerable points, so such defects in carpets are more rare. However, minor deviations from straight lines must be tolerated, as a handcrafted carpet cannot be as precise as a machine-made one.

The four types of looms are:

The common upright loom, where the warp is stretched between the upper and lower crossbars. With this type, one can tie a carpet as long as the distance between the bars. During work, the knotters must gradually raise their seating board.

The Tabriz type (upright). In this, the warp goes around both crossbars so that it lies on both the front and back of the loom. The lower bar can be loosened or tightened with the help of wooden wedges. With this type, one can make a carpet as long as twice the distance between the crossbars. The knotters do not need to raise their seating boards, as the lower bar can be loosened and the finished part of the carpet moved downwards and behind. This type of loom is used throughout northwestern and central Persia.

The Kirman type or roller bar (upright end). This type allows warping a certain number of meters of warp yarn, depending on how long a carpet one intends to make, on the upper bar and tying the other end of the warp to the lower one. Both crossbars are rotatable and equipped with a locking mechanism. As soon as the finished part of the carpet is ready, it is rolled up on the lower bar. With this type, lengths of up to ten, twelve meters and more can be produced. Such lengths cannot be produced with the two previous types of looms. This loom's strong tensioning device also ensures that the carpets are very even and smooth.

The Nomad type (horizontal). In its simplicity, the warp is stretched between two sturdy bars, nailed to the ground. Nomads often change grazing sites for their animals, and hence they must have a type of loom that is easy to set up and just as easy to take down and transport to the next dwelling site.
Nomads' carpets are therefore also small and elongated. It is quite amusing to see them set up a warp about 100 cm wide but up to 500 cm long to tie three to four small carpets in a row on this warp.
Another horizontal loom type used more in the rationalized carpet production in the Caucasus and in some parts of Turkestan. This type is largely reminiscent of our Swedish hand loom type.

Patterns
The pattern forms of Oriental carpets are fascinating and imaginative due to their great variety. Different areas have developed their pattern types and forms in different ways. Geometric motifs often occur together with other motifs, but in some areas, they have been purified and can be characteristic of manufacturing sites.
The most common patterns are those based on floral depictions, but these patterns have been transformed and stylized so that different types have emerged.
The composition of the pattern thus depends on the use of the carpet and follows firmly established rules. Based on the pattern of the central field, four diverging types can be distinguished.
1- Medallion motif.
2- Over patterning or repeated motifs.
3- Figural motifs.
4- Niche and tree motifs.
The carpets produced in the Orient today are knotted in the same way as they were a thousand years ago. When some people think that Oriental carpets are machine-made, it is solely due to ignorance; they apparently cannot imagine anything other than that such an even and smooth carpet must be machine-made. A contributing factor to this is that machine-made carpets copy Oriental patterns.
The knitter's tools are simple and homemade. The yarn is cut off with a knife after the knot is laid. The newly knotted parts are combed out with a heavy steel comb before the first rough clipping of the carpet while it is still in the loom. For the final trimming when the carpet is removed from the loom, scissors and a sharp edging iron are used.

The carpets that are produced in the Orient today are knotted, as previously mentioned, in the same way as they were a thousand years ago. When some people believe that Oriental carpets are machine-made, it is solely due to ignorance; they apparently cannot imagine anything other than that such an even and smooth carpet must have been machine-made. A contributing factor to this is that machine-made carpets of, for example, Wilton or Axminster type copy Oriental patterns. Many cannot distinguish these from the real hand-knotted carpets. Some Oriental carpets are so inexpensive that many solely for that reason have difficulty believing that they are handmade. However, anyone who has traveled in the Orient and had the opportunity to see a carpet being knotted can attest to the handiwork. The knitter's tools are simple and homemade. The yarn is cut off with a knife after the knot is made. In Tabriz, knives equipped with a hook to catch the warp threads are used. For compacting the weft yarn and rows of knots, a heavy iron comb with a handle is used. The newly knotted parts are combed out with a heavy steel comb before the first rough clipping of the carpet while it is still in the loom. For fine-tuning when the carpet is removed from the loom, scissors and a sharp edge iron are used.

There are two types of knots, the Turkish Ghiordes knot, also called Turkbaff, and the Persian Senneh knot, also called Farsibaff. The difference between these is that the Ghiordes knot ties around both warp threads, while the Senneh knot ties around one warp thread and wraps loosely around the other. The difference is clearly seen in the sketches on the next page. Both techniques have their advantages. Ghiordes is easier to tie for coarse carpets, while Senneh makes the carpet more flexible, gives a more elegant surface, and more finely drawn pattern contours.
Knotting around a single warp thread is very rare but occurs occasionally, including in some Spanish carpets.
The technique of knotting over four warp threads instead of usually over two began to be applied in northeastern Persia and parts of Turkestan. Unfortunately, this technique has spread more and more. The disadvantages of this technique are primarily that it makes the carpets less durable and sometimes, in the case of some simpler qualities, gives them a sparsely rugged surface. But for the manufacturer, the work goes faster when he only needs to tie half the number of knots compared to knotting over two warp threads. The technique makes the carpet cheaper but also worsens it.
The knotting can also be performed on so-called double warp. Here, a weft thread, suitably tensioned, is threaded in the usual way between the warp threads, but the next weft thread is laid more slack. This causes one warp thread to lie behind or under the other. The knot thus lies on the side, and the carpet's density increases somewhat.
The warp is changed, i.e., the warp is shifted, after each weft. The number of weft threads is usually two between each row of knots. In the carpet types Kirman and Bidjar, however, there are three, and an even larger number of wefts, four to six, are found in the carpets from Khorassan and Kazak as well as the East Turkestan Chotan, Kashgar, Yarkand, and Samarkand. The latter technique gives the back of the carpet a cross-ribbed appearance. It also occurs that this larger number of wefts is only laid every fourth or sixth row of knots. Senneh, Hamadan, Karaja, and some of the Bakhtiari carpets have only one weft thread between each row of knots. This technique is also reflected on the back of the carpet, where the warp threads are visible every other time the weft leaves it uncovered; the back appears speckled. To determine if a carpet is knotted with Ghiordes or Senneh knot, fold the carpet back and look at the base. If it is a Ghiordes knot, the strict transverse wrapping (knot) and the two forward-stretched yarn ends are noticeable. If it is a Senneh knot, this wrap is not so clearly marked, the yarn ends stretch somewhat to one side or the other, and only one yarn end comes forward under the wrap, the other end comes out on the side. In most cases, by simply stroking the hand along with the pile, one can feel whether it is a Ghiordes or Senneh knot. On a Ghiordes-knotted carpet, the wool usually lies straight in the direction of the length of the carpet, while on a Senneh-knotted carpet, the wool lies diagonally to one side.
The choice of knot type varies greatly between different areas, and both are sometimes used in the same place. The explanation is mostly that people of different origins have retained their traditional technique. Turks tie with Turkish knots and Persians with Persian, but through intermarriage and population movements, it may happen that both are applied in the same place.
In Persia, both men, women, and children tie, and the same is true in Turkey. In the Caucasus, Turkestan, and among the nomads, only women sit at the loom. In China, it is the men who tie, but women and youths handle other details such as relief clipping and French knotting, etc. A knitter's work capacity naturally varies but is roughly between 8,000 – 12,000 knots per 8-hour workday.
The production usually proceeds as follows. A certain number of warp threads, calculated according to the desired density and width of the carpet, are warped over the beams. The shaft mechanism is threaded so that it brings every other warp thread forward and every other backward, i.e., so that the sheds for the weft can be obtained.
Before the actual knotting begins, a border of varying width is first woven, sometimes pattern-woven, sometimes cross-striped in different colors.
When this is done, the knotting can begin. With the left hand or with the hook-equipped knife, which is always held in the right hand, the knitter takes two warp threads and then ties the knot around these with both hands and pulls it down, after which the yarn is cut off.
When a whole row is finished, a weft thread is threaded in between the warp threads above the row of knots. Then the shed is changed, i.e., using the shaft mechanism, the lower warp threads are lifted up and the upper ones are lowered, and in the new shed thus formed, the weft is brought back again. The row of knots and weft threads must now be packed together, which is done with the heavy iron comb. This is repeated after each knotted row. After every third to fifth row of knots, the first rough clipping of the carpet is done, but it is only finely clipped or cut after it has been cut down from the loom. In this way, the work progresses until the carpet is finished, after which it ends with a similar border as at the beginning.
A carpet's long sides or edges always have a protective edge, either woven in connection with the weft threading or edge stitched (bound) during work in the loom. Nomads often edge stitch with different colors and sometimes adorn the long sides with tassels. Most carpets have fringes on both short sides, but many West Persian carpets have fringe only on one short side, the other is simply the woven edge where the knotting began. A fringe can be tied or entirely loose from its woven edge. It should be noted that both edge stitching, fringes, and the woven edge are often typical of certain places' carpets and thereby a characteristic in classification.

The pattern forms of Oriental carpets are fascinating and imaginative due to their great variety. Different regions have developed their pattern types and forms in different ways. Geometric motifs often occur together with other motifs but have been refined in some areas and can be characteristic of the manufacturing location. The most common patterns are those based on floral depictions, but these patterns have been transformed and stylized, creating various types. In terms of human representations, religion plays a decisive role. The Quran does not allow its followers to depict living beings. In Persia, with its more liberal religious stance, and in the Caucasus, however, depictions of both humans and animals are more common. The same is true for China, whose pattern forms are markedly different from those of the Central Asian carpets.

When considering the different patterns of carpets, one must take into account both the function of the carpet and the environment in which it was made. The use of carpets has given rise to several terms, such as Enessi, which is the name for a door hanging, Hehbelyk, which is a saddle cover, and Namaslyk, which is the Muslim prayer mat. These names also imply a certain size. This is even more the case in names like Ghali, which means carpet and denotes the larger rectangular carpet that usually lies in the middle of a Persian room. Around this lies Kenaré, runners, which often consist of a series with the same pattern. Several similar names have developed, and they have all formed specific pattern types suitable for their function and size.

Environmentally, one must distinguish between carpets made for domestic use and more custom-made decorative carpets. The carpets produced by a nomadic population differ from those of the sedentary population in that they are knotted directly at the loom in a more primitive way without drawn pattern templates. They are generally smaller in size and characterized by geometric and stylized motifs.

In contrast, sedentary carpet knotters usually work from a pattern template and thus have the opportunity to knot carpets with larger and richer pattern formations. The pattern template is called Talim and consists of a squared paper on which the carpet pattern is depicted. Each square with its color represents a knot. In most cases, the knitter works independently with this sketch in front of them. In older times, however, it was common for the supervisor to dictate the colors, especially if two identical carpets were to be made. He would then position himself between the two looms and dictate the work for both carpets.

The composition of the pattern thus depends on the use of the carpet and follows firmly established rules. Based on the pattern of the central field, four diverging types can be distinguished.

Medallion motifs.
Over-patterned or repeated motifs.
Figural motifs.
Niche and tree motifs.
The first group includes the patterns where a solid-colored or smaller motif-filled center part is dominated by a centrally placed medallion figure. The second group, with its all-covering decoration and repetition patterns cut off by the outer border, has an older character and often builds on more geometric shapes. The third group includes the naturalistically depicted human and animal representations. The last group, niche and tree motifs, is functionally a unified group even though the patterns can vary greatly.

These typical central field motifs are almost always surrounded by a main border and narrower secondary borders. Exceptions to the rule include, among others, some prayer mats with niche motifs and the newly produced Saruk and Kirman carpets, which often have a so-called broken floral border, and the Chinese carpets, which include some special and from this division distinct types.

In the multitude of pattern details found on Oriental carpets, there are some very common and often recurring ones. For example, the Mir Ibotha motif, an oval figure filled with rosettes and flowers. This figure can be explained in several ways: as a depiction of a meandering river, as the imprint of a tied bloody hand, or as a flame. Another classic pattern, common as a main motif, is the Shah Abbas pattern. It consists of large floral motifs, cloud bands, arabesques, vase, and palmette patterns (see image on page 31). Gül in Henna is a pattern depicting the Henna plant. The Mina Khani pattern, a floral motif surrounded by four identical smaller flowers, also appears as a main motif.

In the border patterns, one encounters pattern forms that seem more common to us Westerners. Simple geometric motifs and ornaments such as the meander border and running dog are some examples. The Greek cross occurs, but the motif is most commonly in the form of a swastika, a sign of happiness.

Another type of pattern detail that sometimes appears on carpets is inscriptions and dates in Arabic script. The decorative inscriptions consist of aphorisms by a known author, such as Saadi, Hafez, or Firdausi, but can also be verses from the Quran. They are generally surrounded by a pattern motif called cartouche.

Carpets dated with Arabic numerals obviously indicate the Islamic calendar. This begins with Muhammad's journey from Mecca on July 16, 622 AD. The Islamic year is about 1/33 shorter than ours. To calculate the age of a carpet based on an Arabic date, for example, 1322, one does the following:
1322 divided by 33 (1322/33=40).
Subtract the quotient 40 from 1322 (1322–40=1282).
Add 622 to 1282 (1282+622=1904).
So, a carpet that is made in the year 1322 according to the Islamic calendar dates back to the year 1904 according to our calendar.

However, one should not blindly trust that a carpet's dating is authentic. It has happened that numbers have been removed and replaced by more suitable figures for the seller. In the past, as mentioned, each region had its own pattern forms and motifs, which were traditionally followed so that one could determine the place of manufacture from the carpet patterns. This is no longer the case; now Tabriz patterns are made in Kirman and vice versa, Serabend patterns in Turkey, Kirman patterns in Arak, etc.

Carpets with patterns clearly influenced by European taste have also been produced extensively. Thus, practically the entire Kirman production is now aimed at making carpets with floral patterns in the French style with decorative medallions and the broken floral border to satisfy buyers from Europe and other parts of the world. In other districts too, carpets with European patterns are produced, also intended for export.

The foreign intrusion into the pattern tradition is naturally not fortunate, and the traditional patterns threaten to become trivialized by new compositions. In some places and districts, however, there is an awareness of this, and efforts are being made to return to the old patterns and at the same time move away from the modernized thickness of some carpets.

In the following description of Oriental carpets, I have divided them into six major groups according to the largest carpet-producing countries, which will be discussed in the following order:

PERSIA
The Persian pattern flora is incredibly rich and varied. The older geometric patterns consisting of cross, star, and rosette motifs were displaced in the latter part of the 1400s by another type of pattern consisting of medallions, floral tendrils, and arabesques. Furthermore, there was a tendency to let the center field dominate the carpet's pattern. Detail patterns are largely based on naturalistic floral patterns, but geometric shapes also occur. Persian carpet art also uses figural motifs, human and animal representations, where perspective is indicated by placing figures above each other instead of behind each other.

TURKEY
Turkish carpet production until the early 1860s was aimed at the domestic market, and pattern forms were then bound to specific regions. At this time, due to European trade relations, a more commercial production arose and as a result, a loosening of the traditional pattern forms. Characteristic of the older production is the manufacture of prayer rugs. These have then been varied in pattern and color at different production sites. Turkish patterns consist of geometric shapes and stylized floral patterns. Human and animal depictions, however, are banned, as mentioned. Exceptions are that in Kaiseri and Brussa, hunting rugs have recently appeared, thus both humans and animals.

Artisans in Konia and the entire province have long been known for their masterful skill, and here Turkish carpet knotting has a center. The place has been known for millennia. Monuments with a peculiar pictorial script testify that the Hittites, who dominated a large part of Lesser Asia from 2100-1400 BC, had their settlements in the area. Konia was also the ancient capital of Lykaonia. It has retained its importance throughout all ages. The New Testament tells that Paul came here during his missionary travels to Lesser Asia, was stoned and persecuted.
Turkish carpet knotting has been greatly influenced by the Greeks, who for centuries dominated carpet production on the Anatolian west coast and the islands off it. It was mainly the Greek ethnic group, along with Armenians and Kurds, who cherished production in Turkey. However, the Greeks are now gone, expelled from the country with the proclamation of the republic in 1923, and Turkey's population of nearly 32 million now consists of 86 percent Turks. The state religion is abolished, but the Muslim doctrine is embraced by the vast majority.
In the 1500s and 1600s, Turkish carpet culture stood very high, and the carpets produced during this golden period are fully on par with the Persian. The sultans had acquired Persian pattern designers and extravagantly skilled dyers and knotters for their courts, who produced the finest masterpieces.
In the homes, carpets were knotted for personal use, and special care was taken with prayer rugs. Almost every home had one or two looms. Especially in Izmir (Smyrna), Ghiordes, Oushak, Kula, and Sivas, carpet knotting as a home craft was a tradition.

CAUCASUS
The Caucasian carpet types include both prayer rugs and carpets with medallion motifs and repeating patterns. When the pattern is built around larger figures, smaller motifs are often used as filler patterns. The patterns are characterized by their geometric form. Even when floral and figure depictions occur, these are strictly stylized.

TURKESTAN
The Turkmen carpets are characterized by being made by a nomadic population. The carpets are knotted for use in the Kibitkan, the tent. Only in recent times have carpets begun to be made for sale; these then often have a different size than those made for personal use. The country's various tribes have their distinctive patterns, but geometric diamond and octagon figures dominate.

CHINA
The patterns of Chinese carpets differ significantly from those of Central Asia. This is because the art of carpet knotting came to China relatively late, probably in the 1400s-1600s (except for a few examples said to have been made at the beginning of our era). When the art of carpet knotting was adopted, already developed pattern forms common in other arts were incorporated.
Chinese carpets can be of several special types: the temple carpet consists of a couple or several square fields with the same pattern, the pillar carpet has a human or dragon depiction covering the entire center field and has a border at the top and bottom, the picture carpet, with its one-way motifs, is intended to be viewed only from one long side.
The carpets' patterns are often symbolic, and the symbols are of Chinese, Taoist, or Buddhist origin. Among the Chinese can be mentioned the dragon, the most prominent symbol and the emperor's emblem, symbolizing a positive and blessing-bringing force, further the extremely common writing character for happiness, Shou, which appears in various designs. The swastika is very common and symbolizes long life, the number ten thousand, and Buddha's heart. Taoist symbols include, among others, the crane, meaning long life, the phoenix as immortality, and the deer as a symbol of wealth. Another common animal symbol, of Buddhist origin, is the lion, the temple's guardian. Border patterns are partly of more general types such as meander and pearl borders but can also consist of stylized mountain and wave patterns. Chinese carpet patterns often depict groups of objects. For example, the attributes of the eight Taoist immortals: the sword (gives supernatural powers), the crutch (magical power), the lotus flower (symbol of purity), the flute (brings happiness), the magician's wands (carried by the magician Chang), the sun fan (can revive the dead), the castanets (the stimulation of music), and the flower basket (induces pleasant dreams)
The eight Buddhist things: the baldachin (protects against all evil), the lotus flower (symbol of summer), the state scepter (royal dignity), the vase (lasting peace), the conch (calls to worship), the fishes (joy and sorrow or joy and wealth), the fire wheel or the wheel of the law (divine righteousness), and the eternal knot (eternity or long life)

AFGHANISTAN
Main motif: three characteristic octagons, so-called Gül, filler pattern: V-shaped hook motif. Main border: triangle motif. Made after 1945. Northern Afghanistan, by nomads and sedentary people. Knot: Senneh. Warp: wool yarn and goat hair yarn. Weft: wool yarn and goat hair yarn, 2 wefts after each row of knots. Pile: wool yarn of varying qualities.
Fringe: colored, woven edge and ordinary fringe on both short sides.
Pattern: large and small octagons and diamond motifs with filler patterns of spider motifs and other geometrically stylized pattern details. Colors: red in all shades as the base color. Sizes: all up to 400X600 cm.
Knot density: 9–36 per cm².
The Afghan carpet is one of today's most popular carpets, partly because it is quite inexpensive, but perhaps mainly because it is so neutral and calm in its pattern type. The red color with its dominant smooth base makes it very easy to place even in a modern environment. The qualities are many with large differences in density and wool quality. There are also so-called gold-Afghans, which in most cases were originally red but have obtained their bronze-yellow color tone through special washing and bleaching. This can be checked by folding back the pile and looking into the pile base.

INDIA and PAKISTAN
The history of India and Pakistan coincides until 1947, when Pakistan was separated from India and formed its own state.
The production of hand-knotted carpets began as early as the 1500s. Moghul prince Akbar brought in Persian master knotters and skilled pattern artists who began producing carpets in his own palace.
The patterns were of the Persian type, and the qualities were the best imaginable with materials of silk and the finest sheep's wool.
Akbar introduced the production of hand-knotted carpets, and his successors, Jahangir and Shah Jahan, continued this noble production.
Production sites at this time were Agra, Lahore, Delhi, Srinagar, and Amritsar. Lahore remained the largest production site until the mid-1800s when Amritsar took over the role as the main production site. Subsequently, production spread throughout almost all of India.
The technique in India is always Senneh knot, warp, with some exceptions, of cotton or silk. The patterns are mostly Persian Isfahan, Keshan, Kirman, and Herat. In recent years, carpets with Turkmen, Chinese, and Turkish patterns have also been produced.
Many of the finest carpets from the 1500s and 1600s are in museums, including in Jaipur, an old city near Agra, and in many museums around Europe and America.
Like all the other Oriental countries, India had a long period of decline, indeed much longer than the others, lasting until the latter part of the 1940s.
After this time, production was rationalized for the better. The Kashmir area, with Srinagar as the leading production site, deserves much of the credit for the fact that export qualities have such excellent density grades. India is today, next to Persia, the largest exporter of hand-knotted carpets in the world.
The production is mostly in larger or smaller knotteries or as home craft. In Pakistan, the largest production areas are currently Lahore, Karachi, and Rawalpindi.

INDIA
Manufacturing Locations and Carpet Names

AGRA
Agra has been well-known since the Mughal period for its quality production. Nowadays, carpets of essentially two distinct types are manufactured here: firstly, Persian and Turkmen pattern types with a knot density of 150-600,000 knots per square meter, and secondly, Savonnerie and Chinese patterned carpets, relatively coarsely knotted, about 25-90,000 knots per meter. The latter two often have relief-cut pattern contours.

BHADOHI
With origins dating back to the Mughal era, very fine carpets have been manufactured here. The production is now focused on coarser carpets, about 90–160,000 knots per square meter, with Savonnerie and Chinese patterns. This production area encompasses about 500 communities and, along with the nearby Mirzapur and Varanasi, it is one of the largest in the country in terms of the number of carpets produced.

ELURU
During the 16th and 17th centuries, very fine qualities were produced, but the carpets we know from the beginning of the 20th century are of much lesser quality, about 20–50,000 knots per square meter. However, there is currently an effort to produce significantly better qualities.

JAIPUR
This district has been manufacturing carpets of the finest quality since the 17th century. The current production is very large, manufacturing both coarse and finely knotted carpets. The pattern type is the usual one, with Persian, Turkmen, and Chinese pattern motifs.
The finer qualities often have Persian hunting and tree motifs, knotted in relief on so-called brocaded silver or gold thread bases. In the Persian pattern compositions, Indian pattern elements often occur, giving the carpets from this area a distinct Indian character.

KASHMIR
Carpets likely began to be manufactured in this area in the mid-15th century. Kashmir wool is well-known all over the world, with a density varying between 190–800,000 knots per square meter, and in some cases, exceeding one million. The patterns, Persian, Turkish, and Turkmen, are in exquisite color combinations.

MIRZAPUR
Dating back to the 17th century, this area has a large production of coarsely knotted carpets in light pastel colors with a knot density of about 40-90,000 knots per square meter, but finer qualities are also manufactured, 160–240,000 knots per square meter. The production is mostly focused on large carpets, and there are looms that can make carpets 12 meters wide.

Experience has shown that many carpets become worn or damaged prematurely due to incorrect treatment. The following are some simple tips for carpet care.

During the first few months, a new carpet should absolutely not be beaten and preferably not vacuumed, or at least not too often. The carpet's pile surface should first be properly treaded, as this makes it more resistant to all types of wear.
A new carpet usually sheds more or less depending on the pile height; more with a high pile than a low one. This is because short fibers remain in the pile after cutting and gradually work their way up to the surface, but this does not affect the carpet's quality or lifespan and will eventually stop. Once these shorter fibers, the so-called bottom wool, have disappeared, the shiny guard hairs primarily remain, which is why a carpet only gets its real shine after some wear. Never attempt to pull out knots or thick threads; let a professional cut or fix them.

If a carpet must be beaten at all, it should be done with a broad-bladed carpet beater, not a regular rattan or wooden stick. The fine warp or weft threads can easily break, causing holes. Always beat the back of the carpet. The dust then pushes out on the carpet's front side and can then be brushed off the pile surface with a dry brush.
When vacuuming the carpet, ensure the vacuum cleaner's nozzles are flawless, and always vacuum in the direction of the pile so that the dust is not pushed back into the carpet. It is wrong to continue vacuuming as long as one can get anything in the bag, as this can gradually destroy the entire top side of the carpet.
To remove dirt and grease stains, use volatile cleaning fluid and always use a clean cloth. If the carpet has more severe stains or is thoroughly dirty, have it washed by a laundry specialist. It is wrong to try to clean carpets with, for example, damp tea leaves, wet cloths, or the like. The result is that the dust gets moistened and adheres even more to the carpet, the colors lose their freshness, and the carpet gets a soiled appearance.
If you suspect moths in the carpet, use a good repellent and thoroughly examine the entire carpet, beat and vacuum it, and let it lie for hours in the sun and fresh air. For larger moth damage, it may be necessary to have the carpet washed.
A torn fringe or long side not only disfigures the carpet but can easily cause the edge to tear and be damaged. Therefore, ensure that any damage is repaired as soon as possible. A good way to extend the carpet's lifespan is to use a carpet underlay. This also acts as a non-slip protection to prevent accidents through slipping. The underlay should be a few centimeters smaller all around.

Abadeh
The city of Abadeh is located north of Shiraz. Abadeh carpets have Senneh knots, and the pattern is similar to Gashgai with rhombus-shaped medallions and stylized flower and vase motifs.

Afghan Carpets
The Afghan carpet is one of the popular carpets of our time. The red color with its dominant smooth base makes it very easy to place even in a modern environment.
Afghan carpets, especially the iconic red variants, stand out in the realm of traditional handwoven carpets. Made by Afghanistan's ethnic tribes such as Baluch and Turkmen, these carpets are known for their characteristic deep reddish-brown hue and intricate geometric designs. They are often made of high-quality wool and dyed with natural substances, ensuring a vibrant and lasting red shade. A classic motif found in these red carpets is the "elephant foot" pattern. Such carpets serve not only as beautiful decorative objects but also as evidence of Afghanistan's rich weaving heritage.
The color variation is very wide, and the combination is very suitable for European interiors. New Afghan carpets have very fine quality and are affordable, produced there and sent to Pakistan for washing and finishing to be exported from Lahore in Pakistan. Knots in Zeigler carpets are Turkish knots and very durable. Zeigler carpets have calm patterns and warm colors, therefore easily fit into different interiors. Various producers have named them differently, for example, Khorjin, Shal, Sultani, Ghazni, Kazak. These carpets are double-knotted and very durable and dense. High wool quality and the motifs in combination with bright colors in these carpets have created a real dream carpet. A large part of carpets is knotted in Afghanistan and then taken to Pakistan for washing and finishing.

Kilim
The name Kilim comes from the Persian word 'Gelim'. Kilim carpets are not knotted, but woven. Therefore, they have no pile and often no front and back, as both sides are equal. The advantage is that the carpet can be turned. Nomad tribes often used Kilim as a barrier at the entrance to their tents to keep the heat inside. The materials used are mainly wool, but sometimes cotton is used for the warp threads. The quality and motifs of Kilims vary enormously. Usually, bright colors are used for the often abstract motifs, giving the carpet a "tribal" appearance. It is common with Kilims that a "gap" is left between the different colors by using the warp threads.
The weaving technique in Kilim is essentially the same as in Swedish röllakan technique, with the difference that a slit is left between the different pattern colors by weaving the pattern thread back without binding with the next pattern's warp thread.

Arak
These carpets are knotted in the Sarough area in the western part of central Persia. The carpets are produced in a variety of patterns but often have a centrally placed medallion, a clearly defined frame, and are reminiscent of Kerman and Keshan carpets. A very durable and densely knotted carpet with beautiful glossy wool. Sarouhg carpets, along with those from Arak, also known as Saruk, are among the most famous names for export to America and Europe. The production is done on double warp, which gives the carpets their typical solidity and durability. Due to the technique with double warp and the robust execution, this is a very durable quality type. Often red or blue, produced in a variety of patterns but often have a centrally placed medallion and a clearly defined frame. The wool used is of high quality and shiny, and the carpets are sturdy and durable. They are produced in a variety of patterns but often have a centrally placed medallion and a clearly defined frame. They are easy to recognize with their typical patterns and formats. The patterns are very varied, and both medallion carpets and carpets with repeating patterns occur.

Arak
These carpets are knotted in the Sarough region in the western part of central Persia. The carpets are produced in various patterns but often feature a centrally placed medallion, a clearly defined frame, and are reminiscent of Kerman and Keshan carpets. They are very durable and densely knotted with beautiful glossy wool. Sarouhg carpets, along with those from Arak, also known as Saruk, are some of the most well-known names for export to America and Europe. The production is done on double warp, giving the carpets their typical solidity and durability. Because of the double warp technique and the robust execution, this type is very durable. Often red or blue, produced in various patterns but often feature a centrally placed medallion and a clearly defined frame. The wool used is high-quality and shiny, and the carpets are strong and durable. They are produced in various patterns but often feature a centrally placed medallion and a clearly defined frame. They are easy to recognize with their typical patterns and formats. The patterns vary greatly, and both medallion carpets and carpets with repeating patterns occur.

Ardebil
In Ardebil carpet manufacturing, Caucasian patterns with all their geometric motifs are used. The older ones have geometric diamond motifs and Tabriz-like medallion patterns.

Hamadan
The district has more than 3000 villages, hence the annual production of carpets is very large. Many place names can be assigned to different carpets. Some of the most famous are Asadabad, Bibikabad, Borchalou, Dergezin, Injilas, Khamseh, Husseinabad, Maslagan, Saveh, Shahsavan, Tafresh, Tuserkan, Zaghe. Hamadan carpets usually have geometric bar medallions, stylized floral motifs, Herati and diamond patterns. In older carpets, the background color is often covered by a lattice pattern tone-on-tone with the background color. The fringes are short kelim edge, usually fringe only on one short side. Ghiordes, even over 4 warp threads.

Bakhtiari
Bakhtiari carpets are knotted by nomads and sedentary populations in the area between Arak and Isfahan and southward to the Zagros Mountains. Carpets have Ghiordes, sometimes also Senneh knots. Strong wool yarn is used in their production.

Baluch
Baluch carpets were originally knotted by Baluch nomads. The patterns are so lively that Baluch carpets generally give a very charming impression. The carpets have warp in wool or a mixture of wool and goat hair, some newer ones have warp of cotton. They belong to the group of so-called red carpets whose dominant color is red, but they are looser knotted than Afghan carpets.

Bidjar
Bidjar carpets are a type of carpet originating from the city of Bidjar in Iran, usually made by Kurds. The colors are typically dark, red and blue with beige interspersed. The patterns emphasize uniformity, and the medallion and corner motifs are usually small. The carpets are knotted with a Turkish knot. Usually, these carpets are made on double warp.

Zeiglar
Knots in Zeigler carpets are Turkish knots and very durable. Zeigler carpets have calm patterns and warm colors, therefore easily fit into different interiors. A large part of carpets is knotted in Afghanistan and then taken to Pakistan for washing and finishing.

Zeigler carpets are known for their unique blend of traditional Persian and European design elements. They often have soft, muted colors, including pastels, combined with intricate floral or geometric patterns. The design is usually more open and spacious compared to other Persian carpets.
Zeigler carpets are mainly woven in Afghanistan, especially in the Herat region, which has a long history of carpet weaving. After being woven, the carpets are often sent to Pakistan for washing and finishing processes.
Over time, Zeigler carpets have gained popularity worldwide due to their versatile design that blends well into various interior styles. They are sought after for their beauty, craftsmanship, and ability to add elegance and warmth to any space.

Ariana
Khorjin, Shal, and Ariana share the same manufacturing technique and these carpets feature bright and warm colors. Nowadays, high-quality carpets are knotted in Afghanistan and Pakistan with the help of Western designers. The pattern forms and colors of Khorjin carpets are fascinating and imaginative due to their great variety. They are based on plant and animal dyes, which are naturally the best. They give the yarn a natural luster. The carpets that are produced in Afghanistan today are knotted in the same way as a thousand years ago.
For their exquisite craftsmanship and rich cultural heritage. They are named after the ancient region of Ariana, which included parts of today's Afghanistan and nearby areas. These carpets are highly valued for their quality materials, intricate design, and skilled weaving techniques.
Ariana carpets are usually handmade by skilled artisans in various regions of Afghanistan, each with its unique style and characteristics. They are made of high-quality wool from local sheep, known for their durability and softness. The wool is carefully spun and dyed with natural dyes, resulting in vibrant and long-lasting colors.
A distinctive feature of Ariana carpets is the diversity of patterns and motifs they display. These carpets often show a mix of traditional and modern motifs, containing geometric shapes, floral elements, and intricate borders. The design is meticulously handwoven, showcasing the skill and artistry of Afghan carpet weavers.
Ariana carpets are known for their durability and withstand heavy foot traffic. They are often woven with high knot density, ensuring a tightly woven structure that contributes to their longevity.
These carpets serve not only as functional floor coverings but also represent Afghan culture and traditions. They are valued as exquisite works of art reflecting the region's rich history and craftsmanship.
It is important to note that there may be variations in Ariana carpets due to the diversity of Afghan carpet production, including variations in design, color palette, and weaving techniques across different tribal or regional styles. Each carpet has its unique story, making it a cherished piece for both collectors and enthusiasts.

Gabbeh
Gabbeh carpets are knotted from hand-spun wool, used for both the pile and the warp. The carpets have a long pile, low knot density, and many rows of weft between each row of knots. The colors can either come from undyed wool or natural dyes extracted from plant materials. Gabbeh carpets are the most comfortable carpets you will ever encounter. They are made of 100% sheep wool. This type of carpet is usually not dense.

Heriz
Heriz, Goravan, Mehriban, Karaja, Bakshaish, all are villages around Heriz located about 65 Km east of Tabriz. The pattern is usually geometrically drawn medallions with corner pieces, also over-patterned with large stylized leaf motifs and in some cases even cypress motifs. The knot density is usually 9000–35000 per meter, yet very durable, especially suitable for hall or dining room.

Kashmar
Kashmar carpets are made with double knot and double weft; other carpets from this area are Moud and Birjand.

Pakistan
The city of Karachi and surrounding areas is one of the largest manufacturing sites in Pakistan. The patterns are the usual ones with an emphasis on Bochara patterns, which, in contrast to the red background of the Russian carpets, have almost all the colors of the rainbow, and this color scheme is very common in Pakistan. Here, small-, gallery carpets and up to 300×400 cm, or even larger on order, are produced.

Kashmir
Kashmir silk carpets are knotted in India with traditional Persian carpets as models. The oriental patterns in the carpets consist of medallions and repeated patterns, but the typical garden motif occurs. The carpets are very well made, and thanks to silk as the material choice, they are thin and light with a beautiful shimmering luster. By using silk, there is also the possibility of detailed patterns, and one is impressed by the accuracy of the work behind the carpet. These beautiful Kashmir silk carpets give any room a lift, and you get a lot of carpet for the money.

Kazak
Knots in Kazak carpets are double knots and very durable. Kazak carpets have bright and warm colors with geometric patterns. There are different types of Kazak carpets with varying densities. Densely knotted Kazak carpets are called Kazak Super. A large part of the carpets is knotted in Afghanistan and then taken to Pakistan for washing and finishing.

Kelim Chobi
Traditional Caucasian patterns and colors are characteristic of Chobi Kelim. The weaving technique in Kelim is essentially the same as in Swedish röllakan technique, with the difference that a slit is left between the different pattern colors by weaving the pattern thread back without binding with the next pattern's warp thread.
The name Kelim comes from the Persian word 'Gelim'. Kelim carpets are not knotted, but woven. They have no pile and often no front and back, as both sides are equal. The advantage is that the carpet can be turned. Nomad tribes often used Kelim as a barrier at the entrance to their tents to keep the heat inside. The materials used are mainly wool, but sometimes cotton is used for the warp threads. Kelims' quality and motifs vary enormously. Usually, bright colors are used for the often abstract motifs, giving the carpet a "tribal" appearance. It is common with Kelims that a "gap" is left between the different colors by using the warp threads.

Kontes
These modern carpets come from India, a country known for its rich textile heritage, and showcase not only the country's modern design aesthetic but also its timeless craftsmanship. The use of silk in the pile, especially bamboo silk, is a testament to India's long-standing tradition of weaving with luxurious materials. This practice not only adds a brilliant sheen to the carpets but also provides a soft, plush feel underfoot. By combining tradition with modernity, these carpets are a true reflection of India's artistry in textile innovation.

Kirman
Kirman produces some of the most refined and elegant carpets in all of Persia. With an inherited sense of color, the weavers always set the pattern colors with respect to the background color. The wool quality is very noble, and the loom type of the Kirman district with the so-called roller beam allows for large and strictly produced carpets. This carpet type is considered one of Persia's most noble. The production is done on double warp. The pattern is nobly designed with medallions, hunting and other figurative motifs, as well as over-patterned floral motifs in varied execution.

Dagestan
Dagestan's carpets are quite rare, with only old or even antique ones available. The main center is the city of Derbent, where characteristic Dagestan carpets are produced. They are almost always decorated with a special motif, which facilitates identification.
The Caucasian carpet types include both prayer carpets and carpets with medallion motifs and repeated patterns. When the pattern is built around larger figures, smaller motifs are often used as filler patterns. The patterns are marked by their geometric form. Even when floral and figurative representations occur, these are strictly stylized.
Carpets called Azarbijan are made in Azerbaijan (republic) which is also called Caucasus and resemble Persian Sarab or Ardebil carpets. Since the 1950s, very few carpets have been knotted in Azerbaijan, so the carpets seen are usually over 70–90 years old.

Koliai
The Kurds are known as good carpet weavers. The carpets are tightly knotted with a high pile and a saturated color scale. Older Koliai carpets are knotted on wool warp, while younger ones have cotton warp, both with two wefts between the rows of knots. Their patterns usually have large, geometric figures in muted colors. A pattern with small diagonally placed squares is also common. The execution is robust; the carpets are heavy and compact and have good wear resistance. The classic dimensions are 150-160x300-330 cm, thus narrow carpets in relation to their length.

Lori
A nomadic tribe from the Lor district, southwest of Isfahan. The warp is usually wool yarn and goat hair and cotton yarn. Geometrically drawn pattern and diamond-shaped hooks and staircase medallions, similar pattern in Ghashgahi carpets. Colors are usually dark blue or red background colors. Knots are Ghiordes or Senneh.

Loribaft
The carpets are well known for their modern designs. They resemble Gabbeh carpets but are more tightly knotted and have shorter piles. Today they are also made in India.

Mahal
The districts of Mahllat including Gholpaygan, Wiss, Mishkabad, which have been knotting carpets since the 8th century. Colors used are mostly terra red, beige, or dark blue background color. Strong wool and 2 wefts after each row of knots make the carpet very strong.

Malayer
The production site is the city of Malayer in the district of the same name. Knots are Ghiordes, but Senneh also occurs, and the warp is cotton yarn. The patterns of Malayer carpets are stylized floral motifs or geometrically designed medallions. Colors used are mostly blue, pink, red, or beige background color. In this district, another lesser-known name, Jozan, whose quality is comparable to Saruk and Malayer.

Shirvan
The city is located near the southwest shore of the Caspian Sea in the southern part of Azerbaijan. Shirvan carpets, like other Caucasian carpets, have a wide variety of patterns.
The Caucasian carpet types include both prayer carpets and carpets with medallion motifs and repeated patterns. When the pattern is built around larger figures, smaller motifs are often used as filler patterns. The patterns are marked by their geometric form. Carpets called Azerbaijan are made in Azerbaijan (republic) which is also called Caucasus and resemble Persian Sarab or Ardebil carpets. Since the 1950s, very few carpets have been knotted in Azerbaijan, so the carpets seen are usually over 70–90 years old.

Mashad
Carpet production is extensive, and mostly large carpets with medallion motifs are knotted, also sold under the name Meshed. The quality varies, and the wool from Khorasan is recognizable by being so soft. Mashad carpets are produced in the provincial capital of Mashad and use Senneh knots and medallion motifs, as well as over-patterned floral motifs. Colors are mostly dark cochineal red, blue, or beige background.

Sarough
Sarouhg carpets, along with those from Arak, also known as Saruk, are some of the most well-known names for export to America and Europe. The production is done on double warp, giving the carpets their typical solidity and durability. Due to the technique with double warp and the robust execution, this is a very durable quality type. Often red or blue, produced in various patterns but often feature a centrally placed medallion and a clearly defined frame. The wool used is high-quality and shiny, and the carpets are strong and durable. They are produced in various patterns but often feature a centrally placed medallion and a clearly defined frame. They are easy to recognize with their typical patterns and formats. The patterns vary greatly, and both medallion carpets and carpets with repeating patterns occur.

Darband
Darband is the provincial capital in Dagestan. Carpets from Darband typically have three medallion patterns, serrated octagon motifs, a simple medallion with stylized floral motifs, and animal patterns.
The Caucasian carpet types include both prayer carpets and carpets with medallion motifs and repeated patterns. When the pattern is built around larger figures, smaller motifs are often used as filler patterns. The patterns are marked by their geometric form. Even when floral and figurative representations occur, these are strictly stylized. Carpets called to Azerbaijan are made in Azerbaijan (republic) which is also called Caucasus and resemble Persian Sarab or Ardebil carpets. Since the 1950s, very few carpets have been knotted in Azerbaijan, so the carpets seen are usually over 70–90 years old.

Moud
The city is located 300 kilometers south of Mashad and south of Birjand. Motifs in Moud carpets are usually medallion motifs or repeated motifs and figurative motifs. Colors used in manufacturing are mostly beige, light red, and blue. Figurative Moud carpets are also called garden carpets. Sometimes silk is used in the weave to enhance the pile's shine.

Nain
Nain carpets are very popular. Often silk is used in the weave to enhance the pile's shine. The quality is very variable depending on the wool quality and number of knots (4 La, 6 La, 9 La, 12 La) in the carpet. The absolute highest quality is 4 La which corresponds to about a million knots per square meter and is very rare. The motifs are usually mostly medallion motifs and beige color is used on a large scale. The production is done on double warp. In addition, over-patterned floral motifs in varied execution.
They usually have a medallion pattern in the middle with flowers and twigs in the background. A border with flowers and typical vases is also seen. The dominant color is often a kind of paler red and beige on a dark blue background.

Ganja
Ganja carpets usually have very similar patterns to Kazak carpets with three medallions, of which the middle one is usually larger than the others, and rectangular, hook-patterned octagon motifs.
The Caucasian carpet types include both prayer carpets and carpets with medallion motifs and repeated patterns. When the pattern is built around larger figures, smaller motifs are often used as filler patterns. The patterns are marked by their geometric form. Even when floral and figurative representations occur, these are strictly stylized. Carpets called to Azerbaijan are made in Azerbaijan (republic) which is also called Caucasus and resemble Persian Sarab or Ardebil carpets. Since the 1950s, very few carpets have been knotted in Azerbaijan, so the carpets seen are usually over 70–90 years old.

Nepal
The knot type and technique in Nepal carpets differ from other oriental carpets, therefore the backside of Nepal carpets looks a bit different in density. Nowadays in India, this knot technique is used in modern carpets. The name Tibetan carpets today refers to hand-knotted carpets from Tibet, Nepal, and India.
Indian modern carpets, with their high wool quality, are durable and resistant, and are especially suitable for hallways and dining rooms. The knot type and technique in Nepal carpets differ from other oriental carpets, therefore the backside of Nepal carpets looks a bit different in density. Nowadays in India, this knot technique is used in modern carpets.

Yerevan
Yerevan is the capital of Armenia. Carpets from Yerevan are similar to Kazaks and Ganjas carpets with geometric octagons and medallions, but also Shirvan's small stylized floral motifs.
The Caucasian carpet types include both prayer carpets and carpets with medallion motifs and repeated patterns. When the pattern is built around larger figures, smaller motifs are often used as filler patterns. The patterns are marked by their geometric form. Even when floral and figurative representations occur, these are strictly stylized.

Patchwork
Patchwork or quilted carpets are made from various carpets that are old and durable. First, older carpets are cut into smaller pieces and then sewn together into various desired sizes. Sometimes older carpets can be de-colored and re-colored to have the desired color. Carpets are intended to be fun and colorful. These handmade carpets are sewn together from different carpet pieces. The end result is a real, unique artwork. Each patchwork carpet is unique. Patchwork or quilted carpets are made from various carpets that are old and durable.
The price of patchwork carpets can vary greatly depending on which carpet types are used in the patchwork carpet and which techniques are used in production. Genuine dense Persian carpets are the most desired type of carpet. In some cases, older carpets can be de-colored and re-colored to achieve the desired color. These carpets are intended to be vibrant and playful and add a touch of fun to any space. Each handmade carpet is carefully sewn together from different sections of the carpet, resulting in a truly unique artwork. It's important to note that each quilt carpet is unique.

Kazak
Kazak carpets originate from the region encompassing parts of Armenia, Azerbaijan, and Georgia. Known for their vibrant colors and bold, geometric designs, they often feature medallions, animals, and symbolic motifs. Traditionally hand-knotted with high-quality wool, Kazak carpets stand out for both their durability and plush texture. The wool, dyed with natural substances, gives the carpets their characteristic vibrant color palette. Woven with the Turkish or symmetrical knot, their construction ensures a long lifespan. In the world of handmade carpets, Kazak carpets hold a special place, admired for their craftsmanship, history, and distinct aesthetic.

Sanneh
In the western part of Iran lies the province of Kurdistan. Its capital is now called Sanandaj, but in the context of carpets, the older name Senneh is still used. Visitors here encounter a Kurdish society that differs from what is normally seen in Iran. This is noticeable, among other things, in the clothing of the population; men in baggy trousers and women in colorful dresses.

Moroccan
Moroccan handmade carpets are part of the country's rich cultural heritage and stand out for their unique design and exceptional craftsmanship. These carpets have already gained attention worldwide, particularly in North America and Europe, due to their aesthetic appeal and superior quality. They are mainly manufactured in regions like the Middle Atlas and High Atlas. These specific carpets are incredibly comfortable as they are made from 100% sheep wool.

Vinto
These modern carpets come from India, a country known for its rich textile heritage, and showcase not only the country's modern design aesthetic but also its timeless craftsmanship. Using silk in the pile, especially bamboo silk, is a testament to India's long-standing tradition of weaving with luxurious materials. This practice not only gives a brilliant shine to the carpets but also provides a soft, plush feel underfoot. By combining tradition with modernity, these carpets are a true reflection of India's artistry in textile innovation. These beautiful modern carpets are knotted in India. Bamboo silk in the pile causes extra shine on the carpet. This type of carpet reminds of vintage carpets even though it is newly produced.

Sari Silk
Carpets are woven in India with artificial silk. Artificial silk gives a lot of shine to the carpet, so it's important to use the carpet in very calm interiors.

Tabriz
Today's carpet production in Tabriz is very extensive, and the quality varies from exquisite handicraft to simple and cheap bazaar qualities. A good Tabriz has a short, coarse pile. The patterns can consist of a central medallion surrounded by arabesques, tear arrows, and cypresses. Another popular motif is the four seasons, depicting the Persian farmer's life during spring, summer, autumn, and winter.

Turkman
The Turkmen carpets are characterized, among other things, by almost always having wool warp, repeating patterns with göl designs, and often having wide short-side borders that are not found on the long sides. Red, in the entire scale from violet to brown, is a dominant color.

Varamin
These carpets are knotted in the city of Varamin in northern Persia by settled tribes. They are famous for their aesthetically advanced carpets in red, orange, ochre, and blue. The carpets usually have a mina khani pattern, a repeating pattern with flowers arranged four by four in an over-patterned center field.

Vintage
Carpets that have a historical background, e.g., Kerman or Bakhtiar carpets, are the most popular among the real vintage carpets. Therefore, it's important where the vintage carpet comes from. Vintage carpets are only made from Persian and Turkish carpets that are at least 30-50 years old. Persian vintage carpets are usually double weft, therefore more durable, and Turkish vintage carpets usually have simple interlays.
Sometimes carpets are decolorized (decolorized) and re-colored to have the desired color, therefore these carpets are also called decolorized carpets.
Vintage Persian carpets that are at least 30 years old are not just decorative pieces but storages of history and craftsmanship. Handwoven and permeated with rich traditions, these carpets echo stories of the artisans who wove them and the many homes they have adorned.
Regions like Kirman, Tabriz, Ghom, Nain, and Kashan are known for producing these carpets, each with its unique style and charm. Over time, these textiles often undergo maintenance such as washing and or dyeing, which, when done correctly, can enhance their beauty by intensifying the vibrancy of the colors and the clarity of their weave. Vintage carpets were created to match Western taste.

Vintage & Patchwork
A blend of vintage and patchwork carpets is meant to be fun and colorful. These handmade carpets are sewn together from different carpet pieces. The end result is a real, unique artwork. Each patchwork carpet is unique. Patchwork or quilted carpets are made from various carpets that are old and durable.

Wiss
Wiss carpets come from the western part of Iran. The carpets are knotted on warp and weft of cotton and the pile is of wool. Senne knots are mostly used. The large center field of the carpets is often framed by beautiful borders. Typically, one finds the Tree of Life and/or geometric motifs in this type of carpet.

Daisy
This carpet, named Daisy due to its motif, is double-knotted, making it very durable and dense. The high-quality wool combined with the motifs in soft colors give this carpet a gentle and appealing look.

Shiraz and Ghashgai
In the Fars district, there are nomadic tribes known as the Ghashgai. They spend about eight months in the mountain regions and migrate towards the coastal areas south of Shiraz in the late autumn. Their carpets are characterized by geometrically drawn patterns and medallions, as well as diamond motifs. In older carpets, patterns like Mir-Ibotha and vertical stripe motifs are common. The predominant colors are usually madder red or blue. The high-quality Ghashgai carpets are also known as Kashkoli.

Yazd
Carpets from Yazd resemble the older Kirman carpets with their design featuring medallions with corner pieces, oval panels with floral motifs, and Herati patterns. The common base colors are blue, red, or beige. Carpets from Yazd are typically large in size.