Ararat Rugs Furniture

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 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...

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 design source of the carpet comes from the book Turkish Carpets from the 13th – 18th centuries, Ahmet Ertuğ, 1996 pl.9. This 13th-century carpet is from Ulu Mosque, Divrigi Sivas...

The source of the carpet comes from the Mercer Collection Sotheby’s 2000 (catalog cover). This Mamluk-Cairene carpet is known, curiously featuring some t...

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...

The source of the rug comes from the book Tapis du Caucase – Rugs of the Caucasus, Ian Bennett & Aziz Bassoul, The Nicholas Sursock Museum, Beirut, Lebanon 2003, nr.24 and Oriental R...

The source of 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 region, c...

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 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 exa...

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...

The source of the rug comes from the book Tapis du Caucase – Rugs of the Caucasus, Ian Bennett & Aziz Bassoul, The Nicholas Sursock Museum, Beirut, Lebanon 2003, nr.45 and Oriental R...

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...

The source of the rug comes from the book Tapis du Caucase – Rugs of the Caucasus, Ian Bennett & Aziz Bassoul, The Nicholas Sursock Museum, Beirut, Lebanon 2003, nr.46. This is a dou...

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 Renaissance of Islam, Art of the Mamluks, Esin Atil, Smithsonian Institution Press, Washington D.C., 1981 nr.125. This a rug with a cup motif design late 15th-century rug from Mamluk Sultane 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 corner 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 rug comes from the book Oriental Rugs Volume 1 Caucasian, Ian Bennett, Oriental Textile Press, Aberdeen 1993, nr.250-251. This is a...

Carpets called Siebenburgen or Transylvanian are those which have been found in the Protestant churches of Siebenburgen. Some of them carry a label on the back stating where, when and by whom the piece has been donated to the church. Siebenbürgen/Transylvania is an area between the South and the East Carpathian and West Siebenbürgen mountains in Romania. In 1541 the area came under the rule of the Ottoman Empire and became a Turkish protectorate of the principality of Transylvania. Legend has it that Suleiman ‘the magnificent’ sent his vizier with the gift of a beautiful carpet to the Black Church...

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...

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 is a complete hooked field with double medallions rug from the late 19th century, Kazak region, Caucasus area. A striking field design features two medallions each with concentr...

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 exquisite Shirvan rug showcases the intricate artistry of Eastern Turkiye. With a timeless design and rich history, this luxurious oriental carpet is a true masterpiece for disc...

A timeless expression of Silk Road artistry, this hand-knotted Khotan rug draws from the refined textile traditions of East Turkestan. Its design bridges cultures—melding Chinese clo...

The source of the rug comes from the book Orient Star – A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.27. This is an ascending palmettes and flowers desi...

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 design source of the rug comes from the book Oriental Rugs Volume 1 Caucasian, Ian Bennett, Oriental Textile Press, Aberdeen 1993, nr.306. This is an unusually hooked octagonal medallion-designed rug from the 19th century, in the Kuba region and Caucasus area. The series of octagon medallions arranged in horizontal rows, each with a delicately drawn star-motif center, is reminiscent of a group of octagon rugs...

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...

This rug with the central star was designed in the early 16th-century rug by Mamluk Sultane of Cairo, Egypt. Attempting to read early carpets produced in workshops in Cairo provides ...

This is a large stellar medallion with stripes in a cruciform border design rug from the 19th century, Shirvan region, Caucasus area. In the field, two large star medallions are cove...

The source of the rug comes from the book Oriental Rugs Volume 1 Caucasian, Ian Bennett, Oriental Textile Press, Aberdeen 1993, nr.158 and Caucasian Carpets, E. Gans-Reudin, Thames a...

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

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 o...

The 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-designed 19th...

This is a Derbend Kazak rug also known as Daghestan rug, designed late 19th century, is a type of handwoven rug that originates from the Caucasus region, specifically from the town of Derbend (also spelled as Derbent) in modern-day Dagestan, Russia. Derbend rugs have a rich history that dates back centuries and are highly regarded for their intricate designs and craftsmanship. Derbend rugs are known for their bold and vibrant geometric designs. They often feature intricate patterns and motifs such as diamonds, medallions, stars, and stylized floral elements. The designs are typically woven with high contrast, using a variety of colors, including red, blue, green, and ivory. Derbend rugs have been woven by various ethnic groups in the Caucasus region, including the Azerbaijani, Lezgian, and Avar peoples. They hold cultural and historical importance as a form of artistic expression and are considered a part of the region's rich weaving heritage. The design of this rug is interpreted by our designers and soft colors are chosen for this rug. Color summary: 7 colors in total; Turquoise 330 (Spurge - Madder Root - Indigo - Walnut Husk) Dark Brown 316 (No Dye - Sheep’s Own Color) Barley Corn 103 (Only Specially Washed) Mandarian Orange 529 (Madder Root - Walnut Hulsk) Wax Flower...

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

Turkish Court Manufactury Rugs were woven in the Egyptian workshops founded by the Ottoman Empire in the 16th century. Those carpets were woven in Egypt, following the paper cartoons...

Turkish Court Manufactury Rugs were woven in the Egyptian workshops founded by the Ottoman Empire in the 16th century. Those carpets were woven in Egypt, following the paper cartoons...

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

The design source of the rug comes from the book Caucasian Carpets, E. Gans-Reudin, Thames and Hudson, Switzerland 1986, pg.284. This is a spectacular example of the Orducth-Konagken...

Turkish Court Manufactury Rugs were woven in the Egyptian workshops founded by the Ottoman Empire in the 16th century. Those carpets were woven in Egypt, following the paper cartoons...

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...

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. 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 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 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 source of 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 fr...

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...

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 dese...

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 looks like the sand in the desert. C...

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 dese...

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

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 looks like the sand in the desert. C...

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 numb...

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...

Turkish Court Manufactury Rugs were woven in the Egyptian workshops founded by Ottoman Empire in the 16th century. Those carpets were woven in Egypt, following the paper cartoons probably created in Istanbul and sent to Cairo at that time. The source of carpet comes from the book Seven Hundred of Oriental Carpets, Hanna Erdmann, University of California Press, 1971 fig.165. The model of this rug comes from Berlin Museum, Inv. Nr. I 10. Ottoman Carpet, Cairo about 1540-5. Acquired in 1905 as a gift from von Dirksen. Carpets of this sort, of course, are preserved in great numbers, but the Berlin piece was the most beautiful. Mamluk details of design which have persisted in the central medallion prove that it belonged to the earliest examples of this group, which about 1540 replaced the Mamluk carpets made in Cairo up to that time. The design of the rug is interpreted by our designers with four corners floral medallions, and soft colors are used for this rug. Color summary: 5 colors in total, most used 4 colors are; Natural Wool Color 320 (Specially Washed) Moss Green 27 (Spurge – Indigo) Midnight Blue 347 (Spurge – Madder Root – Indigo) Lucario Blue 342 (Spurge – Madder Root – Indigo) Group: Islamic Rugs...

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...

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 is a complete hooked field with double medallions rug from the late 19th century, Kazak region, Caucasus area. A striking field design features two medallions each with concentr...

The 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-designed 19th-century rugs from Gerous ( Garrus or Garus ) region, Eastern Kurdistan area. This rug is a splendid echo of the Arabesque and Vase Carpets...