Ararat Rugs Turkish Rugs

The source of carpet comes from the book Orient Star – A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.198. This is a dramatic and unique field design 16th...

This is a dual medallion as the main element of the design of 18th-century carpet from the Konya region, Central Anatolia area of Turkey. Rugs of this type, using two medallions, appear frequently in 15th-century paintings of both the Venetian and the Flemish schools. This pattern tradition survived into the 18th and even into the 19th century in Anatolian village rugs of which this is an exceptionally powerful example. The two octagons that fill almost all of the field enclose a small octagon in the center from which radiate rectangular panels in a star-like fashion, filled with “latch-hook” patterns. Typical two medallions central octagon carpets...

The source of the carpet comes from the book How to Read – Islamic Carpets, Walter B. Denny, The Metropolitan Museum of Art, New York 2014 fig.46-47 and Oriental Rugs, Volume 4 Turkish, Kurt Zipper and Claudia Fritzsche, Antique Collectors’ Club, 1989 nr.82. This 16th-century deeply serrated eight-lobbed starlike medallion rug is from central Anatolia. Similar designs are exhibited at various museums. The town of Ushak, north of Denizli, is probably one of the most important and renowned carpet centers. Carpets have survived since the 16th century and can be seen in several museums. In the 17th century great quantities of Ushak carpets were made for the royal houses of Europe, often incorporating crests; many Christian churches, not only in Transylvania, were often decorated with very large pieces. According to their structure and patterning, there are several types of Ushak carpets: the star Ushak, the medallion Ushak, the ‘bird’ carpet (with a white background, the name relates to the shapes of the field motifs), and ‘Chintamani’ carpets (often with a white background and three-ball pattern, mostly in connection with cloud bands). Many great painters have ensured the survival of Ushak carpet designs by including them in their works. Two representatives of the Ushak group take their name from such renowned artists: pieces with plaited band medallions in several variations are named ‘Holbein’ carpets after Hans Holbein, the younger; ‘Lotto’ carpets refer to the painter Lorenzo Lotto...

The source of the carpet comes from the book Orient Stars Collection, Anatolian Tribal Rugs 1050-1750, Michael Franses, Hali Publications Ltd, 2021 fig.27. This 13th-century carpet is from probably the Konya region, central Anatolia, circa 1200-1300 (C 1290-1420). It is exhibited at the Museum of Turkish and Islamic Arts...

This unique design rug is interpreted by our designers with a mixture of Ararat Rugs’ soft tone natural dyed hand-spun yarns. This modern carpet is looking like the sand in the desert. Color summary: 10 colors in total, most used 4 colors are; The mix of Pink Yarns; Dusty Turquoise 340 (Spurge – Madder Root – Indigo – Walnut Husk) Russian Green 418 (Henna – Indigo) Imperial Red 415 (Madder Root) Group: Let Colors Talk Area: East Turkey Material of Pile: Natural Dyed Hand-spun Wool Material Warp...

The source of the rug comes from the book Völker, Angela, Die orientalischen Knüpfteppiche das MAK, Vienna: Böhlau, 2001: 42–5. This rug with the central star was designed in the early 16th century rug by Mamluk Sultane of Cairo, Egypt. It is exhibited at MAK – Museum of Applied Arts, Vienna Austria. As its impressive size, materials, and design quality suggest, the carpet is a product of an accomplished court workshop and likely dates from the late period of the last Mamluk dynasty. The quantity of the colors used speaks for an earlier date around 1500; the delicate vegetal border with leaf tendrils and the characteristic umbrella leaves...

The source of the rug comes from the book Völker, Angela, Die orientalischen Knüpfteppiche das MAK, Vienna: Böhlau, 2001: 42–5. This rug with the central star was designed in the early 16th-century rug by Mamluk Sultane of Cairo, Egypt. It is exhibited at MAK – Museum of Applied Arts, Vienna Austria. As its impressive size, materials, and design quality suggest, the carpet is a product of an accomplished court workshop and likely dates from the late period of the last Mamluk dynasty. The quantity of the colors used speaks for an earlier date around 1500; the delicate vegetal border with leaf tendrils and the characteristic umbrella leaves...

The source of the carpet comes from the book Orient Stars Collection, Anatolian Tribal Rugs 1050-1750, Michael Franses, Hali Publications Ltd, 2021 fig.27. This 13th-century carpet is from probably the Konya region, central Anatolia, circa 1200-1300 (C 1290-1420). It is exhibited at the Museum of Turkish and Islamic Arts...

The source of the carpet comes from the book Orient Stars Collection, Anatolian Tribal Rugs 1050-1750, Michael Franses, Hali Publications Ltd, 2021 fig.27. This 13th-century carpet is from probably the Konya region, central Anatolia, circa 1200-1300 (C 1290-1420). It is exhibited at the Museum of Turkish and Islamic Arts...

The source of the rug comes from the book Völker, Angela, Die orientalischen Knüpfteppiche das MAK, Vienna: Böhlau, 2001: 42–5. This rug with the central star was designed in the early 16th-century rug by Mamluk Sultane of Cairo, Egypt. It is exhibited at MAK – Museum of Applied Arts, Vienna Austria. As its impressive size, materials, and design quality suggest, the carpet is a product of an accomplished court workshop and likely dates from the late period of the last Mamluk dynasty. The quantity of the colors used speaks for an earlier date around 1500; the delicate vegetal border with leaf tendrils and the characteristic umbrella leaves...

The source of the carpet comes from the book How to Read – Islamic carpets, Walter B. Denny, The Metropolitan Museum of Art, New York 2014 fig.46-47 and Oriental Rugs, Volume 4 Turkish, Kurt Zipper and Claudia Fritzsche, Antique Collectors’ Club, 1989 nr.82. This 16th century deeply serrated eight-lobbed starlike medallion rug is from central Anatolia. Similar designs are exhibited at various museums. The town of Ushak, north of Denizli, is probably one of the most important and renowned carpet centers. Carpets have survived since the 16th century and can be seen in several museums. In the 17th century great quantities of Ushak carpets were made for the royal houses of Europe, often incorporating crests; many Christian churches, not only in Transylvania, were often decorated with very large pieces. According to their structure and patterning, there are several types of Ushak carpets: the star Ushak, the medallion Ushak, the ‘bird’ carpet (with a white background, the name relates to the shapes of the field motifs), and ‘Chintamani’ carpets (often with a white background and three-ball pattern, mostly in connection with cloud bands). Many great painters have ensured the survival of Ushak carpet designs by including them in their works. Two representatives of the Ushak group take their name from such renowned artists: pieces with plaited band medallions in several variations are named ‘Holbein’ carpets after Hans Holbein, the younger; ‘Lotto’ carpets...

This rug has an interpreted design composed of a geometric lattice pattern taken from a part of the Mamluk rug, filling the field elegantly, has the impression that it is only part of a larger scheme designed 15th-century rug from the Mamluk era, Cairo region, Eygpt. Mamluk carpets originated in a physical environment that lacked the combination of abundant marginal grazing land and a temperate climate with cool winters that were common to most carpet-weaving areas in the Islamic world. While related to a broader tradition of Turkish weaving centered in Anatolia, far to the north, the designs of these carpets include atypical elements, such as stylized papyrus plants, that are deeply rooted in Egyptian tradition. Their unusual composition and layout probably represent an attempt to develop a distinctive product that could in effect establish a “Mamluk brand” in the lucrative European export market. The uncharacteristic color scheme—devoid of the undyed white pile and employing a limited range of three or five hues in much the same value—also suggests a conscious attempt to create a particular stylistic identity. Also virtually unique in the world of Islamic carpets is the S-spun wool. It has been argued that the tradition of clockwise wool spinning originated in Egypt because of the earlier Egyptian tradition of spinning flax into linen thread. Details of the plant’s botanical structure make it impossible to spin flax fiber in the more common counterclockwise direction utilized throughout the Middle East for wool and cotton. Mamluk carpets with the color combinations seen in the Simonetti are now generally accepted as part of an earlier tradition that has many links to the weaving of Anatolia, Iran, and Syria. The “three-color” Mamluk carpets, well represented in the Metropolitan’s collection, represent a later development that continued well after the Ottoman conquest of Egypt in 1517. Many such carpets may have been produced well into the seventeenth century, and possibly even later. (Walter B. Denny in [Ekhtiar, Soucek, Canby, and Haidar 2011]). The design of the rug is interpreted by our designers from our Mamlouk-type rugs collection and soft colors are used for this rug. Color summary: 2 colors of total Bamboo Beige 99 (only specially washed) Feldgrau 414 (Chamomile – indigo) Group: Islamic Rugs...

The source rug comes from the possession of Endre Unger, which was sold at Sotheby’s in 1992. That rug with the central star was designed in the early 16th-century rug by Mamluk Sultane of Cairo, Egypt. The interpreted design is composed of Jerrehian rug’s border motifs lattice, covering the field elegantly. Mamluk carpets originated in a physical environment that lacked the combination of abundant marginal grazing land and a temperate climate with cool winters that were common to most carpet-weaving areas in the Islamic world. While related to a broader tradition of Turkish weaving centered in Anatolia, far to the north, the designs of these carpets include atypical elements, such as stylized papyrus plants, that are deeply rooted in Egyptian tradition. Their unusual composition and layout probably represent an attempt to develop a distinctive product that could in effect establish a “Mamluk brand” in the lucrative European export market. The uncharacteristic color scheme—devoid of the undyed white pile and employing a limited range of three or five hues in much the same value—also suggests a conscious attempt to create a particular stylistic identity. Also virtually unique in the world of Islamic carpets is the S-spun wool. It has been argued that the tradition of clockwise wool spinning originated in Egypt because of the earlier Egyptian tradition of spinning flax into linen thread. Details of the plant’s botanical structure make it impossible to spin flax fiber in the more common counterclockwise direction utilized throughout the Middle East for wool and cotton. Mamluk carpets with the color combinations seen in the Simonetti are now generally accepted as part of an earlier tradition that has many links to the weaving of Anatolia, Iran, and Syria. The “three-color” Mamluk carpets, well represented in the Metropolitan’s collection, represent a later development that continued well after the Ottoman conquest of Egypt in 1517. Many such carpets may have been produced well into the seventeenth century, and possibly even later. (Walter B. Denny in [Ekhtiar, Soucek, Canby, and Haidar 2011]). Our designers interpret the design of the rug from our Mamlouk-type rug designs and soft colors are used for this rug. Color summary: 3 colors in total ; Emerald green 407 (Chamomile – indigo) Gunmetal blue 409 (Indigo) Pale green 439 (Chamomile – Indigo) Group: Islamic Rugs...

The source of the carpet comes from the book Orient Stars Collection, Anatolian Tribal Rugs 1050-1750, Michael Franses, Hali Publications Ltd, 2021 fig.23. This 13th-century carpet is from probably the Konya region, central Anatolia, circa 1200-1300 (C 1290-1420). It is exhibited at the Museum of Turkish and Islamic Arts...

The source of the rug comes from the book Orient Star – A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.166. This is similar to ...

The town of Ushak, north of Denizli, is probably one of the most important and renowned carpet centers. Carpets have survived since the 16th century and can be seen in several museums. In the 17th century great quantities of Ushak carpets were made for the royal houses of Europe, often incorporating crests; many Christian churches, not only in Transylvania, were often decorated with very large pieces. According to their structure and patterning, there are several types of Ushak carpets: the star Ushak, the medallion Ushak, the ‘bird’ carpet (with a white background, the name relates to the shapes of the field motifs), and ‘Chintamani’ carpets (often with a white background and three-ball pattern, mostly in connection with cloud bands). Many great painters have ensured the survival of Ushak carpet designs by including them in their works. Two representatives of the Ushak group take their name from such renowned artists: pieces with plaited band medallions in several variations are named ‘Holbein’ carpets after Hans Holbein, the younger; ‘Lotto’ carpets refer to the painter Lorenzo Lotto...

The source of the rug comes from the book Völker, Angela, Die orientalischen Knüpfteppiche das MAK, Vienna: Böhlau, 2001: 42–5. This rug with the central star was designed in the early 16th-century rug by Mamluk Sultane of Cairo, Egypt. It is exhibited at MAK – Museum of Applied Arts, Vienna Austria. As its impressive size, materials, and design quality suggest, the carpet is a product of an accomplished court workshop and likely dates from the late period of the last Mamluk dynasty. The quantity of the colors used speaks for an earlier date around 1500; the delicate vegetal border with leaf tendrils and the characteristic umbrella leaves...

The source of the rug comes from the book Völker, Angela, Die orientalischen Knüpfteppiche das MAK, Vienna: Böhlau, 2001: 42–5. This rug with the central star was designed in the early 16th-century rug by Mamluk Sultane of Cairo, Egypt. It is exhibited at MAK – Museum of Applied Arts, Vienna Austria. As its impressive size, materials, and design quality suggest, the carpet is a product of an accomplished court workshop and likely dates from the late period of the last Mamluk dynasty. The quantity of the colors used speaks for an earlier date around 1500; the delicate vegetal border with leaf tendrils and the characteristic umbrella leaves...