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| Rugs 101 - Information Center for Oriental Rugs |
History of Oriental Rugs - Continued
History tidbits
The earliest known pile fabrics were discovered in Egyptian tombs. These relics included linens, looped pieces,
clothing, and wall hangings. While these pieces resembled the construction of oriental rugs that were to come,
they were not a rug or floor covering in any form. As they were valuable, the pieces that most resemble what we
know as oriental rugs were used as wall hanging or decorations.
As oriental rugs developed, little is known due to the lack of written accounts. With discoveries such as the Pazyryk
carpet, scholars can make educated presumptions about how rugs developed. Basically, there is a major
informational gap in rug creation from the 5th century B.C. (approximated date for the creation of the Pazyryk carpet)
until the 7th century A.D. And with the discoveries that have been made, it is possible to assume that rug weaving
dates back as far as the 2nd or possibly even the 3rd millennia B.C.
The next major rug event that happens on the world timeline in the emergence of Islam in the 7th century. Based
on the teachings of the prophet Muhammad, Islam spreads throughout the world, and particularly Asia and the
middle-east at astonishing speeds.
For the rug industry, the influence of Islamic art and culture is responsible for much of the design and meaning
behind the rugs even created today. Just to view the architecture in cities such as Isfahan or Qum in Iran shows
the effect that this religion had on the art and culture of the time. Into the 8th century, the Islamic movement has
influenced the textile industry in such a way that textiles that would normally be reserved for use on walls begin
making their way to the floor.
Persian and Chinese weaving is growing quickly, but the world market is yet to fully recognize the potential that
these products have. French Aubusson and Savonerrie design are also created, sparking market interest all over
the globe. This flat woven floor covering, normally reserved for the royal court, became popular so
quickly that “bootlegging” of the product became common.
In the 11th century, the rug making trade is introduced to Anatolia by Seljuk Turks. This action not only helped
spread the rug industry, but also introduced the artistic culture of Islam. This area still produces geometrically
designed rugs that are distinctive in color and pattern, are highly sought after.
The 12th century saw the beginning of the European Renaissance. Originating in Italy, this was a time of great
achievements and advances in classical art, literature, and physical sciences. While this period did not directly
influence the design or culture of oriental rugs, it did shed some light on the amazing art forms created by this area
of the world. During this time, the western market begins the slow transition into the oriental rug world.
The 13th century saw travelers slowly beginning to migrate East out of Europe, searching for the treasures held by
the rest of the world. Many of these renowned travelers and conqueror, such as the famed Marco Polo, made
written accounts of their amazement of the art of oriental rugs. Many bring some carpets home to begin
importation into the west with accounts such as, “here are the choicest carpets in the world made, and those with
the loveliest colors.”
In the 14th century, hunting scenes are initiated by the Shah Safavid’s court. These scenes were first hand-
painted and then woven into rugs. These scenes are representative of the struggle between good and evil. Both
real and imaginary animals and characters were presented, making these carpets especially popular and in
demand throughout the 14th and 15th centuries.
In the 15th century, the prayer rug was first created. Prayer rugs originated in Ushak, Anatolia. These rugs are still
highly utilized by Muslims, who use these to kneel and stand on when praying. There are many variations within
this design, such as the pillars of wisdom, oil burning lamps and chandeliers, birds, and calligraphic writing. The
most common motif, and the most easily recognized is the prayer mihrab. This design brings one end of the rug
to a point, which orients the praying person in the direction of Mecca, and also creates a space on the rug for which
to lay their head. This area is not to be walked on, as it would then be desecrated or unclean.
The 16th century could be considered one of the best times for the development and marketing of oriental rugs.
This century saw the opening of trade routes from the middle-east into western Europe. Carpets were bought in
mass numbers, exported to all of Europe, and sold at very high prices for use as wall hangings, table covers, etc.
These rugs were still too valuable to be used as floor coverings. This time also saw the peak of rug production
under the influence of the highly successful Safavid Dynasty. The Safavid courts were responsible for the training
and development of weavers and master artists, as well as for the amazing organization in which these areas
developed carpets for sale. The capitol of Persia at this time was Isfahan, which even today exhibits the amazing
architecture, art, and timeless treasures that were created at the height of the Persian Empire. The Safavid
court actively sought out the worlds greatest artists, bringing them to Isfahan to supervise the design and weaving
processes for rugs. This time also introduced the use of newer and finer materials for rugs such as blended
wool, silks, and gold and silver threads. Rugs from this area are considered to be the best in the world, and are
highly sought after and extremely valuable today. Because of this high point in rug history, rugs undergo a very
important change. Instead of being everyday items of normal use, these finer rugs became symbols of luxury and
wealth. Famous painters (such as Lotto and Holbein the Younger) begin painting rugs into self portraits, and into
portraits done for royalty and the wealthy.
Because of the major success that accompanied the creation of rug markets in Persia, other countries begin
developing rug centers within their borders. Under the influence of Emperor Akbar, India establishes workshops
in Agra, Fathepur Sikri, and Lahore. The Indian workshops initially imitate Safavid work ethics, but eventually begin
developing their own processes, cultures, and designs. While most of the design created have been renditions of
Persian motifs, India made efforts to create purely Indian deigns such as the Ganges, Agra, Jaipur, Mughal, etc.
In the 17th century, rug making in Persia continued, and flourished in other countries such as India and China.
China accepted rug making as one of the great courtly arts under the rule of the Quing Dynasty, and rug making
centers are established in Spain, France, and England to satisfy the need for domestic-use rugs.
The 18th century brought the eventual decline of the Safavid court. As the court rug production system began
failing, new rug designs came as rendition of the classical Safavid court rugs. These are now considered
classical and base designs.
Throughout the 19th century, new designs and quality control begin to decline due to the increasing demand from
the west. Not only is Europe importing mass numbers of rugs, but the U.S. has also entered the market as a
major buying force. Production increased as new factories were established as expanded. Unfortunately, in haste
to meet demands, many lower quality rugs are exported. This American entry into the buyers market also places
demands on the sizes, colors, and design that are produced. In order to combat the exportation of inferior quality
rugs, the Safavid system is again established, bringing in master artists to oversee design, and separating the
design and weaving process to simplify and speed up the work. New technology also came into the picture
through the development of new looms, materials (including the introduction of synthetic dyes), and new systems
of importing materials into production centers. New designs were developed as versions of classic designs.
Weaving centers begin developing identity for their type of weave and design, and rugs from these areas are
eventually named after the town or the group of people who created them. Reintroduction of motifs involving
flowers, fruits , birds, clouds, and animals takes place, as they had not been seen since the
decline of the Safavid court.
The earliest known pile fabrics were discovered in Egyptian tombs. These relics included linens, looped pieces,
clothing, and wall hangings. While these pieces resembled the construction of oriental rugs that were to come,
they were not a rug or floor covering in any form. As they were valuable, the pieces that most resemble what we
know as oriental rugs were used as wall hanging or decorations.
As oriental rugs developed, little is known due to the lack of written accounts. With discoveries such as the Pazyryk
carpet, scholars can make educated presumptions about how rugs developed. Basically, there is a major
informational gap in rug creation from the 5th century B.C. (approximated date for the creation of the Pazyryk carpet)
until the 7th century A.D. And with the discoveries that have been made, it is possible to assume that rug weaving
dates back as far as the 2nd or possibly even the 3rd millennia B.C.
The next major rug event that happens on the world timeline in the emergence of Islam in the 7th century. Based
on the teachings of the prophet Muhammad, Islam spreads throughout the world, and particularly Asia and the
middle-east at astonishing speeds.
For the rug industry, the influence of Islamic art and culture is responsible for much of the design and meaning
behind the rugs even created today. Just to view the architecture in cities such as Isfahan or Qum in Iran shows
the effect that this religion had on the art and culture of the time. Into the 8th century, the Islamic movement has
influenced the textile industry in such a way that textiles that would normally be reserved for use on walls begin
making their way to the floor.
Persian and Chinese weaving is growing quickly, but the world market is yet to fully recognize the potential that
these products have. French Aubusson and Savonerrie design are also created, sparking market interest all over
the globe. This flat woven floor covering, normally reserved for the royal court, became popular so
quickly that “bootlegging” of the product became common.
In the 11th century, the rug making trade is introduced to Anatolia by Seljuk Turks. This action not only helped
spread the rug industry, but also introduced the artistic culture of Islam. This area still produces geometrically
designed rugs that are distinctive in color and pattern, are highly sought after.
The 12th century saw the beginning of the European Renaissance. Originating in Italy, this was a time of great
achievements and advances in classical art, literature, and physical sciences. While this period did not directly
influence the design or culture of oriental rugs, it did shed some light on the amazing art forms created by this area
of the world. During this time, the western market begins the slow transition into the oriental rug world.
The 13th century saw travelers slowly beginning to migrate East out of Europe, searching for the treasures held by
the rest of the world. Many of these renowned travelers and conqueror, such as the famed Marco Polo, made
written accounts of their amazement of the art of oriental rugs. Many bring some carpets home to begin
importation into the west with accounts such as, “here are the choicest carpets in the world made, and those with
the loveliest colors.”
In the 14th century, hunting scenes are initiated by the Shah Safavid’s court. These scenes were first hand-
painted and then woven into rugs. These scenes are representative of the struggle between good and evil. Both
real and imaginary animals and characters were presented, making these carpets especially popular and in
demand throughout the 14th and 15th centuries.
In the 15th century, the prayer rug was first created. Prayer rugs originated in Ushak, Anatolia. These rugs are still
highly utilized by Muslims, who use these to kneel and stand on when praying. There are many variations within
this design, such as the pillars of wisdom, oil burning lamps and chandeliers, birds, and calligraphic writing. The
most common motif, and the most easily recognized is the prayer mihrab. This design brings one end of the rug
to a point, which orients the praying person in the direction of Mecca, and also creates a space on the rug for which
to lay their head. This area is not to be walked on, as it would then be desecrated or unclean.
The 16th century could be considered one of the best times for the development and marketing of oriental rugs.
This century saw the opening of trade routes from the middle-east into western Europe. Carpets were bought in
mass numbers, exported to all of Europe, and sold at very high prices for use as wall hangings, table covers, etc.
These rugs were still too valuable to be used as floor coverings. This time also saw the peak of rug production
under the influence of the highly successful Safavid Dynasty. The Safavid courts were responsible for the training
and development of weavers and master artists, as well as for the amazing organization in which these areas
developed carpets for sale. The capitol of Persia at this time was Isfahan, which even today exhibits the amazing
architecture, art, and timeless treasures that were created at the height of the Persian Empire. The Safavid
court actively sought out the worlds greatest artists, bringing them to Isfahan to supervise the design and weaving
processes for rugs. This time also introduced the use of newer and finer materials for rugs such as blended
wool, silks, and gold and silver threads. Rugs from this area are considered to be the best in the world, and are
highly sought after and extremely valuable today. Because of this high point in rug history, rugs undergo a very
important change. Instead of being everyday items of normal use, these finer rugs became symbols of luxury and
wealth. Famous painters (such as Lotto and Holbein the Younger) begin painting rugs into self portraits, and into
portraits done for royalty and the wealthy.
Because of the major success that accompanied the creation of rug markets in Persia, other countries begin
developing rug centers within their borders. Under the influence of Emperor Akbar, India establishes workshops
in Agra, Fathepur Sikri, and Lahore. The Indian workshops initially imitate Safavid work ethics, but eventually begin
developing their own processes, cultures, and designs. While most of the design created have been renditions of
Persian motifs, India made efforts to create purely Indian deigns such as the Ganges, Agra, Jaipur, Mughal, etc.
In the 17th century, rug making in Persia continued, and flourished in other countries such as India and China.
China accepted rug making as one of the great courtly arts under the rule of the Quing Dynasty, and rug making
centers are established in Spain, France, and England to satisfy the need for domestic-use rugs.
The 18th century brought the eventual decline of the Safavid court. As the court rug production system began
failing, new rug designs came as rendition of the classical Safavid court rugs. These are now considered
classical and base designs.
Throughout the 19th century, new designs and quality control begin to decline due to the increasing demand from
the west. Not only is Europe importing mass numbers of rugs, but the U.S. has also entered the market as a
major buying force. Production increased as new factories were established as expanded. Unfortunately, in haste
to meet demands, many lower quality rugs are exported. This American entry into the buyers market also places
demands on the sizes, colors, and design that are produced. In order to combat the exportation of inferior quality
rugs, the Safavid system is again established, bringing in master artists to oversee design, and separating the
design and weaving process to simplify and speed up the work. New technology also came into the picture
through the development of new looms, materials (including the introduction of synthetic dyes), and new systems
of importing materials into production centers. New designs were developed as versions of classic designs.
Weaving centers begin developing identity for their type of weave and design, and rugs from these areas are
eventually named after the town or the group of people who created them. Reintroduction of motifs involving
flowers, fruits , birds, clouds, and animals takes place, as they had not been seen since the
decline of the Safavid court.