Anatolian carpet configuration incorporates various strands
of customs. Explicit components are firmly identified with the historical
backdrop of Turkic people groups and their connection with encompassing
societies, in their focal Asian inception just as during their movement, and in
Anatolia itself. The main social impacts came from the Chinese culture, and
from Islam. Floor coverings from the Bergama and Konya zones are considered as
most firmly identified with before Anatolian carpets, and their importance
throughout the entire existence of the workmanship is presently better
understood.[54]
Focal Asian practices
Detail of a "Lotto" mat with a cloud band line.
The decoration is thought to be of Chinese inception. In most Anatolian floor
coverings, the boundaries are uncertain, i.e., don't proceed slantingly.
The early history of the Turkic people groups in Central
Asia is firmly identified with China. Contacts among Turks and China are
recorded since the early Han line.
In his paper on brought together plans, Thompson[55] relates
the focal emblem design, regularly found in Anatolian floor coverings to the
"lotus platform" and "cloud collar (yun chien)" themes,
utilized in the craft of Buddhist Asia, which he dated back to Yuan
administration China. As of late, Brüggemann further expounded on the
connection among Chinese and Turkic themes like the "cloud band"
adornment, the beginning of which he identifies with the Han dynasty.[56] The
early Anatolian "Phoenix and Dragon mat" portrays another customary
theme of Chinese folklore, the battle between the phoenix (Fenghuang) and the
dragon.[57]
Romano-Hellenistic customs
There are narrative records of rugs being utilized by the
old Greeks. Homer writes in Ilias XVII,350 that the assortment of Patroklos is
covered with a "stunning rug". In Odyssey Book VII and X "floor
coverings" are referenced. Pliny the Elder composed (nat. VIII, 48) that
rugs ("polymita") were imagined in Alexandria. It is obscure whether
these were flatweaves or heap weaves, as no definite specialized data can be
acquired from the writings.
Athenaeus of Naucratis depicts rich floor coverings in his
Deipnosophists, expounded on 230 AD.
"What's more, under these there were thew purple floor
coverings of the best fleece, with the rug design on the two sides. Also, there
were liberally weaved carpets flawlessly explained on them." (Book V, p.
314)
"[...] to lie on a lounge chair with silver feet, with
a smooth Sardian cover spread under it of the most costly depiction."
(Book VI, p. 401)
A floor covering "with the example on the two sides"
could either be a level woven, or heap woven rug. Regardless of whether
"purple" alludes to the shade of the texture or to the dyestuff
(either Tyrian purple or madder red might have been utilized) stays obscure.
The town of Sardis lies in Western Anatolia, along these lines, this might be
the most punctual reference to cover creation in the locale of Asia minor.
Anatolia was controlled by the Roman Empire since 133 BCE.
The East Roman (Byzantine) and Sasanian Empires have existed together for over
400 years. Masterfully, the two realms have created comparative styles and
beautifying jargon, as exemplified by mosaics and engineering of Roman
Antioch. A Turkish rug design portrayed on Jan van Eyck's "Paele
Madonna" painting was followed back to late Roman starting points and
identified with early Islamic floor mosaics found in the Umayyad castle of
Khirbat al-Mafjar. The building components found in the Khirbat al-Mafjar
complex are considered model for the continuation of pre-Islamic, Roman plans
in early Islamic art.
Islamic customs
Bursa supplication carpet, late sixteenth century, James F.
Ballard assortment
At the point when Turkic travelers moved from Central Asia
to Anatolia, they were relocating predominantly through lands which had
effectively embraced Islam. Portraying creatures or people is disallowed in the
Islamic practice, which doesn't recognize strict and profane life. Since the
codification of the Quran by Uthman Ibn Affan in 651 AD/19 AH and the Umayyad
Abd al-Malik ibn Marwan changes, Islamic workmanship has zeroed in on
composition and trimming. The boundaries of Anatolian carpets habitually
contain adornments which were gotten from Islamic calligraphy. Typically, these
"kufic" borders comprise of lam-alif-or alif-lam successions in an
entwined design.
The fundamental fields of Anatolian floor coverings are
regularly loaded up with repetitive, intertwined designs in "limitless
rehash". Accordingly, the mat addresses a segment of an endless example,
which is envisioned as proceeding past its lines and into the infinite.[62]
Anatolian mats of the "Lotto" or "Holbein" type give guides
to "endless rehash" field designs.
A particular Islamic example is the mihrab design which
characterizes the Prayer floor covering. A supplication floor covering is
portrayed by a specialty toward one side, addressing the mihrab in each mosque,
a directional highlight direct the admirer towards Mecca. The mihrab design in
Turkish floor coverings is frequently adjusted and may comprise of a solitary,
twofold, or vertically or evenly increased specialty. Subsequently the
specialty example can go from a solid, structural to a more fancy comprehension
of the plan. Supplication mats are frequently woven "topsy turvy", as
becomes obvious when the heading of the heap is felt by contacting the floor
covering. This has both specialized (the weaver can zero in on the more
convoluted specialty plan first), and commonsense reasons (the heap slants
toward the admirer's surrender).
Other social impacts
Anatolian kilim with a mathematical example
Enormous, mathematical shapes are viewed as of Caucasian or
Turkmen birthplace. The Caucasian practice may have been coordinated either by
moving Turkish clans, or by contact with Turkmen individuals previously living
in Anatolia.[63]
A focal emblem comprising of enormous, concentrically
diminished rhomboid examples with lock snare decorations is related with the
Y?rük migrants of Anatolia. The name Yürük is normally given to travelers whose
lifestyle has changed least from its focal Asian origin.[64]
In Anatolia, a few ethnic minorities have kept up
independent practices, e.g., the Greek, Armenians, and Kurds. While Greeks and
Armenians were engaged with cover weaving and exchanging the past, no plan
themes have been obviously connected with their unmistakable, Christian
culture. Kurdish floor covering configuration varies from Anatolian. Kurdish
floor coverings are all the more frequently talked about along with Persian
carpets.[64]
Social setting: Court and town, town and roaming creation
Social connections in conventional rug creation
Floor coverings and carpets were at the same time created by
and for the four distinctive social degrees of court, town, provincial town,
and tribe.[29] Elements of town configuration were frequently replicated in
country creation and coordinated by the town weavers into their own imaginative
practice by a cycle called stylization.
Court produce
Delegate "court" floor coverings were woven by exceptional
workshops, regularly established and secured by the sovereign, with the aim to
address force and status. Thusly, delegate floor coverings have built up a
particular plan custom impacted by the courts of the encompassing empires.[65]
Rugs were delivered in the court producers as exceptional commissions or
blessings. Their intricate plan required a division of work between a craftsman
who made a plan (named "animation") on paper, and a weaver who was
given the arrangement for execution on the loom. In this manner, craftsman and
weaver were separated.[3][29]
Town and town creation
Rugs were woven around makers by coordinated manufactories.
Generally, town makes have a bigger scope of examples and decorations and all
the more creatively created plans that can be executed by the weavers, the
range of shadings is rich, and the weaving strategy might be better because of
their admittance to top notch fleece, and the work of specific weavers. Bigger
arrangements can be delivered on bigger, fixed weavers. Floor coverings are
woven from kid's shows, utilizing material given by the maker. The town
manufactories may acknowledge commissions even from unfamiliar nations and
produce floor coverings for export.
Floor coverings delivered in towns are regularly created in
singular homes, however at any rate part of the way charged and regulated by
organizations or producers. Home creation may not need full-time work, yet
could be performed when time permits, other than other family undertakings.
Town floor coverings as fundamental family things were important for a practice
that was on occasion affected by, however basically particular from the
imagined plans of the workshop creation. Oftentimes, mosques had procured
rustic rugs as magnanimous endowments, which gave material to studies.[66]
Rural covers infrequently incorporate cotton for twists and wefts, and never
silk, as these materials must be bought available by the individual weaver.
Examples and adornments from court manufactory carpets were
recreated by more modest (town or town) workshops. This cycle is all around
recorded for Ottoman petition rugs.[67] As prototypical court plans were given
to more modest workshops, and starting with one age then onto the next, the
plan went through an interaction named stylization, including arrangement of
little, gradual changes either in the general plan or in subtleties of more
modest examples and adornments, over the long run. Therefore, the model might
be altered to a degree as to be scarcely conspicuous. At first misconstrued as
the "degeneration" of a plan, the interaction of stylization is
currently viewed as a truly innovative cycle inside an unmistakable plan
tradition.
Islamic practices
Bursa petition mat, late sixteenth century, James F. Ballard assortment
At the point when Turkic transients moved from Central Asia to Anatolia, they were moving predominantly through lands that had effectively received Islam. Portraying creatures or people is restricted in the Islamic practice, which doesn't recognize strict and profane life. Since the codification of the Quran by Uthman Ibn Affan in 651 AD/19 AH and the Umayyad Abd al-Malik ibn Marwan changes, Islamic workmanship has zeroed in on composition and decoration. The lines of Anatolian carpets oftentimes contain decorations that were gotten from Islamic calligraphy. Generally, these "kufic" borders comprise of lam-alif-or alif-lam arrangements in an entwined design.
The primary fields of Anatolian carpets are oftentimes loaded up with repetitive, entwined designs in "boundless rehash". Accordingly, the carpet addresses a segment of a limitless example, which is envisioned as proceeding past its boundaries and into the infinite.[62] Anatolian floor coverings of the "Lotto" or "Holbein" type give guides to "endless rehash" field designs.
A particular Islamic example is the mihrab design which characterizes the Prayer floor covering. A supplication floor covering is portrayed by a specialty toward one side, addressing the mihrab in each mosque, a directional highlight direct the admirer towards Mecca. The mihrab design in Turkish rugs is regularly changed and may comprise of a solitary, twofold, or vertically or evenly duplicated specialty. In this way the specialty example can go from concrete, compositional to a more elaborate comprehension of the plan. Supplication mats are regularly woven "topsy turvy", as becomes clear when the course of the heap is felt by contacting the floor covering. This has both specialized (the weaver can zero in on the more confounded specialty plan first), and functional reasons (the heap slants toward the admirer's surrender).
Other social impacts
Anatolian kilim with a mathematical example
Enormous, mathematical shapes are viewed as of Caucasian or Turkmen beginning. The Caucasian custom may have been coordinated either by moving Turkish clans, or by contact with Turkmen individuals previously living in Anatolia.[63]
A focal emblem comprising of enormous, concentrically diminished rhomboid examples with lock snare adornments is related with the Y?rük migrants of Anatolia. The name Yürük is typically given to migrants whose lifestyle has changed least from its focal Asian origin.[64]
In Anatolia, a few ethnic minorities have kept up discrete practices, e.g., the Greek, Armenians, and Kurds. While Greeks and Armenians were associated with cover weaving and exchanging the past, no plan themes have been plainly connected with their particular, Christian culture. Kurdish floor covering configuration contrasts from Anatolian. Kurdish floor coverings are all the more regularly talked about along with Persian carpets.[64]
Social setting: Court and town, town and traveling creation
Social collaborations in conventional floor covering creation
Rugs and mats were at the same time created by and for the four diverse social degrees of court, town, provincial town, and tribe.[29] Elements of town configuration were regularly recreated in rustic creation and incorporated by the town weavers into their own imaginative custom by a cycle called stylization.
Court fabricate
Delegate "court" floor coverings were woven by exceptional workshops, frequently established and ensured by the sovereign, with the goal to address force and status. All things considered, delegate floor coverings have built up a particular plan custom impacted by the courts of the encompassing empires.[65] Rugs were delivered in the court producers as extraordinary commissions or endowments. Their intricate plan required a division of work between a craftsman who made a plan (named "animation") on paper, and a weaver who was given the arrangement for execution on the loom. Consequently, craftsman and weaver were separated.[3][29]
Town and town creation
Floor coverings were woven around makers by coordinated manufactories. As a rule, town makes have a bigger scope of examples and trimmings and all the more imaginatively created plans that can be executed by the weavers, the range of tones is rich, and the weaving strategy might be better because of their admittance to excellent fleece, and the work of particular weavers. Bigger arrangements can be delivered on bigger, fixed weavers. Floor coverings are woven from kid's shows, utilizing material given by the maker. The town manufactories may acknowledge commissions even from far off nations and produce floor coverings for export.[29]
Floor coverings created in towns are regularly delivered in singular homes, however at any rate incompletely charged and directed by societies or makers. Home creation may not need full-time work, however could be performed when time permits, other than other family errands. Town rugs as fundamental family things were important for a practice that was on occasion affected by, however basically particular from the developed plans of the workshop creation. As often as possible, mosques had procured country rugs as altruistic endowments, which gave material to studies.[66] Rural covers seldom incorporate cotton for twists and wefts, and never silk, as these materials must be bought available by the individual weaver.
Examples and adornments from court manufactory mats were imitated by more modest (town or town) workshops. This interaction is very much reported for Ottoman supplication rugs.[67] As prototypical court plans were given to more modest workshops, and starting with one age then onto the next, the plan went through a cycle named stylization, including arrangement of little, gradual changes either in the general plan or in subtleties of more modest examples and decorations, over the long run. Therefore, the model might be altered to a degree as to be scarcely unmistakable. At first misjudged as the "degeneration" of a plan, the interaction of stylization is presently viewed as a truly innovative cycle inside a particular plan tradition.[67]
Stylization in Anatolian petition floor covering plan
Footstool court supplication mat, Bursa, late sixteenth century (James Ballard assortment, Metropolitan Museum of Art)
Turkish petition floor covering
Bergama petition floor covering, late nineteenth century
Roaming and ancestral creation
With the finish of the customary traveling way of life in Anatolia and the subsequent loss of explicit practices, it has gotten hard to distinguish a certified "roaming floor covering". Social or ethnic gatherings known for their itinerant way of life like the Yürük or Kurds in contemporary Turkey have in huge parts obtained stationary ways of life. A few parts of the custom, similar to the utilization of explicit materials, colors, weaving or completing strategies or plans may have been saved, which can be distinguished as explicitly roaming or ancestral.
Standards for a roaming creation include:
Uncommon materials like twists made of goat's hair, or camel fleece in the heap;
excellent fleece with long heap (Anatolian and Turkmen travelers);
little organization fitting for an even loom;
unpredictable configuration because of regular re-gathering of the loom, bringing about sporadic pressure of the twists;
articulated abrash (inconsistencies inside a similar shading because of coloring of yarn in little groups);
consideration of flatweaves at the closures.
Inside the class of rug weaving, the most bona fide town and itinerant items were those woven to serve the necessities of the local area, which were not planned for fare or exchange other than neighborhood. This incorporates particular packs and reinforce covers (yastik) in Anatolia, which show plans adjusted from the most punctual weaving traditions.[69]
Areas of Turkey
Anatolia can be partitioned into three significant spaces of floor covering creation, based on neighborhood towns and commercial centers, which regularly loan their names to the carpets delivered in the encompassing territory. Western, Central, and Eastern Anatolia have particular weaving customs. Notwithstanding, monetarily delivered mats are frequently woven regardless of neighborhood plan customs. Particular utilization of various materials and colors, just as character plans, in some cases consider a more explicit task of a rug to one of the three districts, or to a more explicit weaving place.
Type I small-pattern Holbein carpet with "kufic" main border and "infinite repeat" field pattern, Anatolia, 16th century.
Urgup rug with "kufic" inner border
Kir?ehir single niche prayer rug, Tilavet room, Mevlâna Mausoleum, Konya
Kir?ehir single niche prayer rug, 18th century, Mevlâna Mausoleum, Konya
Konya single niche prayer rug
Gaziantep double-niche prayer rug
Central Anatolian double-niche prayer rug
Prayer rug with multiplied niches
Edirne Selimiye Mosque interior with multiple-niche prayer rug (saph)