Oriental rugs
More than a thousand hand-knotted rugs from A like Abadeh to Z like Ziegler, from antique collector’s items to modern designer rugs, plus numerous flat weaves such as kilims, sumac and the well-known Berber await your visit.
In our business we also carry out:
- Berber
- Modern flatweaves
- Designer items
- Nepal
- Persian Gabbehs
- Indian Gabbehs
- Hand-knotted rugs from the entire Orient
A visit to our store in Frankfurt am Main is always worthwhile.
Determination of the age of a carpet – antique, old, new
Due to several different methods to optically manipulate a carpets appearance i.e. through washing the determination of a carpets age is very challenging. Further, among specialists there is no common rule or guideline for this assessment. Therefore, commonly the custom practice is taken as a guideline:
- Antique Oriental carpets, that are older than 100 years.
- Old Knitting-carpets, which are manufactured between 50 to 100 ago
- Older Carpets, which are younger than 50 years.
- New Carpets, which are mainly unused!
The Carpet-Making Process
On the current page you will find valuable
information for the general production ofhandmade carpets, materials and
colors and their Knüpfmethoden and knotting techniques.
If you still have unanswered questions about carpet manufacturing, please contact us,we will advise you.
Carpet making – Knotting
The knotting starts always from the bottom to the top. Usually horizontal warp threads are firstly shot through the vertical warp threads. The result is a powerful edge onto which the series of nodes may be attached. The carpet will be given through this way strength and the merger of the nodes bulking becomes more difficult. The rows of nodes will be put on the pile-free edge. Each node is wound around two warp threads based on the knot type, Persian or Turkish, with a piece of weaving yarn. After forging a node, the knotter cuts off the yarn at a length of 7 cm and draws the yarn ends down.
As a result, the node is tightened on the one hand and on the other hand the pile receives a direction. It is the reason for the different colour appearances of a carpet at different angles. After a series of nodes is completed in the full width, one shoots through the warp threads weft threads. Then, one fixates the node row and weft threads through with the ridge. After about 4 to 6 rows, one brings the the yarnends of the knotting threads to a uniform length. One also talks from a provisional shearing, because the final shearing is carried out after completion of the carpet by a specialist. The final pile length depends on several aspects, for instance the density of the knots, the type of carpet, the wishes of the carpet dealer or the customer.
Typically, nomads prefer carpets with a longer shearing (as it is a good soil insulation against cold) while the weavers in the town give priority to a shorter pile. The carpet ends similarly as it started. Weft threads, which form a kind of small Kelim, are struck down hard onto the previous node series. The remaining loose warp yarns at the beginning and at the end of the carpet form the fringes. They are often tied or knotted, so that the Kelim fans in the course of time. Now the carpet must get only his final shearing and a final washing before he can be sold. However, these two processing steps are not negligible and are run with the utmost care. Only a perfect shearing and a first-class laundry make a previously perfect piece into a masterpiece. The carpet coming from the weaving chair is still raw and not presentable. Too much loose wool and too much ink.
The laundry sorts and smoothes the pile and lets the motif represent itself better. The closing finish make the wool additionally softer and give it more shininess. One differentiates roughly between two types of washes; the simple stream wash with subsequent drying in the sun and a modern western laundry with complex chemical processes (Swiss Wash). An interesting aspect of a wash is that it can change colors if one requires it to (example: Gold Blanford).
Carpet making – Weaving Chair and devices
As oriental rugs are knotted carpets, a weaving chair must be used for their manufacturing. A distinction between four different types of knotting chairs can be made:
- Horizontal lying weaving chair
- Rigid upright weaving chair
- Upright Tabriz weaving chair
- Upright weaving chair with revolving weaver trees
The lying weaving chair is the oldest of its kind. It consists of two poles to which the warp threads are tied. In order for it not to move during work the weaving chair needs to be fixed to the ground. The rigid upright loom is also called the village weaving chair. This consists of two parallel standing beams, onto the above and below a rigid cross-beam is attached. The space between the bars serves as an anchor point for the warp yarns. The knot begins from the bottom for this loom. The development of the rigid upright loom is the so-called Tabriz loom. It is widely used in the Persian centers. The warp yarns are spun around from the top bar to the bottom bar to the top.
As one can imagine a front and back is created and thus represents a closed loop. This allows at the end of the front part, through turning the loom around, the further knotting and thus twice the length of carpet can be knotted. The latest development of the weaving Chair is the rotation of the upper and lower bars. The upper crosspiece is used to wrap up the warp yarns and to lead them to the bottom. The lower bar is then understood as the so-called warp beam, onto which the completed parts of the carpet are continuously rolled up. Thus, very long carpets can be achieved with this device.
Carpet making – Yarns
The yarns are woven of wool, silk or cotton depending on the quality of the rug. Yarn is required for pile, warp and weft yarns. The pile is often made of wool and silk, however, one uses mostly cotton yarns for warp and weft on the basis of a higher durability. The wool is mostly sheep or camel hair wool. After the wool is washed and defatted she can be colored.
Carpet making – Colors
Above all, the Persians carpets are most famous for their great colours. The dyeing of wool is one of most important arts under the carpet-making. It requires complicated preparation processes so that the woven wool – but also other materials – can hold the color better.
After for example the wool has been washed and degreased it will then be placed into an alum bath for 12 hours. This process must be repeated once more before the yarn can be placed into in a bath of color. In this bath it will rest depending on the colour and the colour intensity which may take hours or days. Until the invention of artificial colors were colors used based on natural substances such as plants, animals, mineral substances or the sorting of appropriate wool tones.
Above all the Persians were world famous for the very high number of tones won plant-based. After the colorization is the wool i.e. the colorized material placed into the sun to dry.
Carpet making – Knots
After clamping the warp yarns on the weaving chair the knotting may commence. In the knotting technique there are mainly two types of knots, the Turkish and the Persian knots. The Turkish knot is also known as the Ghiordes knot. This will arise when one wraps one weaving thread to two adjacent warp threads and then pulls the ends forward between the warp threads. The Persian node, the Senneh node, is one end of the weaving thread flung around a chain thread and then the other end flung around the next chain thread.
Valuation of Oriental Carpets
The valuation of an Oriental carpet is a very tricky problem, because he is both an everyday object that has specific fixed costs are based, the other a work of art that is unique and therefore everyone has an additional aesthetic value.
To the fixed costs include such products in the manufacture of all the material costs and labor costs. Important factors are the prices for raw materials (eg wool quality), location of production and the nature and extent of required personnel (whether highly skilled or semiskilled workers employed or the number of hours worked).
The aesthetic value is one of the most important value factors. Although the manual production of carpets by some is seen as a humiliation, it is the art of the carpet maker carpet according to his ideas and his expertise to make. As was the great composers of past centuries, traces the creative hand of the weaver or Knüpfer as key to the validity of a carpet.
Another factor is the value in the knotted carpet and the traditions of the respective provenances. They often represent the experience, performance and passion of a culture. This aesthetic value can be difficult to measure in a monetary unit and transmits this very reason in some carpets to make it very valuable.
The number of knots of a carpet is an important aspect in this context. The more knots per square centimeter are linked even more work must be expended.Understandably, the price of a carpet depends also on the time that is needed for its manufacture. An experienced weaver can make every day an average of 10000-14000 nodes. It therefore requires a medium quality carpet, (about 2500 knots per square inch) in size from two by three meters, about five months with a daily production of 10 000 nodes. Same size for a rug with a lower number of nodes, approximately 500 knots per square inch, it would take only one month. The number of nodes, as already mentioned one important aspect but not the most important thing. There are also coarser rugs such as Heriz, which belong entirely to the top class.
Everyone must decide for themselves what value to him and if he weighs more than is seen more as a work of art or utility value. Thus, everyone must decide for itself what it is worth the piece (see eg auctioning old antique rugs).
Properly advised and appropriate treatment of the carpets, a carpet can be doubled in value over time. The basis is the increase in value since the end of the secondSince World War II, the price increased almost steadily from Oriental rugs.
Kaukasus Dagestan SSL 18148
Eine Gebetsnische kann man sehr schön als Grundmuster erkennen. Das geometrische Innenfeld ist sehr detailreich. Die Wolle ist glanzreich und sehr strapazierfähig.
Rizbaf Iran SSL 18331
Die Rizbaff-Brücke wird in Südpersien geknüpft. Sie besteht aus 100% Schurwolle. Die 140 verschiedenen Felder vermitteln ein heiteres Farbspiel, dass durch sein zeitloses Design besticht. Die Knüpfung ist mittelfein.
Iran Amaleh SSL 18334
Der Amaleh, ein Unterstamm des
Gashgais, wird im Süden Irans hergestellt. Er ist in der Regel weniger
fein als der Kaschkuli geknüpft, besticht aber durch seine, mit
natürlichen Farben gefärbte Wolle, insbesondere mit seinen
ursprünglichen, attraktiven Farbzusammenstellungen und Mustern.
Iran Kaschkuli SSL 18336
Handgeknüpft von Normaden / Halbnormaden im Süden Irans, besteht er aus bester mit Naturfarben eingefärbter Wolle. Die Kaschkulis bestechen neben ihrer hohen Qualität – Naturfarben, handgesponnene Wolle, hohe Knotendichte, feinste, handverlesene Wolle – durch ihren Sinn für Farbe und Musterung.
Modernes Design mit orientalischen Einflüssen. Dieser Teppich besticht mit seinen zeitlosen, leicht verwaschenen Muster. Er ist handgeknüpft aus hochwertiger Wolle mit Viskose (Bamus-Seide) als Effektgarn. Innovatives Design, gepaart mit modernster Technik, lassen diesen handgeknüpften Teppich zu einem wahren Hingucker in Ihrem Interieur werden.
Moderner Luxus-Teppich (Indien) SST 6571
Modernes Design mit orientalischen Einflüssen. Dieser Teppich besticht mit seinen zeitlosen, leicht verwaschenen Muster. Er ist handgeknüpft aus hochwertiger Wolle mit Viskose (Bamus-Seide) als Effektgarn. Innovatives Design, gepaart mit modernster Technik, lassen diesen handgeknüpften Teppich zu einem wahren Hingucker in Ihrem Interieur werden.
Iran Kaschkuli SSL 18335
Die feine Knüpfung und die mit natürlichen Farben gefärbte Wolle geben dem Teppich einen eleganten Ausdruck. Die Nomaden und Halbnomaden stellen im Süden Irans, mit bester Wolle und ihrem Sinn für Farben und Musterung, außerordentlich schöne und sehr strapazierfähige Unikate her.
Gabbeh (Shooly) SST 6527
Der Gabbeh Teppich kommt aus Südpersien und ist aus 100 % Schurwolle. Der Flor ist hoch und daher weich und angenehm zu belaufen. Er wird ohne Mustervorlage geknüpft und ist ein Unikat. Ein schlichter, ruhiger Teppich mit viel roter Farbe ohne Ornamentik.
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Die Musterzeichnung der Kuba Brücke zeigt eine Mischung aus floralen und geometrischen Elementen. Die Farben wirken elegant und edel. Die Florhöhe ist niedriger als bei Seidenteppichen.
Hereke SSL 11802
Die Hereke Brücke ist mit Seide auf Seidenkette geknüpft. Das Mustert symbolisiert die Gebetsnische (Mirhab). Die Feinheit dieser Brücke ist in Knoten ca. 1. Million pro qm. Nur der Sultan oder hohe Würdenträger durften in früherer Zeit die Teppiche kaufen und besitzen. Die ersten Hereke entstanden 1844 in der Hofmanufaktur des Sultans. Diese Brücke ist ein Meisterwerk der Knüpfkunst.
Kasak Pakistan
Die Kasak- Brücke wurde in Kelim- und Knüpftechnik hergestellt. Dadurch entsteht eine Art 3 D Optik. Die Zeichnung ist streng geometrisch.
Schirwan SSL 5508
Die Schirwan Brücke wird im südlichen Teil des Kaukasus hergestellt. Das Flormaterial ist Schurwolle. Die Hauptbordüre besteht aus eckigen Kartuschen ausgefüllt mit Rhomben und Dreiecken. Auch das Innenfeld ist geometrisch angeordnet.
Iran Beloutsch Sumak SSL 18193
Diese Brücke ist im südlichsten Teil des Iran geknüpft. Eine Besonderheit hier ist, dass zwei Herstellungstechniken bei der Herstellung verwand wurden. Ein Teil ist geknüpft, der andere gewebt (Sumaktechnik). Die Hauptbordüre ist mit Pfauen besetzt. Das Innenfeld zeigt schräg angeordnete Blumenbündel. Durch die Knüpf- und Webtechnik entsteht eine faszinierende Hoch-Tief Optik.
