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From Itselik to Kazak rugs
Container in kilim, Soumak or knotted used by the knotter to store wool spindles
Very refined container for the Kuran
It is the Persian Prayer Mat, while Namazalyk is the Turkish name. Small rugs, also for convenience of transport, which present the niche design, or Mirhab, specially meant for prayer. The subject may have various reasons and symbols related to religious practice, such as Fatima’s hands on the sides of the niche.
A rather fine quality Afghan rug, sometimes with a silk warp, a mixed manufacture as it presents some knotted areas, others in Soumak and others in kilim, geometrical design with diamond pattern across the board, many frames and the classic brick red colours Afghans, off blue, orange and blue well combined.
Persian horse blanket the same as the Turkmen at-djoli
Jollar o jallar
In Afganistan it is a rectangular bag about 40 x 110 cm, with big fringes.
Joval , Juval, Chuval, Chouval
Large rectangular bag used by the Turkmen and Persian people.
Jufti , jofti, joft or juft ilmeh
It is a knotting technique deemed fraudulent in that instead of wrapping two adjacent warps, it wraps around three or four. Obviously, having fewer knots, the rug so manufactured it is less robust
Kalleghi , kelley, kheley, kelleghi
Rugs in which the lenght/width ratio is about 1/2,5. It is the traditional kilims’classical measure of yore.
The region of Karabagh ( “black garden” ) is located in the south-eastern part of Kazak and throughout its history has been several times under the Persian influence, as demonstrated unequivocally by its rugs. Many pieces are inspired by the floral subjects of fabrics and European rugs, particularly those of the Savonnerie and Aubusson.
The Karabag kilims usually fall into the rich vein of the “goal farangh” (rose of France) motifs which spread in the Caucasus, as well as in Persia and Turkey, during the nineteenth century. inspired by Europeans rugs and floral fabrics, especially Aubusson and Savonnerie. The floral designs, even if necessarily stylized, show a certain realism in the configuration, highlighted by the use of colours reminiscent of the roses hues. In other Karabagh Kilims only the frame is floral while the subject is grid-like. The production of this type of rug has almost disappeared and really interesting, old manufacture examples are also becoming very hard to come by.
Karabag Moldavian kilims
They are kilim with roses and impressive foliage, black sheep’s wool fabrics by Turkish people based in rural Moldova or on the border of Turkey itself. As happened once to the Karabakh rugs, even this type of kilim with the purely floral designs took inspiration from French Aubusson. Those of new manufacture are easy to find, relatively inexpensive, but they have colours too determined, to the point of being even aggressive; whilst those of the first half of the ‘900’s they have a lot more pleasant and soft colours, they are so much more beautiful, rare, therefore they furnish much better Western homes.
It is a place very close to Istanbul where rugs are woven to modern taste with a dense knot, are lightweight, with a very low fleece (not even 1 cm); it is soft, light and with a very shiny and bright wool that is an index of good quality. It is characterized by particular colours, such as yellow, red, black, etc., The colours are natural, realized according to ancient recipes that use plants and roots as the pomegranate, the root of madder, indigo.
Ancient city between Tehran and Isfahan, located near the Dasht-e-Kavir desert, arid zone to about 1000 m above sea level. A city rich in history and monuments, with an old tradition in rugs, because even then Safavid Kashan was renowned for its master weavers. At that time there was also a royal laboratory for rug weaving, to which are attributable the beautiful “Polonaises”. After a period of decline that lasted until the mid-nineteenth century, rug weaving was a returned to its former glory. In fact, the end ‘800’s Kashan rugs are among the most beautiful of the antique rugs of Persian production.
Kashan Mohtasham Carpet
Artifacts knotted in Zufilkhar Ed Din Mohtashem, Ustadan’s laboratory, (master) weaver among the most revered in Kashan. His rugs are the ones atthe highest level of Persian art that have ever been knotted.
Tribe that is part of the group of the Qashqai nomads of Fars province, near Shiraz; besides somewhat tribal rugs, they also have been knotting for a long time very refined rugs, even among their productions of Gabbeh. Colourful rugs, knotted wool on wool and featuring decorations kharchanghi medallion with minute geometric designs in the field. The thickness of the rugs is 5-6 mm and even less. Their production also includes KILIM, MAFRASH and GABBEH. On our site you can see a remarkable assortment with fabulous pieces and now unobtainable. The very rare Ancient Kashkuli of our collection is one example.
Kazak Antique Rugs
The real Caucasians KAZAK RUGS are sometimes quite rare specimens, which generally have almost the size of the runner. They are characterized by the presence of compositions across the board one above the other. The background is divided into areas that fill the field, which in turn are chromatically divided in half and that in the overlap of the second compositional scheme: quadripartite lozenges arranged chain-like one above the other, that form triangles. There are about a dozen different types of Kazak with different characteristics depending on the area of the Caucasus where they were knotted.
Kazak Borcialu Antique
They’re rugs knotted by Cossacks Borcialu in the village of Bordjalu. Kazak rugs are characterized by strictly geometric designs as lozenges with aligned spikes, hooked hexagons woven into each other and rhomboidal square central fields in which we see the classic and powerful border of Bordjalu that surrounds with considerable dynamism the narrow infield, with clever use of colour in the refined combinations
Kazak Ciondzoresk or cloud-like Kazak
Ciondzoresk, a location near Bakera right in the middle of Karabagh, is a type of rug attributed to the latter group of Caucasians; warps and wefts are also brown and not red like the Kazak. The pairs of bands are said to represent the dragon and the phoenix which in the sky turn into clouds and dispense the rain.
Kazak Fachralo or Fachralu
They were knotted around the homonymous town located north of Ganja, or Ghendje, in the east of the Caucasus; they have a field decoration with one or more star medallions obtained by the intersection of a rhombus and a rectangle within a minor medallion with hooked motifs. Very often the system is prayer-like.
Kazak Karaciof or Karaciov
Kazak Rugs which originate in a small village north of Lake Sewan and are characterized by two recurring drawings: a powerful central octagon with white background, which rests above a rectangle minutely adorned checkerboard-like and four white squares with hooked profiles on the corners containing files of eight-pointed polychrome stars.
In Georgia, between Bordjalu and Akstafa, lies the small settlement of Lambalo. They are Kazak rugs Lambalo characterized by a clear main border with stylized pomegranates, sometimes small cantonal, a dark blue or oxidized red brick field with quadripartite squares set to göl similarly to Talish
Kazak Lori Pampak or Lori Pambak
They take their name from the small village east of Fachralo where they were made. They are characterized by a dominant central motif, large ornaments and are limited in their palette to a few colours. The result is a monumental plant of great effect. There is also groups of Lori Pampak which have a composition with three medallions. We also have a very rare one with four medallions.