Rugs are named generally by the regions they are weave.

Regions in Anatolia

Bergama

Bergama is a little town in northwest part of the country; here there are approximately eighty villages which weave Bergama carpets. This ancient city was one of the most powerful and richest region in Anatolia. The history of carpet waving in this region has a very old background. Bergama carpets have always been woven as wool on wool material combination while wefts are all red. Knotting density of these rugs is about 12 knots per square cm. and mostly come in three - four square meter sizes. Those woven in Canakkale are slightly larger. Motifs can be divided by two main groups: as Kozak type and Turkish type. Kozak type rugs have big geometrical designs, these ones remind Kozak - Gendje region rugs. In Turkish type usually designs are very floral and embroidered with leaves of the pine trees. They consist mainly of two colours, the dark reds and blues. In these rugs red color, which is used for dyeing the wool yarns, makes the pile less thick than the rest of the surface after a certain time, so blue motifs appear higher. The evil eyes that you see at the edges give them an exceptionally unusual appearance.

Dosemealti-Antalya

These carpets are made by Yoruk's semi-nomadic tribes who leave near the ocean on the warm plains during the winter months. The villages are around Antalya, on the Mediterranean cost, are the main producing centers of this type of carpets are made with wool and dyes produced by the nomads themselves. The predominant colors are always bright red and dark blue, with a smaller amount of white. Distinctive patterns in the borders are the sheep's eye and knife tip and the "hands on hips" motif, an age old symbol denoting female fertility which dates back to the time when the tribes worshipped mother goddesses. The field are usually are taken up by a large red double mihrab, edged in ram's horn motif. Often the shape of the double mihrap is cut into by two triangles on either side. Ears of grain representing fertility and carnations are frequently seen. If there is a tree of life it's generally made up of carnations, "the flowers of the people". Some times one can see a strange motif, a stylized representation of the human figure which is used to guard against evil. The number of knots in these carpets is equal to 160,000 knots per square meter.

Hereke

A wide variety of types of carpets are produced in Turkey with widely varying degrees of quality. For the discerning buyer or collector there are twelve recognized types of carpets, each type produced in different geographical districts and each having distinctive designs, colors and quality. They are easily noted. Once one learns to "read" or recognize the patterns or designs and colors associated with the geographical area in which produced. The finest contemporary and highest quality of silk and wool carpets currently made in Turkey are produced in town near Istanbul, called Hereke. The Hereke carpets are either woven in pure silk or cotton and wool. The pure silk carpet uses silk from Bursa. In wool and cotton carpets the warps and wefts are cotton and the best quality of wool is used for knots in the pile. The silk Hereke carpets have from 1.0 to 1.2 million knots per square meter. The knot density in the highest quality wool carpets is any where between 360,000 to 400,000 knots per square meter. In second quality wool carpets the knots are around 250,000 to 300,000 per square meter. The dominant colors in Hereke carpets are dark blue, cream and cinnamon and occasionally yellow and green are used. The traditional floral designs are common and each design has its own name, such as : Seljuk Star, Seven Mountain Flowers, Ploneise, 101 Flowers, and Tulip. The flowers in the design and the harmony of colors add warmth to a home.

Kars

Kars located near the Russian border in Turkey, produces carpets designed in the Caucasian style. The main motif used is the large cruciform. The quiet olive-green combined with a dull red-brown and lighter beige tones give the piece enormous warmth. The eight stylized trees of life in the corners are surrounded by a Caucasian calyx-and-leaf border and the guard stripes are called 'running dogs." The extremely valuable hand-spun mountain wool is used in the hand weaving and is especially prized by acknowledged buyers. Natural dyed wool is used with the dominate colors navy blue, red and cream. There are 200.000 knots per square meter in Kars carpet's and for this reason Kars carpets are so noted fine works of art.

Kayseri

The town of Kayseri, situated in central Turkey, has been famous as a carpet making center for centuries. Carpets and Kilims of Kayseri are of various types. Silk carpets and wool ,natural wool (no dyes), and Bunyan carpets are the major categories produced. Kayseri carpets are woven both at the workshops and in the homes. Weavers usually buy yarn from shops and after finishing their carpet would sell it to the same shop in order to buy more yarn. The sizes, designs and number of knots are the same as Bunyan carpets, but the large sizes are rather rare. Cotton is used as warp and weft. These carpets are considered the masterpieces of Kayseri and as such are sought out by dealers to sell to the foreign trade. Kayseri carpets are woven entirely in silk as well and will have 600,000 to 700,000 knots per square meter. Bunyan carpets are often in floral designs of a typical Oriental carpet. The yarn is cotton and wool dyed with vegetable dyes, and about 120,000 to 150,000 knots per square meter. The Kayseri Bunyan carpets are made in different sizes; from pillow sizes of 62 by 100 cm. to the large 16 square meters carpet. Kayseri natural wool carpets have all the properties of Bunyan carpets except there are not as many colors used as in the Bunyan carpets. Colors of white, cream, light and dark brown and sometimes black are used in this types of carpets with the same number knots as in the Bunyan carpets.

Kozak

Kozak carpets are woven by semi-nomadic shepherds who live in the highland regions of the Caucasus Mountains and their environment is reflected in their products. The distinctive designs in Kozak Carpets can be easily recognized. The warp and weft threads are wool with the weft threads always in red or brown colors. The wool pile in these carpets is fairly deep and the yarn used is always of excellent quality. The Kozak carpet has approximately 50 to 100 Turkish knots per square inch. The motifs used in these carpets are, formal, geometric, central medallion, repeated pattern and "Eagle." True Kozak carpets are mostly antique pieces and were produced in the Caucasus Mountains. Currently a limited number of Kozak carpets are produced and are much prized by dealers.

Kula

Kula is the name of a town in Western Anatolia where these wool carpets are made. The village carpets of Kula are woven on a woolen warp and weft and for the most part have strong geometric designs. The colors are rich but soft with earth tones of rust, green, gold, and blue being common, however, the dominant colors are pastel. The most important characteristics of these carpets are that they are woven with 100% wool yarn and have varying patterns, colors and sizes. Kula carpets contain 160,000 knots per square meter. Along with all Kula patterns various Anatolian patterns are frequently seen in Kula carpet. Kula carpets resemble those of other Western Anatolian products like, Ushak and Gordes, with their wide borders restrained colors. They also tend to have a short and somewhat lusty pile. Borders usually consist of a number of stripes of about equal width decorated with little stars and flowers. The earliest patterns of Kula carpets were either geometrical or composed of highly stylised nomadic forms. In the last century Kula carpets often had richer and more imaginative floral designs. At the end of the 19th century they were exported to Europe by the thousands, often under the name of Ushak and Gordes carpets. The typical features were a light grey or cream background with floral patterns in pink and blue. Kula carpets which have furnished many homes are very elegant. They were particularly favored for the dining room and libraries.

Kulluce

Kulluce carpets are produced in a town between Afyon and Denizli. The people of this area are mostly Caucasian immigrants who have been weaving their geometric and Caucasian designs for years. Undyed natural color of shop wool used creates tones such as: Beige, dark brown, cream, light brown, black and grey. The number of knots in Kulluce carpets is approximately 140.000 to 160.000 per square meter. These carpets are made in workshops and they are very precise.

Ladik

Ladik is a town located north of Konya in the hearth of Anatolia. The main sources of income in this area are animal husbandry, agriculture and carpet production. Konya and Ladik are the oldest carpet making centers in Turkey. Even during the 15th. center the art of carpet weaving flourished in Konya because it was the capital of the Seljuk Empire and a very important communication and political center. There are many notable at works in Konya and perhaps the most famous in the Green Mosque. From Arabia, Iran and other countries many artists came to Konya to practice their crafts. The surviving carpets of this era offer ample evidence of the Turkish character. During this same period carpet weaving skill spread from Konya to other parts of Anatolia. The colors in Ladik carpets are very vivid and well matched. After Kula carpets, Ladik carpets, with their 250,000 knots per square meter, are considered just as fine.

Milas

Milas is the center of a weaving area in Western Turkey near Izmir. It gives its name to all the carpets produced in the region. Those made in the immediate area of Milas are different in style to those made in the South-west Peninsula, around the center of Karaova. There are four sub-types which constitute the Milas family,' the prayer carpet with the lozenge shaped niche, the bright red medallion Milas, the antique Milas which is woven in shades of red-brown and yellow and the Ada Milas which is quite restrained in design. The prayer rugs are the most important sub-type, with their unusual shaped Mihrab, elongated, terminating in a lozenge, representing the immortality of the soul. Carpets from no other region have Mihrabs in this shape. There are approximately 160.000 knots per square meter in the Milas carpets.
Milas colors mostly include earth shades of rust red, brick red, and tawny yellow and Brown, along with a characteristic subdued mauve. The range of major and minor border stripes is narrow, with the same elements remaining unchanged for the last 100 years more.
With its pastel colors, it is a quite decorative rug.

Taspinar

Taspinar is a small hamlet in the carpet weaving areas of the Nigde. Nigde is one of the main roads that cross the Taurus Mountains. Taspinar produces excellent carpet of a thick pile, knotted in high quality wool. They have a predominantly blue and red field enlivened by delicate motifs in lighter shades. The yarn is dyed with natural vegitable dyes by the Caucasian methods. Taspinar carpets are among the most beautiful of all Anatolian carpets. In the old Taspinar's carpets the Persian influence can be seen which are plant figures and geometric designs used simultaneously. However, the rich colors and beautifully proportioned somewhat formal design prevent this unusual mixture from this pleasing the eye. Well cared for, old Taspinars have a wonderful silk like quality. As the lanolin in the wool rises to the surface it gives the pile a soft rich velvety sheen. New Taspinars are made in the same rich colors as old ones, but the designs are becoming more varied. Caucasian and nomadic pattern have become more regular in recent years. The knot density of Taspinar carpets are 140,000 per square meter.

Ushak

Ushak is a small city located in west-central Anatolia. Since the 15Th century it has been an important carpet weaving center. Its importance comes from the revolutionary change on the design of the carpets. Normally most Anatolian carpets have classical tribal motifs which are generally geometric but on Ushak carpets it had shift to curvilinear and decorative motifs. This happened due to demand of Ottoman Palace. Unlike tribal carpet they were produced on workshops and special designers made the designs. That resulted on wider range of design and size. At the beginning, they were woven wool on wool foundation but as the sizes increased , wool on cotton foundation production started because on oversize carpets wool foundation is not strong enough.

Yahyali

These carpets, made in the vicinity of Kayseri are of a very fine quality and are considered very attractive. A rich red with indigo colored blue is used throughout the field with a border of brilliant shades of yellow and gold. This carpets are very popular, because of the traditional flawless workmanship of the Yahyali weavers. The main ornamental motif of a contemporary and antique Yahyali is the hexagon which is similar to those of the Yoruk carpets, but they are more linear in execution. A double hexagon encloses a light blue centerpiece. The hexagon may be single, double or triple. Most Yahyali carpets have these common characteristics. A main border with stylized flowers and an "old gold" ground, surrounded by two lesser borders with a dark blue ground. The main field is nearly always red, with a blue medallion and corner pieces, which have stepped edges. The warm color harmony and beautiful designs along with good quality make the Yahyali carpets one of the most popular carpets of Anatolia. The number of knots in Yahyali carpets are equal to the number of Milas carpets (140,000 knots per square meter).

Yagcibedir

Yagcibedir carpets are produced in the mountainous areas of the Aegean regions, in the nomad inhabited villages of Mazilar, Islamlar, Karakecili, Yenikoy, Karaoba and Kocaoba (the oba ending means 'nomad tent"). According to the legend Yagcibedir was a butter seller from Kayseri who made excellent quality carpets to supplement his income. He shared his skills with the people of the villages he visited, so when they started to produce, they named their carpets after him. The warp, weft and knots are made of pure lamb’s wool, and the pile is clipped short to allow the pattern to be clearly seen. The dominant colors are dark indigo blue and rich madder red, sometimes with the inclusion of cream, brown, softer shades of red and pinks. As the carpets age they become more and more lovely, as the dark reds fade to a beautiful soft red-brown. The colors and patterns of Yagcibedir carpets have remained the same for countless generations. They are very distinctive and easy to recognize. The dark blue ground is patterned with geometric forms: stars, flowers, stylized birds and numerous stars of Suleyman.
The field is framed by a border of five or seven bands. The double ended prayer niche, which indicates that the weavers were Shi-ite Moslems, is very distinctive with an edge of three stepped lines, ending in a ram's horn motif. These carpets are often the favorites of male carpet lovers, due to the masculine colors and simple geometric designs. The knots density in these carets are 160.000 per square meter.

Regions in Caucasus

Kuba

The unique beauty and grandeur of Shakdag and Tufandag, the snow-capped peaks of spurts of the Greater Caucasus Range, spreading out into the Caspian…
The forests running right down to the golden sands of the Caspian shores the orchards spreading out beyond the horizon, the rich soil of the valleys, the Samur - Divinchinska lowland…
The country spreading westward of the Apsheron peninsula, from the ancient Shemakha up to the Derbent barrage, for centuries waging the struggle, repulsing the foreign invasions…
The legendary Derbent of Beireklers and Banuchichens, Dede Korkud and Fatali Khan… The beautiful country of Kuba is lying here. Sheer rocks, rapid mountain streams, multicolored valleys, all these gifts of Kuba were handed over in the wealth of their unique hues to the popular arts - i. e. carpet-making, poetry and metalwork(copper items).

Shirvan

Shirvan means high mountains, boundless forests, ancient strongholds, the voice whispering thousands of legends… The name Gyulistan, which means “flower garden” can be given not only to the capital of Shirvanshaks but to the whole Shirvan region. In truth , Shirvan is the flower garden of Azerbaijan. Not only Diri Baba and Djavanshir strongholds, but every cemetery keeps still unread stone pages of the chronicle of the history of our Motherland. From Kobystan preserving the traces of great art of our people for ten thousand years up the eyes of Shirvan, which are piercing the sky, through the Pirkuli observatory, along the old caravan route passing through ancient towns and villages disappeared in the past, up to now, as it was many centuries ago, numerous springs gust out from the rocks, like Goch-bulag, as an embodiment of the inexhaustible source of people’s inspirations. Home country of Djavanshir and Khagani Shirvani. Imadedin Nasimi, and Rasul Riza… In the daytime and at night one can hear the tapping sound of the copper-smiths of Lagich. The flowers give their colors Shemakha Kelagais, the crimson blood of the pomegranate is mingled with a pure song of the green trees, tipping out onto the silks of Shirvan, onto its carpets and articles of its jewelers.

Gonja

Historians cannot give the exact age of the old Ganja. But about a thousand years ago Ganja was the largest town in Transcaucasia, its population being a half million people.
For many years old Ganja was the capital of Northern Azerbaijan. Now Ganja is one of the largest centers of culture and arts in this country. It carefully preserves the fine ancient architectural monuments of the past… The indelible traces of Ganja’s wisdom will live in the Ganja carpets forever.

Kazak

Kazak occupies an honorable place in the economic and cultural life of the republic due the famous horses of the Dilboz stock and the flocks of sheep, the saz and poetry, the ashug (popular bards) and the carpets.
Every inch of the land is the history alive, and those who live on the land of Kazak now, the heirs of this history, preserve and further promote the creative work of people, thorough whose efforts Kazakh has acquired its frame.

Karabagh

On the plains of Karabagh the herds of horses are prancing, the stocks of Karabagh horses being world renown; on the Karabagh Mountains the flocks of famous sheep is indispensable in making carpet woolen yarn.
The carpets woven in Karabagh in the 16th-17th centuries are now on display in the Berlin Arts Museum, the New York Metropoliten Museum and other museums of the world, as many a time these carpets decorated the exhibitions of art works in Paris, Vienna, Berlin, Petersburg and Moscow.

A dirty or stained carpet should be washed with soft soap, without delay, rinsed with clean water and dried. A Turkish carpet is made to last and, therefore, requires certain care. The worst enemy of a carpet is damp.Therefore, it should not be left in a damp environment over a long period. There is no harm in washing and immediately drying a carpet. However, it should not be laid on the floor before it is well dry, and it should never he kept damp on the floor.

Carpet naturally collects dust when laid on the floor for a long time. Therefore, it should frequently be vacuum cleaned. In spite of this, when laid on the floor over a long time, dust may collect at the bottom of its knots, and the carpet should be laid on the floor face down for several days in each year, walking on it frequently, pal1 to get rid of the accumulated dust. This action causes the dust accumulated at the bottom of the knots to fall off. Later the carpet should be laid face up again and vacuum cleaned.

Nomads use a more practical method. They lay the carpet face down on snow and cover it with a layer of snow. During this process the melting snow removes the accumulated dust like a filter and polishes the carpet.

Fading colors may be shined with vinegar: adding a glass of vinegar into a bucket of water, the pile of carpet is wiped with a sponge in the direction of the weave, and the carpets is left to dry. As a result, the carpet regains its shine.

As removing .stains may not always be easy, carpet needs good care. A specialist should be consulted for stubborn stains. The following points should be remembered for good carpet care:

During cleaning refrain from rubbing the carpet knots in the reverse direction. Take care not to wet the whole carpet. Never use any chemicals, including ammonia, to clean silk carpets.

SOME HINTS TO REMOVE STAINS

ANY ALCOHOLIC DRINK: Lightly wet with warm water and use 90 % alcohol to clean

MUD: Dry well and vacuum clean.

CHOCOLATE: Use a sponge damped with ammonia to wipe.

SWEETS: Lightly wipe with warm water.

INK: Damp sponge with a mixture of water, soap and alcohol, and wipe. Take care to prevent the cleaning mixture from dripping down to the reverse of the carpet.

FRUIT: Damp sponge with a mixture containing 3 parts white vinegar or lemon juice and 1 part ammonia, and wipe.

EGG: Never use hot water. Wipe with an ammonia and water mixture, failing that, use an alcohol and water mixture.

BLOOD: Never use hot water. After cleaning the stain well with a damp sponge, wipe with cold salty water. If unsuccessful, wipe again with pure white wine. If the stain is dry, brush it and clean with water containing a small amount of ammonia.

MAKE-UP MATERIALS AND PERFORMERY: Wipe with alcohol.

PET URINE: Wipe with a sponge while the stain is damp, and leave to dry. Later wipe with white wine vinegar. If unsuccessful, wipe again with a mixture of 3 parts alcohol and 1 part ammonia.

RED WINE: Clean with white wine, wipe with water.

These instructions are to be used as a reference only. YURDAN.com is not responsible for any damage, fading, and or changes in your rugs or carpets due to following these instructions. Please call a professional for assistance prior to using these instructions. By using this reference, it is understood that Yurdan.com relinquishes all responsibility.

ABRASH Variation and striation of colors throughout the rug.

ANTIQUE Rugs over 60 years old.

BORDER A design that surrounds the field in an Oriental rug

CAUCASIAN Rugs were mainly woven in Azerbaijan, which is part of the Caucasus region.

CHEMICAL DYES Modern synthetic dyes used in rugs woven after 1935.

CHROME DYED Modern synthetic dyes.

COMBING Process for preparing wool's in the same direction, before they are spun.

DOBAG A Turkish Acronym meaning Natural Dye Research and Development Project. In the late 1970s the government of Turkey began this program to improve the quality and profitability of the rug industry. The program reintroduced the use of natural dyes and traditional weaving methods.

FIELD The part of the rug lying between the border.

FLAT-WEAVE Describes a rug that has a flat pile which includes Dhurrie, Kilim and Soumak.

FRINGE Extension of the warp threads on two opposite sides of a rug.

INDIGO Any of various shrubs or herbs of the genus Indigofera in the pea family, having odd-pinnate leaves and usually red or purple flowers in axillary racemes. A blue dye obtained from these plants or produced synthetically.

KILIM A flat rug with no pile.

KNOT The process of wrapping yarn around the warps to form a pile is known as knotting. There are two basic types of knot commonly used in areas where rugs are woven. The symmetrical knot (also referred to as the Turkish knot or Gördes knot) is used in Turkey, the Caucasus, Northwestern Iran, and by some Turkmen groups. The asymmetrical knot (also referred as the Persian or Senneh knot) is used in most of Iran, in the majority of Turkmen rugs, and in China.

KNOT COUNT The number of knots per square inch or square decimeter describes the fineness of the rug. The total is obtained my multiplying the vertical by the horizontal knot count.

KNOTS PER SQUARE INCH Number of knots per square inch rates the knot quality.

LAYOUT The overall arrangement of motifs or objects woven into a rug.

LOOM Normally a wood structure that the carpet is woven on.

MIHRAB A niche design in the middle of a Muslim prayer rug, pointed toward Mecca during worship.

NATURAL DYES See vegetable dyes.

NAP Face of the rug where the knot ends are cut, normally made of wool or silk.

PILE The cut ends of the pile knots, which Project from the rug. Rugs without pile are known as the flat waves.

PLY The manner in which single strands of yarn are twisted together to form a thicker, stronger yarn. The ply is also described as either S or Z, but with rare exceptions the ply is in the opposite direction from the spin.

RE-FRINGE Repair fringe of rug using the selvedge or part of the rug.

RUNNER A very long and narrow rectangular carpet. They are used as coverings for hallways, stairways, and entrances. For this reason, they are also called Corridor rugs.

SAFFRON A corm-producing plant (Crocus sativus) native to the Old World, having purple or white flowers with orange stigmas

SELVAGE A woven edge finish formed either from the wefts as they turn back to recross the rug, or from additional yarns incorporated to protect the expose wefts.

SENNEH KNOT Persian knot

SIDING Edging on non-fringed sides of a rug.

SILK A fine lustrous fiber composed mainly of fibroin and produced by certain insect larvae to form cocoons, especially the strong, elastic, fibrous secretion of silkworms used to make thread and fabric.

SOUMAK A flat-piled rug using a special weaving technique known as weft wrapping.

SPIN The manner in which fibers are twisted together to form a yarn. Yarns may be spun either clockwise or counter-clockwise, and they may be described as Z- or S- spun, depending upon whether the fibers are inclined in the direction of the diagonal stroke of the S or the Z.

VEGETABLE DYES Dyes derived from insects or from the earth, which includes madder root, indigo, milkweed, pomegranate, osage, cutch and cochineal.

WARP The threads that run from one end to the loom to the other, usually in the long dimension of the fabric, around which the pile knots are tied. The warps are held taut by the beams of the loom and, when cut, the loose warp ends from the fringe.

WEFT The threads that run across the width of the loom, perpendicular to the warps, with which they interlace. The weft is not attached directly to the loom. Each passage of the weft is referred to as a “shoot,” and there may be a number of shoots after each row of knots. The weft usually runs across short dimension of the fabric.

There are several tools used on rug making. The first and the most important is loom. Loom can be vertical or horizontal. Typical loom structure. Horizontal looms are generally used by nomads because their establishments are easier and more economical with respect to vertical loom. But as it occupies more places especially on cold climates it is a problem to set up them indoors so the sizes are restricted. Horizontal Loom Vertical Loom Vertical looms have three types: village type, roller-beam type and Tabriz type. The other common tools used in rug weaving are knife , scissors ,comb , hook , spindle and design plate. Comb is used after a line of knots finished and a strand of weft passes on that line. Loose piles get hardened by beating repeatedly. Scissors is used for equalize the piles by cutting long pile after several rows knot made. Knife is for cutting each long piles just after the knot is tied. Hook functions like knife and also helps to separate warps while tying knots. Spindle turns wool fibers into the yarn. Design plate guides the weaver with both color and the motif . Each square on the plate indicates one knot. Plates are drawn by designers or artists. Usage of plates helps weaver make designs more proper.

As rug making trace back to old times, people developed techniques to dye to rugs and this information passed through many generations. At that times there were not chemicals so plants , soil and insects were used to obtain necessary colors to stain rug. After 1850 some important improvements made on chemical dyes, resulting of substitution of natural dyes. Being easier and cheaper to obtain the use of chemical dyes has become common among the carpet weavers . Although people generally prefer the natural dyed rugs some of the chemical dyes give the same even better results than natural ones.
In 1981 a project named shortly DOBAG (Doðal Boya Araþtýrma ve Geliþtirme) - Natural Dye Research and Development- started in Aegean villages of Turkey. Its aim was to resurrect natural dyeing techniques and also using them on rugs. In a way it was a returning of tradition and the rugs produced, looked like the ones made a century ago. Now some rugs are dyed naturally , chemically or combination of them. Only dye itself is not enough to dye the material , the substances called mordants fix dye on material . Here is the some commonly used natural dyes and the colors obtained.

Color: light blue to navy Indigo Natural: (Indigo Tinctotia) It is obtained by extracting and fermenting indican from the leaves of the indigo plant. it produces blue color and its variations.

Color: red to orange Madder root: (Rubia Tinctorum) There are two forms: root or dust. Colors range from red to red-brown and oranges. Ýt is produced by boiling the dried, chunked root of the madder plant in the dye pot.

Color: Salmon Depleted madder dye is used to obtain salmon, as dye baths are re-used, the dye gets weaker and colors get lighter.

Color: pale yellow to yellow-brown Larkspur: Delphinium sulpureum obtained by boiling the crushed leaves, stems, and flowers of the larkspur plant   Weld (a flowering herb) (Reseda lnteola) Chamomile (Anthemis chia) Dyer’s chamomile (Anthemis tinctoria) Spurge (Euphorbia biglandulosa) Sumach (Rhus coriaria)

Color : bright red to burgundy Cochineal bug: (Dactylopius Coccus) The cochineal bug gives the most color when ground into a fine powder. Colors are dark burgundy to bright red to soft lilac and pink.

Color : brown Oak bark, tree galls (Quercus)

Color :black sumach ,oak tree galls, tannin, iron, sumach. These dyes are generally damaging to wool but sumach dyed carpets relatively more endurable.

Color : green There is no dye plant that will yield a fast and intense green. The green in old carpets is always the product of a mixture of blue (indigo) and yellow dyestuffs

Mordants : Alum: (Aluminum Potassium Sulfate) This is the one of the widely used mordant. Copper: (Copper Sulfate) It is used to bring out the greens in dyes. It can darken the dye colors. Chrome: (Potassium Dichromate) Chrome make dyes more bright colors. It a vary toxic element so it should not be inhaled and gloves should be worn while working with chrome. Iron: (Ferrous Sulfate) It makes dye colors darker and dull. Overusage causes the fiber became brittle. Glaubersalt: (Sodium Sulfate) Used in natural dyes to level out the bath. Also use in chemical dye. Spectralite: (Thiourea Dioxide) This is a reducing agent for indigo dyeing. Tara Powder: (Caesalpinia Spinosa) Tara Powder is a natural tannin product. It is needed for darker colors on cotton, linen and hemp. Tartaric Acid: A must for cochineal. This mordant will expand the cochineal colors. Tin: (Stannous Chloride) Tin will give extra bright colors to reds, oranges and yellows on protein fibers. Using too much will make wool and silk brittle. To avoid this you can add a pinch of tin at the end of the dying time with fiber that was premordanted with alum. Tin is not commonly used with cellulose fibers. Calcium Carbonate: Is to be used with indigo powder for the saxon blue color. It can also be used to lower the acidity of a dyebath ABRASH (color variation): The colors in the rug may vary . As seen on the photo , there is two shade of red , bright red and rusty red .This variation in the same color called as abrash. This happens due to dyeing yarns in small batches .since traditional dyeing has not fine adjustment technology every dyeing bath may give different shades of the same color.

According to technique and artistic decision rugs can be classified as pile carpets and flat-weaves or with its authentic name kilims.
Kilim	Pile Carpet
The exclusive designs of handmade new and old carpets , rugs and kilims from mainly Anatolian and also Persian, Caucasian and Central Asia origins so extensive that they cover hundreds of years. All are hand knotted on traditional wooden looms using hand carded , hand spun. made of pure silk ,wool , cotton and combinations of them. Technique and Terms: Flatweaves generally need less labor and material but some may show great art. They are produced for both utilization and decoration. Since many of them are made by simpler techniques than pile knotting it can be assumed that flatweaves predate the pile carpets. Most probably they have been produced since Neolithic period so there is no doubt that flatweaves have been in use for millennia. According to style, flat-waves are called in several terms like kilim, cicim, zili and chul. Kilim is the general term to call flatweaves. In kilim technique, the pattern is created by passing a colored weft (horizontal yarns) over and under the warps (vertical yarns). The motif is completed by repeating this in opposite directions. Then second motif is made with different colored yarn. The two adjacent motifs can not be joined properly so a 'slit' emerges between them.
Kilim Technique	Soumak Technique
In cicim, soumak and zili, a third yarn additional to warps and wefts is used. A type of embroidery is applied on a kilim.
Zili Technique	Cicim Technique