Ararat Rugs Furniture

The most dramatic of the Gerous ( Garrus, Gerus, Garus ) carpets are those with an "asymmetric" design. Only a section of the original is shown, in the same way, many Lotto carpets w...

The source of the 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 Maml...

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 another Kazak example of the Fachralo a town north of Lori-Pambak and just southwest of Bordjalou, from the late 19th century, Caucasus area. It has given its name to a number of usually small, boldly designed, and brilliantly colored Kazak rugs but, although this has proved a useful descriptive adjective in the rug trade, it is one used by experts on Caucasian weaving with caution. Modern research also favors the spelling of Fekhraly or Fachraly. Structurally, all the pieces are fairly similar. The foundation is all wool; the warp is usually ivory or ivory mixed with one or more shades of natural brown, and the wefts are one or more of various shades of orange-pink, pink or red. It is framed with a series of borders, the main of which is the typical Bordjalou style. The most appropriate colors to match the original is used for this rug. Color summary: 6 colors of total most used 4 colors are Charleston Green...

The source of rug comes from the book Orient Star – A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.17. This is a remarkable and...

The source of rug comes from the book Orient Star – A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.17. This is a remarkable and very unusual swastika designed early 19th-century rug from the Central Caucasia area. This unusual pattern is not known on other rugs but is seen on two Anatolian embroideries...

The source of rug comes from the book Antique rugs of Kurdistan A Historical Legacy of Woven Art, James D. Burns, 2002 nr.33. This is a fine Kurdish workshop rug with split-palmette and trefoil arabesque patterns designed mid-19th century rug from Senna or Garrus, Eastern Kurdistan area. This design is found on 16th-century Timurid-inspired faience mosaics in the Jami Mosque in Isfahan, and both it and the border pattern can be related to 16th and 17th-century Safavid carpets...

The source of carpet comes from the book How to Read – Islamic Carpets, Walter B. Denny, The Metropolitan Museum of Art, New York 2014 fig.61,62. The five-star-medallion carpet was d...

The source of the rug comes from the book Antique Rugs of Kurdistan A Historical Legacy of Woven Art, James D. Burns, 2002 nr.28. This was an exclusive example of offset rows of flowers designed 18th-century rug...

The source of the rug comes from the book Renaissance of Islam, Art of the Mamluks, Esin Atil, Smithsonian Institution Press, Washington D.C., 1981 nr.126. This rug with palm trees and cypresses was designed in the late 15th-century rug by Mamluk Sultane of Cairo, Egypt. It is exhibited at the Washington D.C. The Textile Museum, R.16.1.3. The central square displays the ultimate expression of a geometric pattern based on multiples of eight. It contains a central octagon filled with red lancet leaves on the ground. In the core is a multipetaled blossom enclosed by a medallion surrounded by an eight-pointed star. Triangles placed around the octagon transform it into an eight-pointed star enclosed by a frame with papyrus sprays on the ground. Encircling this zone is a series of polygons with rosettes, which form an immense sixteen-pointed star. The corners of the central square have quatrefoils on the ground. The transverse bands above and below the central square have the ground with palm trees alternating with cypresses flanked by papyrus sprays, all of which are oriented toward the center. The border is densely packed with alternating oval cartouches and eight-lobed medallions. These units are filled with papyrus motifs, which evolve from lozenges in the middle of the ovals; they also radiate from squares in the medallions filled with multipetaled blossoms. The ovals in the center of the long sides are contracted and contain only lozenges. Double guard borders, decorated with leaf scrolls, repeat the color scheme. This rug contains several decorative elements employed in other contemporary arts. The naturalistic cypresses growing on the transverse bands are similar to those on metal objects and tiles and to those in the stained-glass windows in the mausoleum of Sultan Qaitbay, completed in 1472-74. The design of the rug is interpreted by our designers and soft colors are chosen for this rug. Color summary: 3 colors in total; Imperial red 415 (Madder Root) Pale green 439 (Chamomile – Indigo) Cadet blue 26 (Spurge – Indigo) Group: Islamic Rugs...

This is an ascending palmette and flower design Shirvan rug from the 19th century, Kuba region, Eastern Caucasus area. Kuba rugs of this predominantly yellow-ground group are well-kn...

The source of the rug comes from the book How to Read – Islamic Carpets, Walter B. Denny, The Metropolitan Museum of Art, New York 2014 fig.82. This was an exclusive example of a pal...

The source of the rug comes from the book Renaissance of Islam, Art of the Mamluks, Esin Atil, Smithsonian Institution Press, Washington D.C., 1981 nr.125. This is a rug with a cup motif design late 15th-century rug from the Mamluk Sultanate of Cairo, Egypt. It is exhibited at the Washington, D.C. The Textile Museum, R.16.1.2 . The layout of this rug is characteristic of the smaller, almost square Mamluk carpet. A wide border encloses the field, divided into horizontal units consisting of a central square flanked above and below by rectangular panels. The height of the rectangular panels is approximately one-third that of the square and is equal to the width of the border. The corners of the central square are cut into triangles, creating an octagon with green ground. The octagon contains a blue polylobed medallion, which encloses an eight-pointed star with a multipetaled rosette in the core. The area between the star and the lobed medallion has floral motifs springing outward from the arms of the star. The angles of the octagon bear eight isolated and irregular polygons with a red ground; each of these units is adorned with a multipetaled rosette enclosed by a square with papyrus motifs springing from its sides and corners. The field of the octagon is filled with similar papyrus sprays, some of which appear to grow from the eight-stemmed cups placed between the polygons. The triangles in the corners bear a checkerboard pattern with a stylized lotus blossom (or fleur-de-lis) in each segment. The compositional layout of the rug is reminiscent of the illuminated frontispieces, which reveal similar proportions and internal divisions. Radiating designs of geometric components filled with floral motifs are a characteristic feature of Mamluk art...

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 i...

The source of the rug comes from the book Antique Rugs of Kurdistan A Historical Legacy of Woven Art, James D. Burns, 2002 nr.28. This was an exclusive example of offset rows of flow...

This geometric lattice pattern rug has the impression that it is only part of a larger scheme-designed 15th-century rug from the Mamluk era, Cairo region, Eygpt. These designs have o...

The source of the rug comes from the book Orient Star - A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.75. This offset pattern is composed of ascending sh...

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...

This lattice pattern is composed of palmettes and leaves filling the various compartments against the imposing ground. One has the impression that it is only part of a larger scheme designed 15th-century rug from the Mamluk era, Cairo region, Eygpt. These designs have often been described as wagirehs or samplers and were said to have been used as weaver`s aids, or for demonstration purposes, made as a template or pattern for the carpet design and production of larger rugs, they are generally small pieces of the size of a scatter rug or mat. 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: 3 colors in total; Moss Green 27 (Spurge – Indigo) Mount Olive...

The rug source comes from the book Tapis du Caucase – rugs of the Caucasus, Ian Bennett & Aziz Bassoul, The Nicholas Sursock Museum, Beirut, Lebanon 2003, n...

The source of rug comes from the book Orient Star - A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.17. This is a remarkable and very unusual swastika designed early 19th-century rug from the Central Caucasia area. This unusual pattern is not known on other rugs but is seen on two Anatolian embroideries...

The source of the rug comes from the book Orient Star – A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.160. This unusual shape of a central octagon and cross-shaped hooks in the diamond design 17th-century rug from the Central Anatolia area, Turkey. This rug’s design is contrary and unusual because it is made by the village weaver who had never learned the theoretical structure of the classical 2-1-2 composition design. Among specialists, Anatolian carpets and kilims are believed to record symbols of ancient values and ideas. This tradition dates back several millennia and was only displaced during the industrial age. The Anatolian kilim design tradition probably owes its lucky survival to the fact that pile-woven carpets look more precious and would already have had a higher prestige value several millennia ago. Kilim weaving was, therefore, able to survive undisturbed within an intact cultural context for a long period of time. Our designers interpret the design of this rug and vivid colors are chosen for this rug. Color summary: 9 colors in total, most used 4 colors are; Burlywood 135 (Spurge – Madder Root) Natural Wool Color 320 (Specially Washed) Black Chocolate 434 (Pomegranate – Spurge – Madder Root) Charleston Green...

This offset pattern is composed of palmettes and flowers, one has the impression that it is only part of a larger scheme design 19th century rug from the Bidjar region, Eastern Kurdi...

The source of the rug comes from the book Oriental Rugs Volume 1 Caucasian, Ian Bennett, Oriental Textile Press, Aberdeen 1993, nr.250-251. This is a...

This unique, simple modern design rug is interpreted by our designers with a mixture of Ararat Rugs’ soft-toned natural dyed hand-spun yarns. Color summary: 10 colors in total, the ...

The source of carpet comes from the book How to Read – Islamic Carpets, Walter B. Denny, The Metropolitan Museum of Art, New York 2014 fig.61,62. The five-star-medallion carpet was d...

The source of the rug comes from the book Orient Star – A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.79. This is an unusual design of 18th or 19th-centu...

The source of the rug comes from the book Antique Rugs of Kurdistan A Historical Legacy of Woven Art, James D. Burns, 2002 nr.36 This was an exclusive example of offset rows of ascen...

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 contain a star-and-knot design commonly found in “Holbein” rugs...

The design source of the rug comes from the book Islamic Carpets, Joseph V. McMullan, Near Eastern Art Research Center Inc., New York 1965 nr.22. This is a system of arabesque-design...

This offset pattern is composed of palmettes and flowers, one has the impression that it is only part of a larger scheme designed 19th-century rug from the Bidjar region, Eastern Kur...

This lattice pattern is composed of palmettes and leaves filling the various compartments against the imposing ground. One has the impression that it is only part of a larger scheme ...

The source of carpet comes from the book Völker, Angela, Die orientalischen Knüpfteppiche das MAK, Vienna: Böhlau, 2001: 42–5. That rug with the central star was designed in the earl...

The source of the rug comes from the book Oriental Rugs Volume 1 Caucasian, Ian Bennett, Oriental Textile Press, Aberdeen 1993, nr.256. This is a hexagon columns...

This rug has an interpreted design composed of a palmette lattice pattern taken from a part of the Mamluk rug, filling the field elegantly. These kinds of rugs have often been descri...

The source of carpet comes from the book Völker, Angela, Die orientalischen Knüpfteppiche das MAK, Vienna: Böhlau, 2001: 42–5. That 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. The interpreted design is composed of a leaf lattice pattern taken from the border of the MAK Museum’s rug...

The most dramatic of the Gerous ( Garrus, Gerus, Garus ) carpets are those with an “asymmetric” design. Only a section of the original is shown, in the same way, many Lotto carpets w...

This geometric lattice pattern rug has the impression that it is only part of a larger scheme designed 15th-century rug from the Mamluk era, Cairo region, Eygpt. These designs have o...

The source of carpet 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. The interpreted design is composed of a flower lattice pattern taken from a part of the MAK Museum’s rug...

The source of the rug comes from the book Oriental Rugs Volume 1 Caucasian, Ian Bennett, Oriental Textile Press, Aberdeen 1993, pg.244. This is a sin...

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 vivid colors are used for this rug. Color summary: 2 colors in total; Imperial Red 426 (Madder Root) Sunray Color 405 (Henna) Group: Islamic Rugs...

This is an elegant multi-medallion carpet designed in the 17th century in the Kerman region, Persia. The carpet design shows vigorous rows of eight-pointed star medallions, ornamente...

The source of the rug comes from the book Orient Star – A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.79. This is an unusual d...

Turkish Court Manufactury Rugs were woven in the Egyptian workshops founded by Ottoman Empire in the 16th century. Those carpets were woven in Eg...

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.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 rug comes from the book Tapis du Caucase – Rugs of the Caucasus, Ian Bennett & Aziz Bassoul, The Nicholas Sursock Museum, Beirut, Lebanon 2003, nr.79. This is a very colorful, dramatic, and unusual design rug from the late 19th century, Kuba region, Caucasus area. The series of octagons arranged in horizontal rows, each with a delicately drawn quatrefoil center, is reminiscent of a group of octagon rugs...

This unique design rug is interpreted by our designers with a mixture of Ararat Rugs’ soft blue tone natural dyed hand-spun yarns. This modern rug is reminiscent of a scene in impres...

The source of the rug comes from the book Antique rugs of Kurdistan A Historical Legacy of Woven Art, James D. Burns, 2002 nr.45. This is a popular design employed by the Kurds, call...

The source of carpet comes from the book Orient Star – A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.64 and Islamic Carpets, Joseph V. McMullan, Near Eastern Art Research Center Inc., New York 1965 nr.26. This is a long Khorassan Compartment and tree design 17th-century carpet from Khorasan, Eastern Persia. The name of this carpet comes from the provenance of Piero Barbieri, Genoa. The basic design of this rug is essentially quite simple. The field is organized by alternate rows of smaller multilobed medallions and larger reciprocal cartouches. The medallions alternate in width and color; from the wider ones, four trees...

The source of the carpet comes from the book Turkish Carpets from the 13th – 18th centuries, Ahmet Ertug, 1996 pl.16. This 15th-century carpet is from Ulu Mosque, Divrigi Sivas regio...

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 rug comes from the book Oriental Rugs Volume 1 Caucasian, Ian Bennett, Oriental Textile Press, Aberdeen 1993, nr.67 and Caucasian Carpets, E. Gans-Reudin, Thames and Hudson, Switzerland 1986, pg.68. This is a very popular Kazak design with the Memling ( Memlinc ) güls within octagons in a single vertical row rug from the late 19th century, Kazak region, Caucasus area. It is often difficult to distinguish between rugs woven in the Kazak, Karabakh, Genje, and Moghan districts. Rugs with rows of stepped and hooked rectangles within octagons (the so-called “Memling gül...

The source of the rug comes from the book Islamic Carpets, Joseph V. McMullan, Near Eastern Art Research Center Inc., New York 1965 nr.28. This Persian Garden design rug belongs to t...

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...

This hand-knotted rug is a bold reinterpretation of the historic Mamluk “chessboard” layout—an architectural field design built from a grid of repeated octagonal star motifs. Unlike classical Mamluk rugs, which often featured deep crimson and emerald tones, this version introduces an earthy and luminous palette of ochre gold, teal green, soft ivory, and sky blue. The result is a brighter, more contemporary vision of a centuries-old form. The source of carpet comes from the book Islamic Carpets, Joseph V. McMullan, Near Eastern Art Research Center Inc., New York 1965 nr.28. The field of the so-called "Chessboard" Carpet ( so-called Checkerboard Rug...

The source of the rug comes from the book How to Read - Islamic Carpets, Walter B. Denny, The Metropolitan Museum of Art, New York 2014 fig.87. This is a domestic carpet, village, and nomadic weaving in the late 19th century in the Shirvan region, Caucasus. There are three principal designs for rugs attributed to Konagkend ( Konakkent or Konakhend ). The first has a large cruciform medallion, the second, called by Kerimov and Schürmann ‘Ordutch-Konagkend’, has a series of large octagons, and the third, and probably best known, has a stiff, angular lattice based on hexagonal forms. Each type has a quite different aesthetic appeal and in each case, the design is reminiscent of other rugs. The cruciform medallion type usually has a bright, light palette and in both color and design is reminiscent of Kurdish weavings and certain Turkish village rugs. The ‘Ordutch-Konagkend’ pieces have strong affinities with Baku and other north Shirvan rugs, and the lattice type is the closest to the concept of design most normally associated with Kuba as well as having links with earlier groups of, principally Turkish, carpets. This is an example of nomadic and village weaving often attaining a level of great artistry, exhibiting an almost breathtaking command of technique along with a marvelous sense of color, proportion, and artistic balance...

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...

This is a white ground rug designed in the 19th century, from the Heriz region, Northwest Persia area. Heriz ( Heris ) is a special Turkish knot weaving area of Persia, including man...

The source carpet comes from the Mercer Collection Sotheby’s 2000 (catalog cover). This Mamluk-Cairene carpet, curiously featuring some type of lattice, ...