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2) Oriental Rug Basics- What you need to know.
So what is the big deal about oriental rugs anyway? How is it that people can get so
enthusiastic about something we walk on with our dirty feet? Part of the fascination lies in the
history of the product. Rug weaving is one of the oldest industries in the world, dating back over
3000 years. What makes it even more interesting is that there are actual rug remnants and
nearly complete artifacts dating back over 2500 years! You can find rugs in ancient paintings,
stories, and poetry. And rugs have been the source of artistic idolatry for kings and peasants
alike. Lotto painted rugs into his best works of art. Shah Safavid risked parts of his army to
protect his “Court” weavers from invading Turks. Shah Abbas forced artists to use his signature
flowering palmette design or risk death. Even today commissions are placed for larger, finer
and more unique rugs in an attempt to make a mark on oriental rug history.
The other major part about the fascination has to do with oriental rug construction. The way that
oriental rugs are made allows for extreme durability, simple repairs, and for the development of
“patina” as the rug ages. This means that a fine hand-knotted rug will not only last for
generations, but will also increase in value as it is used and passed down!
An oriental rug is by definition a hand-knotted or woven textile that is created in the middle or far
east. Unfortunately, this is a rather poor definition for a product with a poor name. Let’s break it
down a little further.
An oriental rug must be hand-knotted or woven. The weaving of pile rugs is a difficult and
tedious process which, depending on the quality and size of the rug, may take anywhere from a
few months to several years to complete.
To begin making a rug, you need a foundation consisting of warps strong, thick threads of
cotton, wool or silk which run the length of the rug and wefts similar threads which pass under
and over the warps from one side to the other. The warps on either side of the rug are normally
combined into one or more cables of varying thickness that
are overcast to form the selvedge.
Weaving normally begins by passing a number of wefts through the bottom warp to form a base
to start from. Loosely piled knots of dyed wool or silk are then tied around consecutive sets of
adjacent warps to create the intricate patterns in the rug. As more rows are tied to the
foundation, these knots become the pile of the rug. Between each row of knots, one or more
shots of weft are passed to tightly pack down and secure the rows.
Depending on the fineness of the weave, the quality of the materials and the expertise of the
weavers, the knot count of a hand made rug can vary anywhere from 16 to 550 knots per square
inch. When the rug is completed, the warp ends form the fringes that may be weft-faced,
braided, tasseled, or secured in some other manner.
So what is the big deal about oriental rugs anyway? How is it that people can get so
enthusiastic about something we walk on with our dirty feet? Part of the fascination lies in the
history of the product. Rug weaving is one of the oldest industries in the world, dating back over
3000 years. What makes it even more interesting is that there are actual rug remnants and
nearly complete artifacts dating back over 2500 years! You can find rugs in ancient paintings,
stories, and poetry. And rugs have been the source of artistic idolatry for kings and peasants
alike. Lotto painted rugs into his best works of art. Shah Safavid risked parts of his army to
protect his “Court” weavers from invading Turks. Shah Abbas forced artists to use his signature
flowering palmette design or risk death. Even today commissions are placed for larger, finer
and more unique rugs in an attempt to make a mark on oriental rug history.
The other major part about the fascination has to do with oriental rug construction. The way that
oriental rugs are made allows for extreme durability, simple repairs, and for the development of
“patina” as the rug ages. This means that a fine hand-knotted rug will not only last for
generations, but will also increase in value as it is used and passed down!
An oriental rug is by definition a hand-knotted or woven textile that is created in the middle or far
east. Unfortunately, this is a rather poor definition for a product with a poor name. Let’s break it
down a little further.
An oriental rug must be hand-knotted or woven. The weaving of pile rugs is a difficult and
tedious process which, depending on the quality and size of the rug, may take anywhere from a
few months to several years to complete.
To begin making a rug, you need a foundation consisting of warps strong, thick threads of
cotton, wool or silk which run the length of the rug and wefts similar threads which pass under
and over the warps from one side to the other. The warps on either side of the rug are normally
combined into one or more cables of varying thickness that
are overcast to form the selvedge.
Weaving normally begins by passing a number of wefts through the bottom warp to form a base
to start from. Loosely piled knots of dyed wool or silk are then tied around consecutive sets of
adjacent warps to create the intricate patterns in the rug. As more rows are tied to the
foundation, these knots become the pile of the rug. Between each row of knots, one or more
shots of weft are passed to tightly pack down and secure the rows.
Depending on the fineness of the weave, the quality of the materials and the expertise of the
weavers, the knot count of a hand made rug can vary anywhere from 16 to 550 knots per square
inch. When the rug is completed, the warp ends form the fringes that may be weft-faced,
braided, tasseled, or secured in some other manner.
From Our Looms to Your Rooms
Looms do not vary greatly in essential details, but they do vary in size and
sophistication. The main technical requirement of the loom is to provide the correct
tension and the means of dividing the warps into alternate sets of leaves. A
shedding device allows the weaver to pass wefts through crossed and uncrossed
warps, instead of laboriously threading the weft in and out of the warps.
Horizontal Looms
The simplest form of loom is a horizontal; one that can be staked to the ground or
supported by sidepieces on the ground. The necessary tension can be obtained
through the use of wedges. This style of loom is ideal for nomadic people as it can
be assembled or dismantled and is easily transportable. Rugs produced on
horizontal looms are generally fairly small and the weave quality is inferior to those
rugs made on a professional standing loom.
Vertical Looms
Vertical looms are undoubtedly more comfortable to operate. These are found more
in city weavers and sedentary peoples because they are hard to dismantle and
transport. There is no limit to the length of the carpet that can be woven on a vertical
loom and there is no restriction to its width.
There are three broad groups of vertical looms, all of which can be modified in a
number of ways: the fixed village loom, the Tabriz or Bunyan loom, and the roller
beam loom.
The fixed village loom is used mainly in Iran and consists of a fixed upper beam and
a moveable lower or cloth beam which slots into two sidepieces. The correct
tension is created by driving wedges into the slots. The weavers work on an
adjustable plank which is raised as the work progresses.
The Tabriz loom, named after the city of Tabriz, is used in North Western Iran. The
warps are continuous and pass around behind the loom. Tension is obtained with
wedges. The weavers sit on a fixed seat and when a portion of the carpet has been
completed, the tension is released and the carpet is pulled down and rolled around
the back of the loom. This process continues until the rug is completed, when the
warps are severed and the carpet is taken off the loom.
The roller beam loom is a traditional Turkish village loom, but is also found in Iran
and India. It consists of two movable beams to which the warps are attached. Both
beams are fitted with ratchets or similar locking devices and completed work is
rolled on to the lower beam. It is possible to weave very long rugs by these means,
and in some areas of Turkey rugs are woven in series.
Looms do not vary greatly in essential details, but they do vary in size and
sophistication. The main technical requirement of the loom is to provide the correct
tension and the means of dividing the warps into alternate sets of leaves. A
shedding device allows the weaver to pass wefts through crossed and uncrossed
warps, instead of laboriously threading the weft in and out of the warps.
Horizontal Looms
The simplest form of loom is a horizontal; one that can be staked to the ground or
supported by sidepieces on the ground. The necessary tension can be obtained
through the use of wedges. This style of loom is ideal for nomadic people as it can
be assembled or dismantled and is easily transportable. Rugs produced on
horizontal looms are generally fairly small and the weave quality is inferior to those
rugs made on a professional standing loom.
Vertical Looms
Vertical looms are undoubtedly more comfortable to operate. These are found more
in city weavers and sedentary peoples because they are hard to dismantle and
transport. There is no limit to the length of the carpet that can be woven on a vertical
loom and there is no restriction to its width.
There are three broad groups of vertical looms, all of which can be modified in a
number of ways: the fixed village loom, the Tabriz or Bunyan loom, and the roller
beam loom.
The fixed village loom is used mainly in Iran and consists of a fixed upper beam and
a moveable lower or cloth beam which slots into two sidepieces. The correct
tension is created by driving wedges into the slots. The weavers work on an
adjustable plank which is raised as the work progresses.
The Tabriz loom, named after the city of Tabriz, is used in North Western Iran. The
warps are continuous and pass around behind the loom. Tension is obtained with
wedges. The weavers sit on a fixed seat and when a portion of the carpet has been
completed, the tension is released and the carpet is pulled down and rolled around
the back of the loom. This process continues until the rug is completed, when the
warps are severed and the carpet is taken off the loom.
The roller beam loom is a traditional Turkish village loom, but is also found in Iran
and India. It consists of two movable beams to which the warps are attached. Both
beams are fitted with ratchets or similar locking devices and completed work is
rolled on to the lower beam. It is possible to weave very long rugs by these means,
and in some areas of Turkey rugs are woven in series.
The Knots
Two basic knots are used in most Persian and Oriental rugs: the symmetrical Turkish
or Ghiordes knot (used in Turkey, the Caucasus, East Turkmenistan, and some Turkish
and Kurdish areas of Iran), and the asymmetrical Persian or Senneh knot (Iran, India,
Turkey, Pakistan, China, and Egypt).
To make a Turkish knot, the yarn is passed between two adjacent warps, brought back
under one, wrapped around both forming a collar, then pulled through the center so that
both ends emerge between the warps.
The Persian knot is used for finer rugs. The yarn is wrapped around only one warp,
then passed behind the adjacent warp so that it divides the two ends of the yarn. The
Persian knot may open on the left or the right, and rugs woven with this knot are
generally more accurate and symmetrical.
Other knots include the Spanish knot looped around single alternate warps so the ends
are brought out on either side and the Jufti knot which is tied around four warps instead.
The Materials
While the materials used to construct an oriental rug may vary, there are only a few
general materials used which account for 99% of all hand- knotted rugs. Because of
this, generalizations can be made which allow one to learn much about their rug solely
through knowledge of what composes their rug.
Most hand-knotted rugs have a woolen pile, but this woolen pile can consist of any
number of combinations of animal and hair fibers. Aside from basic sheeps wool, goat
hair, camel hair, mohair, silk, and metal fibers are commonly found in many oriental
rugs. Silk rugs also have another subcategory because of the use of synthetic false silk
fibers and mercerized cottons as substitutes. Blending of different materials to create
finer grades of wools, cottons, and silks, is also common, but sometimes reserved for
finer pieces. Wool, for example, can be blended in order to create softer, more lustrous
pile materials.
The reason for the use of wool as the pile of the carpet has to do with its excellent
physical properties. It is exceptionally durable. The fiber lends well to being drawn and
spun into yarn. The structure and natural oils of the fiber make it easy to clean and care
for. The fibers are able to be dyed. Wool has the desired amount of tensile strength.
(Imagine pulling a cotton string and a wool piece of yarn. The cotton string is very
strong, but eventually snaps. The wool tends to stretch before breaking.) Wool does not
shrink when washed. And finally wool is breathable.
Silk may also be used in the pile of the carpet. The advantage of using silk is that silk is
the most durable of the three fiber, does not require a mordant to be dyed, and allows
you to place a very high knot count into the carpet. The disadvantages often outweigh
the benefits. Silk is very difficult to clean and easy to stain, and the biggest downfall,
silk is expensive. Because of this expense, some manufacturers often use artificial silk
(art silk) which looks and feels like the real thing, but is actually mercerized cotton. We
recommend that you avoid these rugs as they are not at all durable.
The warps and wefts of oriental rugs are almost always cotton, with finer piece using a
silk foundation, and many antique piece using a wool or silk foundation. Again, how the
foundation is constructed and what material is used will give many clues as to the age,
origin, and value of the rug. Cotton is arguably the best base fiber for the average rug
because of the low cost and durability of the fiber.
All of the materials in oriental rug have both pros and cons, but the overwhelming
majority of rugs are constructed using wool, silk, or cotton.
Two basic knots are used in most Persian and Oriental rugs: the symmetrical Turkish
or Ghiordes knot (used in Turkey, the Caucasus, East Turkmenistan, and some Turkish
and Kurdish areas of Iran), and the asymmetrical Persian or Senneh knot (Iran, India,
Turkey, Pakistan, China, and Egypt).
To make a Turkish knot, the yarn is passed between two adjacent warps, brought back
under one, wrapped around both forming a collar, then pulled through the center so that
both ends emerge between the warps.
The Persian knot is used for finer rugs. The yarn is wrapped around only one warp,
then passed behind the adjacent warp so that it divides the two ends of the yarn. The
Persian knot may open on the left or the right, and rugs woven with this knot are
generally more accurate and symmetrical.
Other knots include the Spanish knot looped around single alternate warps so the ends
are brought out on either side and the Jufti knot which is tied around four warps instead.
The Materials
While the materials used to construct an oriental rug may vary, there are only a few
general materials used which account for 99% of all hand- knotted rugs. Because of
this, generalizations can be made which allow one to learn much about their rug solely
through knowledge of what composes their rug.
Most hand-knotted rugs have a woolen pile, but this woolen pile can consist of any
number of combinations of animal and hair fibers. Aside from basic sheeps wool, goat
hair, camel hair, mohair, silk, and metal fibers are commonly found in many oriental
rugs. Silk rugs also have another subcategory because of the use of synthetic false silk
fibers and mercerized cottons as substitutes. Blending of different materials to create
finer grades of wools, cottons, and silks, is also common, but sometimes reserved for
finer pieces. Wool, for example, can be blended in order to create softer, more lustrous
pile materials.
The reason for the use of wool as the pile of the carpet has to do with its excellent
physical properties. It is exceptionally durable. The fiber lends well to being drawn and
spun into yarn. The structure and natural oils of the fiber make it easy to clean and care
for. The fibers are able to be dyed. Wool has the desired amount of tensile strength.
(Imagine pulling a cotton string and a wool piece of yarn. The cotton string is very
strong, but eventually snaps. The wool tends to stretch before breaking.) Wool does not
shrink when washed. And finally wool is breathable.
Silk may also be used in the pile of the carpet. The advantage of using silk is that silk is
the most durable of the three fiber, does not require a mordant to be dyed, and allows
you to place a very high knot count into the carpet. The disadvantages often outweigh
the benefits. Silk is very difficult to clean and easy to stain, and the biggest downfall,
silk is expensive. Because of this expense, some manufacturers often use artificial silk
(art silk) which looks and feels like the real thing, but is actually mercerized cotton. We
recommend that you avoid these rugs as they are not at all durable.
The warps and wefts of oriental rugs are almost always cotton, with finer piece using a
silk foundation, and many antique piece using a wool or silk foundation. Again, how the
foundation is constructed and what material is used will give many clues as to the age,
origin, and value of the rug. Cotton is arguably the best base fiber for the average rug
because of the low cost and durability of the fiber.
All of the materials in oriental rug have both pros and cons, but the overwhelming
majority of rugs are constructed using wool, silk, or cotton.
An example of a tribal horizontal loom.
An example of a fixed village loom
Dyes
One of the most skilled arts that are employed throughout the creation of an oriental rug is that of the
master dyer. These skills are as important to the quality, durability, and beauty of the rug as are the
materials, design, and the weave. If a rug is dyed properly it will age wonderfully and look better as long
as it is maintained properly. When a rug is dyed masterfully, it will increase in beauty and value every
day of its life as the colors gradually change and develop a patina that finely handmade products do.
Unfortunately, dyeing processes are probably the most complex process in the entire rug creation. For
centuries up until 1856, the only sources of dye were natural plant and animal substances. These types
of dyes were relatively expenses, hard to make, and required masterful skills to use. Then in 1856, a
chemical breakthrough took place that created easy to use and inexpensive synthetic dyes. Of course,
as is the case with everything in oriental rugs, both types of dyes had their strengths and weaknesses.
There are basically two different kinds of dyes. Natural dyes are those that are taken from nature and
are not man-made. These dyes are essentially created through extraction from plant and animal
sources. Synthetic dyes are man made. These dyes are created in a laboratory using chemical
processes. In many cases, the structure and properties of these dyes are exactly the same. But in other
cases it is readily apparent that the properties of one dye outweigh the lower expense of another. It is
also very important to understand that there are a huge number of misconceptions about the different
types of dyes. Some people have gone as far as to say that certain types of dyes have no value
whatsoever. The fact remains that with the speed of change that goes on in the dye industry, it is nearly
impossible to compare the different types of dyes on a fair and neutral basis.
Natural Dyes
For many centuries, the only available materials to be used for dyes were natural. These dyes required
intensive skills and training to be correctly measured, formulated, and applied. For these reasons, trade
in natural dyes became a major economic boost for many rug-producing areas. Many colors were so
hard to produce with local ingredients that they had to be imported and were sold worth their weight in
gold. Other natural dyes were so essential and commonplace that their production became complete
local industries within themselves.
There are many beliefs about natural dyes that exist even today. Using natural dyes is a very
labor-intensive process. It involves careful and exact recipes, and requires the knowledge and patience
of a skilled dyer. Because each batch of vegetable dye produces a color that is nearly impossible to
replicate, many of these color combinations are kept in family recipe books that are passed
downthrough generations.
Primary colors (red, blue, yellow) are the most often used and produced dyes in oriental rugs. With
vegetable dyes, these primary colors are also necessary for the creation of the secondary colors (
orange, green, purple, brown, black.)
Chemical Dyes
With advances that came in the way of chemical production throughout the 19th century, it was inevitable
that synthetic dyes would eventually find their place in the oriental rug industry. Because of the skill
required for use, and the expense involved in attaining natural dyestuffs, many chemists made special
efforts to create dye processes solely for the purpose of use in oriental rugs.
Synthetic dyes may be described by two general terms- aniline, which refers to ompounds based upon
the benzene ring, and chromes, which require the use of potassium ichromate as a mordant. Each of
these has different strengths and weaknesses dependant upon the properties being described.
In 1856 Sir William Henry Perkin became the first to develop a useful dye that was available for
commercial use in rugs. The financial success of this dye process and the demand that was apparent
from oriental rugs prompted many other European companies to follow suit and begin development of
synthetic dyes. These dyes offered properties that most natural dyestuffs could not; brighter, more vivid
colors that were not affected by natural light. Many colors that were previously impossible to produce
with natural dyes quickly came into the market, becoming the main color palettes for many oriental rugs.
These new dyes were both cheaper and easier to use than their natural counterparts, but because of
the speed with which they entered the marketplace, many faults were later found which prompted
criticism.
As synthetic dyes improved, the market was slow to adjust to the changes. For a long time, consumers
demanded natural dyes, and many dealers resorted to lying to their clients about the type of dyes in their
rugs. Today, synthetic dyes are used in the majority of all rugs produced. These are still easier and less
expensive to use, and this has caused the master dyer to slowly move away from natural dye and
concentrate on the synthetic dyes. For the rug industry itself, this may be a good change- preserving the
customer base that demands a more modern product. Sadly, this is killing the original art form of the
master dyer. Any skilled chemistry student can perform the function of a synthetic dyer with some
practice. The art of the natural dyes are slowly vanishing due to the mis-education of the consumer.
One of the most skilled arts that are employed throughout the creation of an oriental rug is that of the
master dyer. These skills are as important to the quality, durability, and beauty of the rug as are the
materials, design, and the weave. If a rug is dyed properly it will age wonderfully and look better as long
as it is maintained properly. When a rug is dyed masterfully, it will increase in beauty and value every
day of its life as the colors gradually change and develop a patina that finely handmade products do.
Unfortunately, dyeing processes are probably the most complex process in the entire rug creation. For
centuries up until 1856, the only sources of dye were natural plant and animal substances. These types
of dyes were relatively expenses, hard to make, and required masterful skills to use. Then in 1856, a
chemical breakthrough took place that created easy to use and inexpensive synthetic dyes. Of course,
as is the case with everything in oriental rugs, both types of dyes had their strengths and weaknesses.
There are basically two different kinds of dyes. Natural dyes are those that are taken from nature and
are not man-made. These dyes are essentially created through extraction from plant and animal
sources. Synthetic dyes are man made. These dyes are created in a laboratory using chemical
processes. In many cases, the structure and properties of these dyes are exactly the same. But in other
cases it is readily apparent that the properties of one dye outweigh the lower expense of another. It is
also very important to understand that there are a huge number of misconceptions about the different
types of dyes. Some people have gone as far as to say that certain types of dyes have no value
whatsoever. The fact remains that with the speed of change that goes on in the dye industry, it is nearly
impossible to compare the different types of dyes on a fair and neutral basis.
Natural Dyes
For many centuries, the only available materials to be used for dyes were natural. These dyes required
intensive skills and training to be correctly measured, formulated, and applied. For these reasons, trade
in natural dyes became a major economic boost for many rug-producing areas. Many colors were so
hard to produce with local ingredients that they had to be imported and were sold worth their weight in
gold. Other natural dyes were so essential and commonplace that their production became complete
local industries within themselves.
There are many beliefs about natural dyes that exist even today. Using natural dyes is a very
labor-intensive process. It involves careful and exact recipes, and requires the knowledge and patience
of a skilled dyer. Because each batch of vegetable dye produces a color that is nearly impossible to
replicate, many of these color combinations are kept in family recipe books that are passed
downthrough generations.
Primary colors (red, blue, yellow) are the most often used and produced dyes in oriental rugs. With
vegetable dyes, these primary colors are also necessary for the creation of the secondary colors (
orange, green, purple, brown, black.)
Chemical Dyes
With advances that came in the way of chemical production throughout the 19th century, it was inevitable
that synthetic dyes would eventually find their place in the oriental rug industry. Because of the skill
required for use, and the expense involved in attaining natural dyestuffs, many chemists made special
efforts to create dye processes solely for the purpose of use in oriental rugs.
Synthetic dyes may be described by two general terms- aniline, which refers to ompounds based upon
the benzene ring, and chromes, which require the use of potassium ichromate as a mordant. Each of
these has different strengths and weaknesses dependant upon the properties being described.
In 1856 Sir William Henry Perkin became the first to develop a useful dye that was available for
commercial use in rugs. The financial success of this dye process and the demand that was apparent
from oriental rugs prompted many other European companies to follow suit and begin development of
synthetic dyes. These dyes offered properties that most natural dyestuffs could not; brighter, more vivid
colors that were not affected by natural light. Many colors that were previously impossible to produce
with natural dyes quickly came into the market, becoming the main color palettes for many oriental rugs.
These new dyes were both cheaper and easier to use than their natural counterparts, but because of
the speed with which they entered the marketplace, many faults were later found which prompted
criticism.
As synthetic dyes improved, the market was slow to adjust to the changes. For a long time, consumers
demanded natural dyes, and many dealers resorted to lying to their clients about the type of dyes in their
rugs. Today, synthetic dyes are used in the majority of all rugs produced. These are still easier and less
expensive to use, and this has caused the master dyer to slowly move away from natural dye and
concentrate on the synthetic dyes. For the rug industry itself, this may be a good change- preserving the
customer base that demands a more modern product. Sadly, this is killing the original art form of the
master dyer. Any skilled chemistry student can perform the function of a synthetic dyer with some
practice. The art of the natural dyes are slowly vanishing due to the mis-education of the consumer.
An example of the Persian Knot.
An example of the Turkish Knot.
A Persian Jufti Knot.
A Turkish Jufti Knot.
An example of a flat-weave or sumac technique.
Oriental Rug Buying Guide - The Basics _____________________