Study Room Rug,Vintage Kitchen Carpet,Rustic Nursery Rug,Boho Bedroom order Rug,Hand Made Living Room Rug6' 2'' x3' 5'' Muted Dining Room Rug1275

Study Room Rug,Vintage Kitchen Carpet,Muted Turkish Vintage Rug,Boho Bedroom Rug,Hand Made Living Room Rug6' 2'' x3' 5''Dining Room Rug1275


I belive that every rug has it's own story !!!

100 % Hand Made Turkish wool Unique rug !!!

Discover the timeless beauties of vintage runner rugs with their traditional designs.
Each one is unique and authentic. We select only the ones in great condition.

My curated collection of vintage wool area rugs are composed of hand-knotted Turkish, Persian and other Oriental rugs
woven mostly in the 50s, 60s and 70s. We select these rugs from
homes and usually shear their piles low to reduce the strength of the designs and to give a further aged style


This gorgeous rug can be used as:Room size rug,Dining room rug,Living room rug,Nursery,Office,
Present for loved ones,Bedroom,kids room,saloon,Studio,Patio,Veranda,Terrace.

The rug will transform your the entire room positively !!!

Genuine Art Deco Rug !!!

Due to the nature of age, All vintage rugs might have slightly worn, faded, or have minor imperfections
adding to the character of the item.That makes them more beautiful and more unique.

Before I Ship My Rugs ,I Check Them and If need anything,I Do Necassary rapairs and Cleaning, As They Are Vintage Rugs,
They May need From Time To Time Certain Repairs
Which I Think You Should Find İt Normal.


Hand made rug is clean and ready to use

vintage rug is in good condition.

Turkish rug has beautiful color harmony

Boho rug will enhance your beauty of home atmosfer !!!

One of a kind Turkish rug

Genuine vintage and antique Turkish rugs are handmade with wool in Anatolia. Each one is a unique work of art and one of a kind.

Professionally cleaned

Due to the age and handmade nature of these rugs, there will be imperfections and flaws that are not considered defects.

When photographing, we do not enhance our photos in any way and try to portray them in the most accurate lighting possible.

Since I sell vintage rugs,there might be small imperfections on the rugs.

Photos of the rug may differ from screen to screen !!!

We Ship The Rug Directly From Turkey !!!

You Will Receive Same Rug In The Pictures !!!

Rug Comes From Smoke and Pet Free Area



SIZE IN CENTIMETERS: 188 X 107


SIZE IN INCHES: 74 X 42


SIZE IN FEET: 6' 2'' X 3' 5''



I have taken pictures of the rug in the daylight ,without using flash.

You receive exactly rug as pictured !!!

I accept return, in case of disatisfaction !!!

I will ship your rug by FEDEX INTERNATIONAL within 5 business days and will inform you about shipment details,you will able to fallow your parcel online !!!


I Am Grateful For Your Support The Handcraft And My Small Business,Melisa !!!


IF YOU LIKE TO SEE MORE PILE RUGS,PLEASE VISIT :

https://www.etsy.com/shop/VINTAGERUSTICRUG?ref=seller-platform-mcnav§ion_id=26186852


IF YOU LIKE TO SEE MORE KILIM RUGS,PLEASE VISIT:

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Rug Motifs, Symbols & Meaning


There are so many different symbols and motifs found in Rugs and Kilims across the world, most of which date back hundreds of years but are still being used by carpet weavers today. We thought it might be interesting to have a reference to these symbols together with their meanings so you can identify some of the motifs found in your own rugs.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
ELIBELINDE - Hands on Hips
A stylised female figure derived from the Anatolian mother goddess figurines and used as a symbol of motherhood and fertility.
KOÇBOYNUZU - Ram's Horn
A crescent-shaped symbol of fertility, heroism, power and masculinity
BEREKET - Fertility
A kilim motif composed of elibelinde and koçboynuzu motifs arranged to include various protective symbols. Stylised representations of multi-grained plants such as wheat, barley, pomegranate, poppy, melon, figs, grapes and mulberry are also used to indicate fertility.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
INSAN - Human Figure
A stylised representation used to commemorate a person, to express the hope for having a child, or to imply the expectation of a baby.
SAÇBAĞI - Hair Band
A rug motif, evolved as a symbolic representation of the head ornament used by the bride in the wedding ceremonies, which indicates the desire to get married
KÜPE - Earring
A kilim rug motif resembling the shape of an earring, an indispensable wedding present, used to express the desire for marriage.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
BUKAĞI - Fetter
A cuff-shaped motif symbolising the continuity of the family union, the devotion of lovers and the hope that they should always stay together.
ANDIKLI - Chest
A motif which symbolises the trousseau chest of a young woman and stands for the desire to get married and having a child. In some cases the motif symbolises death and a coffin.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
AŞK VE BIRLEŞIM - Love and Unison
A rug motif inherited from the Far East, generally known by the name of Ying-Yang and used to indicate the harmony between a man and a woman
YILDIZ - Star
A rug motif used to express happiness and fertility, based on the fact that the size pointed star, generally known as the Soloman's Seal, is used to symbolise the womb of the mother goddess figurines. The star motifs with eight or more points are used on the Anatolian weaves.
IBRIK - Ewer
A motif stylised in the form of a water container, symbolising purity and purification and used also as a symbol of pregnancy.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
SU YOLU - Running Water
A theme indicating the importance of water in the life of mankind. Motifs in the forms of meanders, clouds and even vases and ewers are all different expressions of the same theme. The pattern of running water varies according to the material on which it is applied. When carved on stone, it assumes an angular shape, while it is curvilinear or triangular on weavings.
PITRAK - Burdock
A motif derived from a plant which is believed to be capable of warding off the evil eye. The fact that the term "like a burdock" means full of flowers, account for the use of the motif as a symbol of abundance.
EL, PARMAK, TARAK - Hand, Finger, Comb
Rug motifs which are composed of five lines or five dots are based on the Anatolian belief that the number five, ie the number of fingers on a hand, serves as a protection against the evil eye. The Hand motif is used against a spell or evil eye, where the comb motif is related to the protection of birth and marriage.
MUSKA - Amulet
A rug motif in the shape of written charms which are believed to have magical and religious powers to protect the possessor from dangerous external factors and generally placed in triangular cases.
NAZARLIK - Evil Eye
A motif used to reduce the effect of the evil glance, which is believed to be a power possessed by some people that cause harm, injury, misfortune and even death
ĞOZ - Eye
A stylised eye motif derived from the belief the the best source to prevent the harms caused by the evil glance is the human eye itself.
HAÇ - Cross
A rug or kilim design motif which is used against the evil eye and believed to reduce the power of the evil glance by dividing it into four pieces.
ÇENGEL - Hook
A motif used against the evil eye.
YILAN - Snake
A theme which dates back to the earliest history of mankind. The motive is used with protective purposes, while a black snake is the symbol of happiness and fertility.
EJDER - Dragon
A mythological theme where a winged creature stylised with feet of a lion and tail of a snake is believed to be the master of air and water, the cause of lunar eclipse, the guard of treasures and secret objects as well as the tree of life. A related theme is the fight of the dragon and the Phoenix which is believed to produce fertile rains of spring and where the dragon is stylised as a cloud.
AKREP - Scorpion
A Kilim or Rug motif used as a protection against the scorpion, sometimes used to represent a dragon.
KURT AĞZI, KURT IZI - Wolf's Mouth, Wolf's Track
A motif used as a protection against the wolves, which is the primary threat for the cattle breeding nomadic and semi nomadic tribes.
CANAVAR AYAĞI - Monster's Feet
The local name for the motif which symbolise the dragon.
BROWSE OUR RUGS NOW AND SEE THE SYMBOLS IN SOME OF THEM
HAYAT AĞACI - Tree of Life
A theme which stands for the wish of immortality or the hope for life after death. Stylisation of various plants, such as cypress, date, palm, pomegranate, fig, olive, wine, beech and oak, are used to symbolise the tree of life.
ÇIÇEK - Flower
A rug motif generally used on the borders of Kilims composed of stylised roses, carnations, tulips and hyacinths which resemble the garden of Eden. The Tulip is also used to express the expectation of a son.
IM - Family Signs
Rug Motifs which stand for the names of various Turkish tribes.
KUŞ - Bird
A kilim, rug or carpet motif which is loaded with various meanings, ranging from good luck to bad luck; happiness, joy and love; the soul of the dead; women; longing; an expectation of news; power and strength.



ABOUT TURKISH RUGS- CARPETS


Turkish carpets are famous for their beautiful and complex patterns and rich, naturally-dyed colors. They come in various forms: “nomadic” or “tribal” rugs (knotted pile) kilims (flat-woven rugs), cicims (embroidered rugs), angora goat hair rugs, sumaks (kilims that have been hand embroidered to enhance their patterns), prayer rugs (often with an arched niche called the mihrab, which is pointed towards Mecca when its use prays) and cushion covers. Kilims can be placed on walls or on the floors. They are associated with Turkey but are produced in Pakistan, India and other places. Sumaks are often used as covers or blankets.

Sara Wolf, a director at the Textile Museum in Washington D.C, and an expert on Turkish carpets told the Washington Post, “What inspired me was the fabulous designs and colors. They have every bit of the pizzazz as a piece of modern art. They're straight forward and bold, and they never go out of style...There's a lot of personality, individuality and whimsy in the old pieces. I pine for the personality that the weaver incorporated into their work when it was an important part of their culture.”

Turkish, Central Asian and Caucasian carpets are usually coarser and have jagged geometric designs and brighter and wilder colors. They have a knot count that runs from 60 to 100 per square inch. City carpets from Turkey and Iran are known for their formal, dense curved floral patterns. They traditionally have had a higher knot count.



History of Turkish Rugs


According to Doris Leslie Blau: “Often referred to as Anatolian, rugs have been woven in the area of present-day Turkey since the 13th century with the arrival of the Seljuks, who were nomadic tribes from Central Asia. Turkishrugs were first brought to Europe in the Middle Ages and were in such high demand that Europeans in the fifteenth and sixteenth centuries referred to all oriental rugs as " Turkey rugs." In contrast to Persian rugs, Turkish rugs of the nineteenth century were less sophisticated, brighter in color, more rectilinear, and were more coarsely-woven. Repeating patterns are rare and prayer rugs with mihrabs in solid colors are common in antique Turkish rugs. Of the many weaving centers throughout Anatolia, each created an innately Turkish rug with a distinct signature style native to its specific region. [Source: Doris Leslie Blau *~*]

“With many weaving centers throughout Anatolia, each created an innately Turkish carpet with a distinct signature style native to its specific region. In the fifteenth century, inspired by the example set by the Timurid and Safavid Courts, Turkish artists introduced floral and Chinese motifs, first into ceramic tile-work and textiles, and then adapted into oriental carpet patterns. These designs included elegantly drawn prayer rugs decorated with architectural motifs serving as models for centuries of village weavers of rugs and textiles across Anatolia.” *~*

Marika Sardar of New York University wrote: “In Ottoman Turkey, weaving patterns and techniques changed in the early sixteenth century after conquests in Persia and Egypt. Anatolia had been known for carpets with stylized animal and geometric designs, but with these new cultural contacts, carpets designed around a central medallion and with flowing saz-style vegetation came into vogue. Similar motifs also appeared on book covers, textiles, and in manuscript borders. The style of these Ottoman court rugs, first produced in Istanbul, then spread to other weaving centers in Cairo and Ushak (58.63; 1984.69), but never fully overtook the various regional carpet traditions. Caucasian and Armenian carpets retained their customary geometric patterns, and kilims (or flat-weaves) remained popular. [Source: Marika Sardar Institute of Fine Arts, New York University, Metropolitan Museum of Art metmuseum.org ^/]


Different Types of Turkish Rugs
Among the most famous types of Turkish rugs are Ghiordes, Kulah, Bergama, Ladik, Anatolian, Melez, Kirsehir, Oushak, Sivas, Tulu, Kayseri, Hereke, Borlou and Konya. Carpets from southeastern Anatolia are influenced by carpets from Syria and Iran. They use a lot of red and feature a lot of alternating positive and negative space. Carpets from northeastern Anatolia are influenced by carpets from Armenia. They feature Armenian floral and tree designs.

According to Doris Leslie Blau: “Decorative antique carpets from Sivas are often finely-woven interpretations of the classical Persian medallion design and have floral infill. Hereke rugs often feature luxurious materials such as silk and metal-thread worked into designs emulating the antique Persian carpets of the Ottoman and Safavid Court workshops. Ghiordes, in the western part of Turkey, is known for precisely figured, colorful, multi-bordered antique prayer rugs with open prayer niches, and stylized architectural motifs. The antique Borlou carpet most closely resembles the dramatic scale, informality and pleasing palette of oriental Oushak rugs. [Source: Doris Leslie Blau *~*]

“Ghiordes, in the western part of Turkey, is known for precisely figured, colorful, multi-bordered antique prayer rugs with open prayer niches, and stylized architectural motifs. The antique Borlou carpet most closely resembles the dramatic scale, informality and pleasing palette of the oriental rugs in nearby Oushak, later manifesting itself in grand room size carpets. Formerly called Caesarea, Kayseri is a rug production center in central Turkey (Anatolia). Due to its location along the Silk Road, rugs from the region reveal the heavy influence of Gordes and Iranian carpets.” *~*

“Since the beginning of their production in the 18th century, rugs from the Anatolian town, Ghiordes have mostly been known for their rectilinear, colorful, multi-bordered antique prayer patterns. Ghiordes rugs often have open fields with mihrabs or hanging lamps and stylized architectural motifs that are found on sixteenth and seventeenth century Ottoman court rugs.

Ghiordes is the oldest knot found in the most ancient of rugs/carpets. However, the oldest fragment of rug found with this knot was discovered in Siberia amongst the remains of the Pazyryk people and has a date stamp that places it in the Iron Age. *~*


Oushak and Tulu Rugs
According to Doris Leslie Blau: “Since the sixteenth century, antique oriental carpets and rugs from Oushak have been represented among the carefully chosen and highly esteemed objects d'art in the studied interiors and still life paintings of important European personages, as depicted by such artists as Holbein, Lotto, Velasquez, Memling and Vermeer. Until the eighteenth century, the vogue for Ottoman carpets was unabated designs such as 'medallion' and 'star' Oushaks in royal tones of brick red, terracotta, deep blue and gold continued to grace European interiors. Over time, designs of antique Ushak carpets and antique Oushak rugs evolved, managing to retain the distinctive character of sixteenth century prototypes continuing to reference large scale ovoid or star shaped medallions enclosing split-leaf rumi and floral vinery displayed on fields of delicate floral tracery. [Source: Doris Leslie Blau *~*]

“Characteristics of antique Oushak rugs are: relatively loose knots giving a supple hand a fairly long pile colors that have oxidized into a riotous sorbet of summer fruit such as melon, tangerine, passion fruit, mango, orange, lemon and lime green. The monumental scale, relaxed structure and playful palette of antique Oushak rugs ensure that they remain a favorite within the pantheon of decorative antique oriental rugs. *~*

“Tulu means long haired in Turkish. These rugs were made in the past for the purpose of getting warmth and for sleeping. They are soft, usually have vibrant colors and are very shiny. Antique Tulu rugs are some of the most beautiful textile creations in the entire world. They can be identified by their artistic details and luscious texture. These rugs were made by hand knotting with the Ghiordes knotting style. Tulu rug patterns are unique but they are mostly based on flowery or vinery designs with something solid or plain for a centerpiece. Tulu rugs are usually woven with a combination of vibrant and earthy tones for balance. *~*

“Tulu rugs are woven in the city of Karapinar, which lies east of Konya. It is home to a lot of mountains and plains. At least 100 years ago, the people of the village could not grow plants or tend livestock because of the conditions at the time. As a result, they started doing Tulu weaving (long-haired) and producing Tulu - rugs. Most of these rugs are 70-100 years old. They begin weaving these Tulus to keep themselves warm in the blistering cold up in the mountains. Commercial Tulu rug weaving only started recently to help them make a living for themselves.

Some Tulu rugs show regional geography and terrain, hence, the flowery and vinery centerpieces and designs. Some Tulu rugs exist with oatmeal fields (centers) and more solid edges. This depicts the plains of the Karapinar and the mountains depict the solid edges that give some balance to the city of Karapinar.” *~*


Sivas, Borlou and Hereke Rugs
According to Doris Leslie Blau: “Borlou rugs originate in Turkey. They have been handmade since as early as the 13th century. It is believed that a tribe known as the Seljuks were the skilled weavers responsible for these early masterpieces. The Seljuks are said to have hailed from Central Asia and were nomads. During the 1400s and 1500s, Europeans collected and treasured these rugs so much so that all rugs that came from Asia were thought to be products of Turkey. Each rug bears the intricate designs that represent the weaving base that produced it. Each region in Turkey has a signatory design that identifies it.” [Source: Doris Leslie Blau *~*]

“The following are some of the regions and their associated designs: 1) “Hereke” is weaving center is located near Istanbul in the northern tip of Izmit Bay. These rugs were reserved for royalty and people held in high esteem on the national and international front. They incorporated motifs from Persia, traditional Turkish designs, Egypt, Western Europe, and of course the Usak medallion. These rugs are considered to be the finest in the world. 2) “Konya” is located in Central Anatolia. The rugs produced here also have a Persian flavor as well as a floral motif. Marco Polo once commented on the beauty of the carpets produced in this region. 3) “Sivas” carpets incorporate the Usak medallion, have a Persian flavor, and tend to be more floral.

“Sivas rugs and carpets weavers traditionally used a smaller assortment of color than their Persian counterparts, achieving a remarkable range with only eight or nine colors. Primary colors tend to dominate, particularly blue and madder red, although a softer and lighter palette is often used on late nineteenth and early twentieth century carpets. Decorative antique carpets from Sivas in the southeast are finely woven and formal, tending to interpret the classical Persian style with central medallions and floral infill. A palette of soft and pale gelato tones in the typical antique Sivas rug makes it more feminine and sugary than other any other antique Turkish carpet. *~*

“Hereke rugs made in the small coastal town of Hereke, Turkey. In the early nineteenth century, on the outskirts of Istanbul, the Hereke carpet workshop was established, becoming famous for producing exceptional, finely woven carpets of outstanding technical ability. These antique Hereke rugs often feature luxurious materials such as silk and metal-thread worked into designs emulating the antique Persian carpets of the Ottoman and Safavid Court workshops. *~*

“Antique Hereke rugs are truly beautiful pieces of art, and it's truly mind-boggling to think that so many beautiful pieces came from a single town. Like many antique rugs, Hereke rugs feature subtle, muted colors that span the spectrum. They also feature intricate designs from edge to edge. Hereke rugs can range from small 6'x4' rugs that will cover a small piece of a room to massive, room-spanning 22'x14' carpets. Each one will serve as a unique piece of art with its own distinct flair. *~*

“Originally intended to furnish palaces, Hereke rugs were made throughout the 1800's. To fit their palatial purposes, Hereke rugs are not only made of cotton, wool, or silk, but many also feature threads of gold or silver. These threads help antique Hereke rugs stand out visually, and vastly increase their value among collectors. While some Hereke rugs are still produced today, the most beautiful and valuable of them are the antiques. There is no need to worry about any degradation of quality over time, however. Even in the 1800's, Hereke rugs were precisely made with double knots, and their patterns are still clearly visible and their colors have not faded.” *~*


Turkic and Islamic Carpets in European Paintings
Walter Denny of the Metropolitan Museum of Art wrote: “The popularity of what we call oriental carpets—pile-woven carpets from the Islamic world—in Europe from the fourteenth century onward is reflected in the frequent depiction of oriental carpets in European paintings. Indeed, European paintings are a primary source for scholarship on early carpets, and many groups of Islamic carpets from the Middle East are today called by the names of European painters who depicted them: Lotto, Holbein, Ghirlandaio, Crivelli, and Memling are among the European painters whose names are now used to describe certain groups of carpets woven in Ottoman Turkey. [Source:Walter Denny, Department of Islamic Art, Metropolitan Museum of Art metmuseum.org ^/]

“From biblical times onward, the concept of having an expensive textile underfoot has been associated with wealth, power, and sanctity; when the Sienese painter Duccio depicted the story of those who spread their garments under Christ's feet on Palm Sunday, he was simply renewing an age-old cultural concept. By the time Sir Walter Raleigh put his cloak on the ground to help Queen Elizabeth over a mud puddle, the mystique of textiles underfoot had been around for millennia.^/

“A fifteenth-century painting by Giovanni di Paolo, Madonna and Child with Two Angels and a Donor, depicts under the feet of the Virgin Mary one of the earliest and rarest types of carpets from Turkey to be exported in quantity to Italy; the design consists of highly stylized animals in octagons (41.190.16). By the sixteenth century, carpets were frequently depicted in portraits as a signifier of sophistication, education, and high social and economic status; an anonymous portrait by Moretto da Brescia shows at the very bottom a minor border of a contemporary Anatolian rug from Ottoman Turkey; the design of the rest remains an enigma (28.79).^/

“By the seventeenth century, depictions of carpets were widespread throughout Europe. The Museum owns several Lotto carpets; the earlier and larger examples have a border of stylized strapwork recalling squared-off kufic Arabic writing (08.167.1), while borders of later examples have small medallions, such as those shown in the painting by Jan Breghel and Peter Paul Rubens entitled The Feast of Achelous (45.141). Here, we see a story from Ovid's Metamorphoses portrayed as a contemporary Flemish outdoor banquet, with a beautiful Lotto carpet with red and yellow arabesques from central Turkey shown on a table partially protected by a linen tablecloth. The pattern was a favorite in Europe; the seventeenth-century painter Nicolas Maes depicted a young girl peeling apples, seated next to a table covered with a sumptuous Lotto carpet (14.40.612).^/

“Carpets woven in Syria were extremely rare in Europe: a painting by Gabriël Metsu entitled A Musical Party shows a so-called chessboard carpet with a design of geometrical stars from early seventeenth-century Syria over a table (91.26.11); the Museum owns an actual carpet of this design, given by Joseph V. McMullan (69.267).^/

“Medallion carpets woven in Ushak in west-central Turkey were also depicted frequently in European paintings. Metsu's sumptuous Dutch interior scene The Visit to the Nursery shows a large Ushak medallion carpet draped over a table (17.190.20). The Metropolitan has several Ushak carpets of this type in its collection (08.173.13). The attractive genre scene by Gerard ter Borch, the Younger, entitled A Woman Playing the Theorbo-Lute and a Cavalier depicts a small west Anatolian medallion carpet with an unsual design on the table in front of his musical couple (14.40.617).^/

Although Johannes Vermeer's lifetime output of paintings was very small, a large portion of them contains depictions of oriental carpets. Two in particular feature carpets prominently: the famous A Maid Asleep depicts two different seventeenth-century Anatolian carpets from Turkey (14.40.611), while Young Woman with a Water Pitcher shows a soft and thickly textured Persian carpet, again on a table, with a design of floral arabesques on a red ground (89.15.21). The tradition of showing carpets on tables in upper-class interiors continued well into the eighteenth century; Longhi's The Visit shows a western Anatolian prayer carpet from the Gördes district draped over a table in an elegant Italian interior (14.32.2).^/

As carpets became more affordable in Europe, very large examples were imported for use as floor covering. Francis Wheatley's The Saithwaite Family, for example, presents an aristocratic British couple and their daughter on a very large eighteenth-century carpet from Ushak (2009.357). In early nineteenth-century France, Jean-August-Dominique Ingres, a great admirer of Italian Renaissance art, self-consciously referred backward in time to earlier portraits in his well-known portrait of Jacques-Louis Leblanc (19.77.1). The carpet-covered table shown with books, a handwritten letter or manuscript, and an inkwell (a concept that horrifies today's textile conservators) refers to a long tradition in European painting, in which carpets are associated not only with economic and social status in general, but also with learning and literacy. The small carpet on the table, of a well-known eighteenth-century type from Anatolia, is strikingly similar to an actual example from the McMullan collection in the Metropolitan (1974.149.15). Depictions of carpets in European and American paintings continued throughout the twentieth century, in works as diverse as the orientalist paintings of Matisse or American interiors by artists such as Glackens; the colors, textures, and patterns of carpets continue to fascinate patron and painter alike into our own time.


How to Keep Your Oriental Rugs Clean


Rugs gradually wear as they are walked on. That can't be avoided, but you can lesson the problem by turning or rotating your rugs from time to time so they don't always get walked on in the same places. Walking on a dirty rug shortens its life prematurely. Dirt and sand fragments act like sandpaper as you grind them into the surface of your rug. How often should you have your Oriental rugs washed? On the average of every four or five years, but the real answer is that you should wash them when they are dirty and not before or long after. You can tell whether your rug is dirty by testing it with a white, wet cloth. Rub the rug's pile vigorously with the wet cloth and check to see how much dirt is transferred to the cloth. Don't worry about a little discoloration; any rug has a little dust on its surface. A dirty rug will transfer a lot of dirt to a cloth, and the results of your testing will be unambiguous. Dirty rugs may not look especially dirty, but typically they look flat and lusterless.

Many Europeans are fearless about washing their own rugs and have developed methods so hallowed by time that they are unquestioned. People of German origin have told me about their mothers turning rugs upside down in the snow and beating them on the back. I have no doubt that the results can be quite dramatic when the rug is removed and an impressive amount of dirt is left behind on the snow. And the snow approach must do a good job of freshening the surface of an Oriental rug. But this approach can't really compete with thoroughly wetting a rug and washing it with appropriate materials. I used to wash my own rugs, and it can be done, but these days I let the professionals wash my rugs. They do a better job than I do and they are better at dealing with color-run when that occurs.

Here is a summary of how rugs are (or should be) washed professionally. (I would like to thank David Walker of Talisman in Santa Cruz, California for some of the information herein about washing rugs.) First, as much dirt and dust as possible is loosened and separated from the rug before it is exposed to water. Some professionals use giant tumblers to accomplish this. Professionals test colors for fastness before they wet a rug to determine how they will approach the job. They may protect weak areas of the rug, perhaps by sewing gauze around them. If the rug's dyes are stable and the rug can be washed, the rug is laid out flat and thoroughly wetted. Some experts filter chlorine out of the water. When the rug is wet, it is scrubbed by hand- that is, by brushes, usually on poles, operated by hand. Machines never should be used for the scrubbing. Rotary type machines often tangle the wool pile, and no machine can sense where scrubbing should be lighter or heavier depending on the condition of the rug.

The choice of a cleaning agent, of course, is critical. An unformulated (that is, neutral balanced) detergent is ideal, despite the old caveat that detergent should never be used on an Oriental rug. Conditioners may be added if wool is dry, and so may denatured white vinegar be added to stabilize the dyes. The rug or carpet is rinsed thoroughly and dried and then brushed down to soften and finish the rug's surface.

Does that sound easy? How would you like to turn the hose on someone's $30,000 antique Oriental rug? Good rug washers live with that kind of pressure every day and rarely have accidents. I have the greatest respect for the handful of specialists who are conscientious and who know what they are doing.

It is possible to freshen the surface of an Oriental rug without washing it. Simply sponging the pile with cold water will brighten it. You may also use the type of appliance made to clean carpeting at home, such as the Spray'n Vac. But do not use anything except water and a little denatured white vinegar (about a quarter of a cup in a gallon of water): no soap, no optical brighteners. You may clean a rug's fringe with soap and water, but don't bleach it.

Do not shake an Oriental rug to dust it. Do not beat an Oriental rug. You may use a vacuum cleaner, even a beater type vacuum, but be careful not to catch the fringe in the vacuum. You may also use a broom. Whatever you do to an Oriental rug should be appropriate to its condition. Don't sweep a ninety-year-old, worn rug too vigorously.


CLEANING
REGULAR CARE AND CLEANING OF TURKISH AND ORIENTAL CARPETS
Cleanliness is the first and major step towards the preservation of a hand made carpet and it is the best defense against damage. There are no strict rules to determine when and how often to clean a carpet since every hand made carpet is a different and every household exposes a carpet to different amounts of wear and dirt. The following advice and information are basic general instructions that the average carpet owner may exercise in the care and cleaning of Turkish and Oriental Carpets. The best recommendation is regular brushing with an old fashioned hand broom with natural bristles or the use of a vacuum cleaner. Remember that it is equally important to brush the underlay of the carpet and the floor beneath. Utilizing a vacuum cleaner will never damage the carpet if only cleaning is made by the nozzle attachment other than the revolving brush attachment.

WASHING OR CLEANING
How often a carpet to be cleaned, obviously depends on the amount of traffic and the type of carpet. Such cleaning may vary from every six months to once every two years. A carpet with a light colored pattern may be sent out to be cleaned more often, but it may be less obvious if the carpet is dark and intricately patterned. The first indication that the carpet needs cleaning will be from the feel of the pile, which may feel course and harsh to the touch instead of velvety and smooth as it should be.
Another useful test is to fold up one corner and tap the back of the carpet over the palm of the hand. If a fine powder of dust, grit and loose fibers fall into your hand it is certainly the time to clean the carpet.

HAND CLEANING AT HOME
You may hesitate at the idea of cleaning your carpet at home. Although it is a time consuming process requiring care and patience, it is actually a simple job which can be successfully carried out by any carpet owner who follows these simple instructions. Hand cleaning has several rewards, apart from the obvious benefit of saving money. It will give personal satisfaction to order see every fiber getting fresh and reviewed. It will also give you a chance to have a closer relationship with your carpet as every previously unnoticed detail of color and motif comes into view with the close attention that hand cleaning requires. Nearly all types of carpets can be cleaned at home with the exception of antiques, carpets in need of repair and fine silk carpets. These should receive the attention of a personal carpet repair specialist.

PREPERATION FOR WASHING
Preparation is as important as the washing process itself. First of all, test the carpet for color fastness by rubbing a brightly colored area gently with damp white cloth. Then examine it the carpet thoroughly to make sure it is not in need of repair. Since the carpet becomes slightly fragile when it is wet, it is advisable to carry out most repairs before washing. Only repiling is done more successfully after washing, since the color can be matched more accurately. Before washing, brush and beat the carpet thoroughly to remove as much loose dust as possible, because dust and dirt is more damaging when wet rather than dry. Finally find a flat, clean hard surface on which to clean the carpet more easily.

EQUIPMENT
Most of the necessary equipment can be found already at home. A soft brush with natural bristles about one inch long (the type used for grooming horses is ideal), white natural vinegar, carpet shampoo (or any kind of natural soap), especially Ivory soap is recommendable) and a bucket of lukewarm water are all that is needed.
Caution:Avoid using detergents and soaps containing strong chemicals with high P.H. values since inorganic substances may harm organic wool fibers.

METHOD
Lay the carpet with the pile up on a hard flat surface. Dip the brush into the liquid (mixture of soap, vinegar and lukewarm water) and apply it in gentle even vertical strokes. Vigorously brushing or scrubbing will not clean thoroughly and is likely to damage the carpet in its wet vulnerable state. Start in one corner, brushing up and down, against the pile with even overlapping movements. Once the carpet is brushed lengthwise, than brush horizontally, or from side to side across the pile, the same gentle overlapping strokes is best. The Pile should be thoroughly clean by now. Finally, brush gently in the direction of the pile as the carpet dries, so that the pile is running in the right direction.
Try to apply the cleaning solution sparingly, so that the foundation does not become wet. It is very difficult to dry a carpet thoroughly, since it is firmly encased in the million of tight little knots. If the carpet is relayed on the floor while it is still damp, the carpet will probably start to rot and in a few months the base will become extremely brittle.
During the entire cleaning process handle the carpet as carefully as possible, since while it is wet, it is extremely fragile, so it is very easy to cause damage.

DRYING
Small carpets can be pegged by the kilim and on a clothes line. Large ones are more easily dried on a hard clean surface like concrete of paving stones. Do not dry on a lawn, since the base will absorb moisture of the grass. If the weather is not cooperating for drying it outside than let the carpet dry flat in a room with warm air current heating system. While it dries don�t walk on it and don�t place anything on it. The warp, left and the pile of a completely dried carpet should feel soft and pliable.
Remove the dry dirt and shampoo powder by gently brushing with a soft brush or by using the vacuum cleaner.

THINGS TO AVOID
Washing machines and dryers must never be used for any delicate hand made item. Vibration, water temperature and harsh detergents will cause irreparable damage. It may even reduce the carpet to shreds. Many people must have seen or heard Eastern weavers washing the carpets in streams and rivers. This has lead many owners to wrongly believe that a complete soaking is good. This process in fact, is only used for brand new carpets. They are washed very quickly laid out to dry immediately in the baking sun.
Some firms that advertise themselves as expert carpet cleaners use electric rotary brushes. These machines were designed for use on machine made carpet and should only be used on such items. Again dry cleaners advertise themselves as carpet cleaners. These services may be useful for machine made carpets, but an Oriental hand made masterpiece should never be subjected to the strong chemicals that these firms use. The damage may become apparent only after several months and it may be irreparable.

DEALING WITH SPILLS AND STAINS
Water and dampness are the greatest danger to an Oriental carpet. Water spills are perhaps the most common accident at home. When this occurs, necessary steps should be immediately taken. Using a white cloth with no coloring, try to absorb as much of the spilled water as possible. Place some material underneath the carpet and never try to wring it out. A hair dryer, set a moderate heat, is probably the best implement for drying. Dry the carpet thoroughly from both sides. The pile may be a little when dry. Gentle ease it back into shape with your fingers. On the other hand, in a busy household, a variety of substances may be accidently spilled on a rug. Excluding the silk and antique carpets most of these accidents can be tackled at home. The first step with any substance is the same as with water. Absorb as much as the spill as possible with a clean, white dry cloth. This simple absorption method, when carried out as quickly as possible, is the greatest contribution to stain prevention. In dealing with every type of stain, work from top of the stain downward, never from the middle outwards, as this may cause the stain to spread. Never use hot water or bleach to help remove the stain, and always remember that soft scrubbing is much more effective than a harsh one.