Today great efforts are being made to renew these techniques and traditions which languished during Soviet times. Dr Ilhom Davletov is one of the pivotal figures leading the revival!. Born in Urganch in 1959, he studied medicine in Tashkent and worked at the Medical institute there for six years. Where he specialized in rheumatol­ogy but his life changed after independence. In 1991 all borders were opened and Ilhom traveled to Istanbul. Amazed at the number of Uzbeks selling suzanis and antique carpets, he wanted to join them. This ultimately led to a successful\ second career as a dealer in Central Asian carpets and textiles.

   After a century of synthetic dyeing, moving back to natural dyes proved difficult. But determined to continue with this venture he sold five hundred of his antique carpets to raise enough capital to begin a 10caJ suzani revival without any state involvement.

From 'HALI' Issue 137

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.

While weaving carpets women express their feelings, wishes, hopes and emotions. They do that by using special symbols and colors. Some of these symbols can trace back to pre-historic periods while some are produced by creative women. Most of the motifs on the Anatolian carpet had been brought to Anatolia via migration of Turkish tribes from Central Asia where the mother land of Turks. Here is the meanings of some the frequently used motifs on carpets. Dragon: Originated in the Far East, represents a mythological creature believed to be the master of air and water. The dragon is the symbol of power, force and might for its ability to produce flames from its mouth and supernatural appearance (multi-headed, multi-legged, multi-tailed, etc.).It is also the guard of the life tree. Scorpion: Scorpions are in effect a natural disaster for nomads. They often break into the tent, their sting is very painful and may sometimes be deadly. A scorpion motif woven into a carpet symbolizes the instinct of protection against this animal. In the belief of nomads, a scorpion cannot approach a carpet it there is such a motif on it. The scorpion is also a symbol of “pride and liberty”. Hence a scorpion surrounded by fire commits suicide by stinging itself when it realizes that the circle of fire is insurmountable. Tree of Life: It is a big, tall tree which is believed to have grown out of the center of the world, living for centuries, knowing the secrets of the world, and being close to the universal powers. It is a tree, which is regarded as the stairs of human journey from underground to the sky, its roots grasping the world and its branches hosting the birds of paradise. Denoting the life and death, the Tree of Life is often woven into carpets as an Anatolian motif. The birds on its branches also denote the birds of life that will fly away when the time comes. It is believed that after death spirits come to the branches of this tree to enjoy endless happiness. Peacock - Bird of Paradise (Phoenix): The plant which produces Soma, the Water of Life is brought to Anatolia by the Phoenix: This imaginary bird has long, red and golden hair. At the end of its life, it burns itself by setting fire to its nest built on the branches of spring trees. Thus a new Phoenix comes to life. It is, therefore, a symbol of immortality and rebirth. In Islamic mysticism, being invisible, it symbolizes the soul as liberated from the body and the material weight of the world. Wolf’s Mouth and Monster’s Feet: It is a symbol woven by nomads for protection against wild animals they frequently encounter in nature. Human Being: A woman weaver often weaves herself, her family or a member of her family into her carpets, such as husband and wife or mother and daughter figures, and this usually represents the weaver’s expectation of a child. Eye: The most effective precaution against the “eye”, which is regarded to be the guilty of harmful and fatal looks, so-called “evil eye” is nothing but the “eye” itself, and it is symbolized in a spot of eye placed in the center of the holy color of blue. It is usually woven inside a triangle, square, quadrangle, equilateral quadrangle (sometimes divided into four with a cross) or underneath a sharp eyebrow. Stars: A hexagonal star denotes universal as well as human mysteries. A pentagonal star in flames is the emblem of genius. A dodecagonal star, due to its holiness, has often denoted Venus on Seljuk-Ottoman decorations and even coins. Venus is a symbol of goodness and renewed life, while an octagonal star denotes the line of life from birth to death. Hair Band: This motif is frequently woven with a view to expressing desire for marriage. Earring: It symbolizes marriage wishes. Ram’s Horn: It is a symbol of power, force, health and happiness; it also denotes man’s fertility and the power of giving life and protection. Carpets that are decorated with ram’s horn tend to denote a man’s rather than a woman’s world. A spiral profile of a ram’s horn symbolizes infinity and the route followed by the soul as it goes to infinity. Hands on Hips: Mothers are usually denoted with a “hands on hips” motif on carpet. Motherhood is not only identified with fertility but is also a symbol of such sacred duties as giving life to children and protecting them. The “hands on hips” motif woven to denote fertility, today symbolizes the carpet weaver woman. The fact that the woman identifies herself with this motif is an indication of such ideas as fertility, giving birth too many children, productivity of animals and plants, and abundance at home.

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.

Sheep wool, goat hair, cotton and silk are the main materials used in carpets. The quality of wool is vital for both appearance and the life of the carpet. Climate, shearing season and nourishment of sheep affect the quality of wool. Sheep which are living in cold climate or in higher altitudes with abundant grass and water give quality wool since their bodies produce fat under skin which makes wool longer and smoother. On the other hand, sheep living in warm places give dry and fragile wool.

Spanning of wool is also important. In hand span wool , the original length is kept during the spinning process. It can be spun by machines but it can not keep its quality since it works hard and break the fibers . To reduce the harm oil is used but still fibers lose their strength.

Silk is obtained from cocoons. They are boiled so that silk fibers release. Then silk fibers are hand-spund. Hereke and Kayseri are famous for producing fine pure silk carpets.

Cotton is generally used as warp treads. It is used for to make finer motifs as it is stronger. Tight knots harm the woolen warp so cotton warps is preferred to make high density knot pile carpets like Hereke and Kayseri.

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

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