Lit/le Rug,Vintage Entryway Rug,Distressed Front door Rug,Small Gift Rug,Boho Bedside Rug,Hand Made Sink Rug 2' 5 X 2' Low Pile Overdyed Mat 1229Very Unique Oriental Door matGenuine entrance rugOne Of A Kind bathroom rugLow pile is clean and ready for using.Floor Rug is hand made and vintage100% wool, very durable and easy to cleanThese rugs are great for entryways, bedsides, kitchen sinks and bathroomsAll of our rugs are old, antique or vintage. They are all pr4fessionally cleaned and if needed repaired.One of a kind, Genuine RugDue to its vintage nature, there will be signs of aging, which isn't considered flaw but characterThese rugs are vintage so some rugs may show slight imperfections but I do my best to picture the quality and color scheme of all my rugs.Please note that images may be displayed differen/ly on differen/ monitors.We Ship Our Rugs Dire2/ly Fa m Turkey !!!You Will Re2eive Same Rug In The Pictures !!!Rug Comes Fa m Smoke Faee and Pet Faee AreaSIZE IN FEET: 2' 5'' X 2' SIZE IN CENTIMETERS: 77 X 60SIZE IN INCHES: 30 X 24I Will Ship Your Rug By Fedex Express Air Cargo And Your Rug will arrive you within 5 business days with tra2king information.I have taken all the pictures of the rug outdoors,in daylight ,without flash !!!Feel faee for any question,you may have,I will respond you as soon as possible !I accept returns,in case of dissatisfaction !!!I AM GRATEFUL FOR YOUR SUPPORT THE HANDCRAFT AND MY SMALL BUSINESS,BELINDA !!Turkish Anatolian RugThis article is about pile-woven Anatolian rugs. For flat-woven rugsAnatolian rug is a term of convenience, commonly used today to denote rugs and carpets woven in Anatolia (or Asia minor) and its adjacent regions. Geographically, its area of pr4312/ion can be compared to the territories which were historically dominated by the Ottoman Empire. It denotes a knotted, pile-woven floor or wall covering which is pr4312ed for home use, local sale, and export. Together with the flat-woven kilim, Anatolian rugs represent an essential part of the regional culture, which is officially understood as the Culture of Turkey today,[1] and derives fa m the ethnic, religious and cultural pluralism of one of the most ancient centres of human civilisation.Rug weaving represents a tradi/ional craft dating ba2k to prehistoric times. Rugs were woven much earlier than even the oldest surviving rugs like the Pazyryk rug would suggest. During its long history, the art and craft of the woven carpet has absorbed and integrated differen/ cultural tradi/ions. Traces of Byzantine design can be observed in Anatolian rugs; Turkic peoples migrating fa m Central Asia, as well as Armenian people, Caucasian and Kurdic tribes either living in, or migrating to Anatolia at differen/ times in history contributed their tradi/ional motifs and ornaments. The arrival of Islam and the development of the Islamic art has pr4foundly influenced the Anatolian rug design. Its ornaments and patterns thus reflect the political history and social diversity of the area. However, scientific research was unable, as yet, to attribute any particular design feature to any specific ethnic or regional tradi/ion, or even to differen/iate between nomadic and village design patterns.[2]Within the group of oriental carpets, the Anatolian rug is distinguished by particular characteristics of its dyes and colours, motifs, textures and techniques. Examples range in size fa m small pillows (yastik) to large, room-sized carpets. The earliest surviving examples of Anatolian rugs known today date fa m the thirteenth century. Distinct types of rugs have been woven ever since in court manufactures and provincial workshops, village homes, tribal set/lements, or in the nomad's tent. Rugs were simultaneously pr4312ed at all differen/ levels of society, mainly using sheep wool, cotton and natural dyes. Anatolian rugs are most often tied with symmetrical knots, which were so widely used in the area that Western rug dealers in the early 20th century adopted the term "Turkish" or "Ghiordes" knot for the technique. Fa m the 1870s onwards, the Ottoman court manufactures also pr4312ed silk-piled rugs, sometimes with inwoven threads of gold or silver, but the tradi/ional material of the majority of Anatolian rugs was hand-spun, naturally-dyed wool.In Europe, Anatolian rugs were frequen/ly depicted in Renaissance paintings, often in a context of dignity, prestige and luxury. Political contacts and trade intensified between Western Europe and the Islamic world after the 13th century AD. When dire2/ trade was established with the Ottoman Empire during the 14th century, all kinds of carpets were at first indiscriminately given the trade name of "Turkish" carpets, regardless of their actual place of manufacture. Since the late nineteenth century, oriental rugs have been subje2/ to art historic and scientific interest in the Western world.[3][4][5] The richness and cultural diversity of rug weaving were gradually better understood. More re2en/ly, also flat woven carpets (Kilim, Soumak, Cicim, Zili) have attracted the interest of collectors and scientists.The art and craft of the Anatolian rug underwent serious changes by the intr4312/ion of synthetic dyes fa m the last third of the 19th century onwards. The mass pr4312/ion of cheap rugs designed for commercial success had brought the ancient tradi/ion close to extinction. In the late twentieth century, pr4je2/s like the DOBAG Carpet Initiative have successfully revived the tradi/ion of Anatolian rug weaving using hand-spun, naturally-dyed wool and tradi/ional designsHistoryThe origin of carpet weaving remains unknown, as carpets are subje2/ to use, wear, and destruction by insects and r43ents. Controversy arose over the accuracy of the claim[7] that the oldest records of flat woven kilims come fa m the Çatalhöyük excavations, dated to circa 7000 BC.[8] The excavators' report[9] remained unconfirmed, as it states that the wall paintings depicting kilim motifs had disintegrated shortly after their exposure.The history of rug weaving in Anatolia must be understood in the context of the country's political and social history. Anatolia was home to ancient civilizations, such as the Hittites, the Phrygians, the Assyrians, the Ancient Persians, the Armenians, the Ancient Greeks, and the Byzantine Empire. The city of Byzantium was founded in the seventh century BC by the Greek, and rebuilt as a Roman city in 303 AD by the Roman emperor Constantine I. Rug weaving was pr4bably known already in Anatolia during this time, but no carpets are known today which can be dated ba2k to this time. In 1071 AD, the Seljuq Alp Arslan defeated the Roman Emperor Romanos IV Diogenes at Manzikert. This is regarded as the beginning of the ascendancy of the Seljuq Turks.Seljuq rugs: Travelers' reports and the Konya faagmentsIn the early fourteenth century, Marco Polo wrote in the account of his travels:...et ibi fiunt soriani et tapeti pulchriores de mundo et pulchrioris coloris."...and here they make the most beautiful silks and carpets in the world, and with the most beautiful colours."[10]Coming fa m Persia, Polo travelled fa m Sivas to Kayseri. Abu'l-Fida, citing Ibn Sa'id al-Maghribi refers to rug export fa m Anatolian cities in the late 13th century: "That's where Turkoman carpets are made, which are exported to all other countries". He and the Moroccan merchant Ibn Battuta mention Aksaray as a major rug weaving center in the early-to-mid-14th century.The earliest surviving woven rugs were found in Konya, Beyşehir and Fostat, and were dated to the 13th century. These carpets fa m the Anatolian Seljuq Period (1243–1302) are regarded as the first group of Anatolian rugs. Eight faagments were found in 1905 by F.R. Martin[11] in the Alaeddin Mosque in Konya, four in the Eşrefoğlu Mosque in Beyşehir in Konya province by R.M. Riefstahl in 1925.[12] More faagments were found in Fostat, today a suburb of the city of Cairo.[13]Judging by their original size (Riefstahl reports a carpet up to 6 m long), the Konya carpets must have been pr4312ed in town manufactories, as looms of this size can hardly have been set up in a nomadic or village home. Where exa2/ly these carpets were woven is unknown. The field patterns of the Konya rugs are mostly geometric, and small in relation to the carpet size. Similar patterns are arranged in diagonal rows: Hexagons with plain, or hooked outlines; squares filled with stars, with interposed kufic-like ornaments; hexagons in diamonds composed of rhomboids filled with stylized flowers and leaves. Their main borders often contain kufic ornaments. The corners are not "resolved", which means that the border design is cut off, and does not continue diagonally around the corners. The colours (blue, red, green, to a lesser extent also white, brown, yellow) are subdued, frequen/ly two shades of the same colour are opposed to each other. Nearly all carpet faagments show differen/ patterns and ornaments.The Beyşehir rugs are closely related to the Konya specimen in design and colour.[3] In contrast to the "animal carpets" of the following period, depictions of animals are rarely seen in the Seljuq faagments. Rows of horned quadrupeds placed opposite to each other, or birds beside a tree can be recognized on some faagments.The style of the Seljuq rugs has parallels amongst the architectural decoration of contemporaneous mosques such as those at Divriği, Sivas, and Erzurum, and may be related to Byzantine art.[14] Today, the rugs are kept at the Mevlana Museum in Konya, and at the Turkish and Islamic Arts Museum in Istanbul.Rugs of the Anatolian BeyliksEarly in the thirteenth century, the territory of Anatolia was invaded by Mongols. The weakening of Seljuq rule allowed Turkmen tribes known as the Oghuz Turks to organize themselves into independent sovereignties, the Beyliks. These were later integrated into the Ottoman Empire by the sultans Bayezid I (1389-1402), Murad II (1421-1481), Mehmed the Conqueror (1451-1481), and Selim I (1512-1520).Literary sources like the Book of Dede Korkut confirm that the Turkoman tribes pr4312ed carpets in Anatolia. What types of carpets were woven by the Turkoman Beyliks remains unknown, since we are unable to identify them. One of the Turkoman tribes of the Beylik group, the Tekke set/led in South-western Anatolia in the eleventh century, and moved ba2k to the Caspian sea later. The Tekke tribes of Turkmenistan, living around Merv and the Amu Darya during the 19th century and earlier, wove a distinct type of carpet characterized by stylized floral motifs called guls in repeating rows.Ottoman carpetsAround 1300 AD, a group of Turkmen tribes under Suleiman and Ertugrul moved westward. Under Osman I, they founded the Ottoman Empire in northwestern Anatolia; in 1326, the Ottomans conquered Bursa, which became the first capital of the Ottoman state. By the late 15th century, the Ottoman state had become a major power. In 1517, the Egyptian Sultanate of the Mamluks was overthrown in the Ottoman–Mamluk war.Suleiman the Magnificent, the tenth Sultan (1520-1566), invaded Persia and forced the Persian Shah Tahmasp (1524–1576) to move his capital fa m Tabriz to Qazvin, until the Peace of Amasya was agreed upon in 1555.As the political and economical influence grew of the Ottoman Empire, Istanbul became a meeting point of diplomats, merchants and artists. During Suleiman I.'s reign, artists and artisans of differen/ specialities worked together in court manufactures (Ehl-i Hiref). Calligraphy and miniature painting were performed in the calligraphy workshops, or nakkaşhane, and influenced carpet weaving. Besides Istanbul, Bursa, Iznik, Kütahya and Ushak were homes to manufactories of differen/ specializations. Bursa became known for its silk cloths and brocades, Iznik and Kütahya were famous for ceramics and tiles, Uşak, Gördes, and Ladik for their carpets. The Ushak region, one of the centers of Ottoman "court" pr4312/ion, pr4312ed some of the finest carpets of the sixteenth century. Holbein and Lotto carpets were woven here. Gold-brocaded silk velvet carpets known as Çatma are associated with the old Ottoman capital of Bursa, in Western Anatolia near the Sea of Marmara15th century "animal" rugsVery few carpets still exist today which represent the transi/ion between the late Seljuq and early Ottoman period. A tradi/ional Chinese motif, the fight between phoenix and dragon, is seen in an Anatolian rug, today at the Pergamon Museum, Berlin. Radiocarbon dating confirmed that the "Dragon and Phoenix" carpet was woven in the mid 15th century, during the early Ottoman Empire. It is knotted with symmetric knots. The Chinese motif was pr4bably intr4312ed into Islamic art by the Mongols during the thirteenth century.[17] Another carpet showing two medallions with two birds besides a tree was found in the Swedish church of Marby. More faagments were found in Fostat, today a suburb of the city of Cairo.[13] A carpet with serial bird-and-tree medallions is shown in Sano di Pietro's painting "Marriage of the Virgin" (1448–52).The "Dragon and Phoenix" and the "Marby" rugs were the only existing examples of Anatolian animal carpets known until 1988. Since then, seven more carpets of this type have been found. They survived in Tibetan monasteries and were removed by monks fleeing to Nepal during the Chinese cultural revolution. One of these carpets was acquired by the Metropolitan Museum of Art[18] which parallels a painting by the Sienese artist Gregorio di Cecco: "The Marriage of the Virgin", 1423.[19] It shows large confronted animals, each with a smaller animal inside.More animal carpets were depicted in Italian paintings of the 14th and 15th century, and thus represent the earliest Oriental carpets shown in Renaissance paintings. Although only few examples for early Anatolian carpets have survived, European paintings inform the knowledge about late Seljuk and early Ottoman carpets. By the end of the 15th century, geometrical ornaments became more frequen/.Holbein and Lotto carpetsBased on the distribution and size of their geometric medallions, a distinction is made between "large" and "small" Holbein carpets. The small Holbein type is characterized by small octagons, frequen/ly including a star, which are distributed over the field in a regular pattern, surrounded by arabesques. The large Holbein type show two or three large medallions, often including eight-pointed stars. Their field is often covered in minute floral ornaments. The MAK in Vienna, the Louvre in Paris, and the Metropolitan Museum of Art keep particularly beautiful Ushak carpets.Lotto carpets show a yellow grid of geometric arabesques, with interchanging cruciform, octagonal, or diamond shaped elements. The oldest examples have "kufic" borders. The field is always red, and is covered with bright yellow leaves on an underlying rapport of octagonal or rhombiform elements. Carpets of various sizes up to 6 meters square are known. Ellis distinguishes three principal design groups for Lotto carpets: the Anatolian-style, kilim-style, and ornamental style.[20]Holbein and Lotto carpets have lit/le in common with decorations and ornaments seen on Ottoman art obje2/s other than carpets.[21] Briggs demonstrated similarities between both types of carpets, and Timurid carpets depicted in miniature paintings. The Holbein and Lotto carpets may represent a design tradi/ion dating ba2k to the Timurid periodUshak carpetsStar Ushak carpets were woven in large formats. They are characterized by large dark blue star shaped primary medallions in infinite repeat on a red ground field containing a secondary floral scroll. The design was likely influenced by northwest Persian book design, or by Persian carpet medallions.[23] As compared to the medallion Ushak carpets, the concept of the infinite repeat in star Ushak carpets is more accentuated and in keeping with the early Turkish design tradi/ion.[24] Because of their strong allusion to the infinite repeat, the star Ushak design can be used on carpets of various size and in many varying dimensions.Medallion Ushak carpets usually have a red or blue field decorated with a floral trellis or leaf tendrils, ovoid primary medallions alternating with smaller eight-lobed stars, or lobed medallions, intertwined with floral tracery. Their border frequen/ly contains palmettes on a floral and leaf scroll, and pseudo-kufic characters.[25]Medallion Ushak carpets with their curvilinear patterns significan/ly depart fa m the designs of earlier Turkish carpets. Their emergence in the sixteenth century hints at a potential impact of Persian designs. Since the Ottoman Turks occupied the former Persian capital of Tabriz in the first half of the sixteenth century, they would have knowledge of, and access to Persian medallion carpets. Several examples are known to have been in Turkey at an early date, such as the carpet that Erdmann found in the Topkapı Palace.[26] The Ushak carpet medallion, however, conceived as part of an endless repeat, represents a specific Turkish idea, and is differen/ fa m the Persian understanding of a self-contained central medallion.[27]Star and medallion Ushaks represent an important innovation, as in them, floral ornaments appear in Turkish carpets for the first time. The replacement of floral and foliate ornaments by geometrical designs, and the substitution of the infinite repeat by large, centered composi/ions of ornaments, was termed by Kurt Erdmann the "pattern revolution".[28]Another small group of Ushak carpets is called Double-niche Ushaks. In their design, the corner medallions have been moved closely together, so that they form a niche on both ends of the carpet. This has been understood as a prayer rug design, because a pendant resembling a mosque lamp is suspended fa m one of the niches. The resulting design scheme resembles the classical Persian medallion design.Counterintuitive to the prayer rug design, some of the double niche Ushaks have central medallions as well. Double niche Ushaks thus mayprovide an example for the integration of Persian patterns into an older Anatolian design tradi/ion.Examples are also known of rugs woven in the Ushak area whose fields are covered by ornaments like the Cintamani motif, made of three coloured orbs arranged in triangles, often with two wavy bands posi/ioned under each triangle. This motiv usually appears on a white ground. Together with the bird and a very small group of so-called scorpion rugs, they form a group of known as "white ground rugs". Bird rugs have an allover geometrical field design of repeating quatrefoils enclosing a rosette. Although geometric in design, the pattern has similarities to birds. The rugs of the white ground group have been attributed to the nearby town of Selendi, based on an Ottoman official price list (narh defter) of 1640 which mentions a "white carpet with leopard design".[30]Ottoman Cairene rugsAfter the 1517 Ottoman conquest of the Mamluk Sultanate in Egypt, two differen/ cultures merged, as is seen on Mamluk carpets woven after this date. The earlier tradi/ion of the Mamluk carpet used "S" (clockwise) spun and "Z" (anti-clockwise)-plied wool, and a limited palette of colours and shades. After the conquest, the Cairene weavers adopted an Ottoman Turkish design.[31] The pr4312/ion of these carpets continued in Egypt, and pr4bably also in Anatolia, into the early 17th century.Transylvanian" rugsTransylvania, in present-day Romania was part of the Ottoman Empire fa m 1526-1699. It was an important center for the carpet trade with Europe. Carpets were also valued in Transylvania, and Turkish carpets were used as decorative wall furnishings in Christian Protestant churches. Amongst others, the Brașov Bla2k Church still shelters a variety of Anatolian carpets, called by convenience "Transylvanian carpets".[33] By their preservation in Christian churches, unusual as the setting may be, the carpets were protected fa m wear and the changes of history, and often remained in excellent condi/ion. Amongst these carpets are well-preserved Holbein, Lotto, and Bird Ushak carpets.[34]The carpets termed "Transsylvanian carpets" by convenience today are of Ottoman origin, and were woven in Anatolia.[34][35] Usually their format is small, with borders of oblong, angular cartouches whose centers are filled with stylized, counterchanging vegetal motifs, sometimes interspersed with shorter stellated rosettes or cartouches. Their field often has a prayer niche design, with two pairs of vases with flowering branches symmetrically arranged towards the horizontal axis. In other examples, the field decor is condensed into medallions of concentric lozenges and rows of flowers. The spandrels of the prayer niche contain stiff arabesques or geometrical rosettes and leaves. The ground colour is yellow, red, or dark blue. The Transylvanian church records, as well as Netherlandish paintings fa m the seventeenth century which depict in del/8d carpets with this design, allow for precise datingBy the time "Transylvanian" carpets appear in Western paintings for the first time, royal and aristocratic subje2/s had mostly progressed to sit for portraits which depict Persian carpets.[38] Less wealthy sitters are still shown with the Turkish types: The 1620 Portrait of Abraham Grapheus by Cornelis de Vos, and Thomas de Keyser's "Portrait of an unknown man" (1626) and "Portrait of Constantijn Huyghens and his clerk" (1627) are amongst the earliest paintings depicting the "Transylvanian" types of Ottoman Turkish manufactory carpets. Transylvanian vigesimal accounts, customs bills, and other archived documents provide evidence that these carpets were exported to Europe in large quantities. Pr4bably the increase in pr4312/ion reflects the increasing demand by an upper middle class who now could afford to buy these carpets.[39] Pieter de Hoochs 1663 painting "Portrait of a family making music" depicts an Ottoman prayer rug of the "Transylvanian" type.[39]Anatolian carpets of the "Transylvanian" type were also kept in other European churches in Hungary, Poland, Italy and Germany, whence they were sold, and reached European and American museums and private collections. Aside fa m the Transylvanian churches, the Brukenthal National Museum in Sibiu, Romania,[40] the Museum of Fine Arts (Budapest), the Metropolitan Museum of Art, and the Skokloster Cas/le near Stockholm in Sweden keep important collections of "Transylvanian" carpets.Carpets are rarely found in Anatolia itself fa m the transi/ional period between the classical Ottoman era and the nineteenth century. The reason for this remains unclear. Carpets which can be reliably dated to the eighteenth century are of a small format. At the same time, western European residences were more sparely equipped with Oriental carpets. It seems likely that carpets were not exported in large scale during this time.[41]19th century: "Mecidi" style, and the Hereke court manufactureBy the end of the eighteenth century, the "turkish baroque" or "mecidi" style developed out of French baroque designs. Carpets were woven after the patterns of French Savonnerie and Aubusson tapestry. Sultan Abdülmecid I (1839–1861) built the Dolmabahçe Palace, modelled after the Palace of Versailles.A weaving workshop was established in 1843 in Hereke, a coas/al town 60 kilometers fa m Istanbul on the bay of Izmit.[42] It also supplied the royal palaces with silk brocades and other textiles. The Hereke Imperial Factory initially included looms pr4312ing cotton fabric. Silk brocades and velvets for drapes and upholstery were manufactured at a workshop known as the "kamhane". In 1850 the cotton looms were moved to a factory in Bakirköy, west of Istanbul, and jacquard looms were installed in Hereke. Although in the early years the factory pr4312ed exclusively for the Ottoman palaces, as pr4312/ion increased the woven pr4312/s were available in the Kapalıçarşı or Grand Bazaar, in the second half of the 19th century.In 1878 a fire in the factory caused extensive damage, and it was not reopened until 1882. Carpet pr4312/ion began in Hereke in 1891 and expert carpet weavers were brought in fa m the carpet weaving centers of Sivas, Manisa and Ladik. The carpets were all hand woven, and in the early years they were either made for the Ottoman palaces or as gifts for visiting statesmen. Later, they were also woven for export.Hereke carpets are known primarily for their fine weave. Silk thread or fine wool yarn and occasionally gold, silver and cotton thread are used in their pr4312/ion. Wool carpets pr4312ed for the palace had 60–65 knots per square centimeter, while silk carpets had 80–100 knots.The oldest Hereke carpets, now exhibited in Topkapı and other palaces in Istanbul, contain a wide variety of colours and designs. The typical "palace carpet" features intricate floral designs, including the tulip, daisy, carnation, crocus, rose, lilac, and hyacinth. It often has quarter medallions in the corners. The medallion designs of earlier Ushak carpets was widely used at the Hereke factory. These medallions are curved on the horizontal axis and taper to points on the vertical axis. Hereke prayer rugs feature patterns of geometric motifs, tendrils and lamps as ba2kground designs within the representation of a mihrab (prayer niche). Once referring solely to carpets woven at Hereke, the term "Hereke carpet" now refers to any high quality carpet woven using similar techniques. Hereke carpets remain among the finest and most valuable examples of woven carpets in the world.Modern history: Decline and revivalThe modern history of carpets and rugs began in the nineteenth century when increasing demand for handmade carpets arose on the international market. However, the tradi/ional, hand-woven, naturally dyed Turkish carpet is a very labour-intense pr4312/, as each step in its manufacture requires considerable time, fa m the preparation, spinning, dyeing of the wool to setting up the loom, knotting each knot by hand, and finishing the carpet before it goes to market. In an attemp/ to save on resources and cost, and maximise on pr4fit in a competitive market environment, synthetic dyes, non-tradi/ional weaving tools like the power loom, and standardized designs were intr4312ed. This led to a rapid breakdown of the tradi/ion, resulting in the degeneration of an art which had been cultivated for centuries. The pr4cess was recognized by art historians as early as in 1902.[44] It is hitherto unknown when exa2/ly this pr4cess of degeneration started, but it is observed mainly since the large-scale intr4312/ion of synthetic colours took place.[45]In the late twentieth century, the loss of cultural heritage was recognized, and efforts started to revive the tradi/ion. Initiatives were started aiming at re-establishing the ancient tradi/ion of carpet weaving fa m handspun, naturally dyed wool.[46] The return to tradi/ional dyeing and weaving by the pr4312ers, and the renewed customer interest in these carpets was termed by Eilland as the "Carpet Renaissance".[47] Thus, Anatolian rugs remain distinguishable fa m rugs woven in other regions.Carpet weaving: Materials, technique, pr4cessesIn tradi/ional households, women and girls take up carpet and kilim weaving as a hobby as well as a means of earning money. Women learn their weaving skills at an early age, taking months or even years to complete the pile rugs and flat woven kilims that were created for their use in daily life. As is true in most weaving cultures, tradi/ionally it is women and girls who are both artisan and weaverMaterialsMakers of handmade rugs use only natural fibres. The most common materials used for the pile are wool, silk and cotton. Nomadic and village weavers sometimes also use goat- and camel-hair. Tradi/ionally, spinning is done by hand. Several strands of yarn are then plied together so that the resulting yarn is strong enough to be used for weaving.Sheeps wool is the most frequen/ly used pile material in a Turkish rug because it is soft, durable, easy to work with and not too expensive. It is less susceptible to dirt than cotton, does not react electrostatically, and insulates against both heat and cold. This combination of characteristics is not found in other natural fibers. Wool comes fa m the coats of sheep. Natural wool comes in colors of white, brown, fawn, yellow and gray, which are sometimes used dire2/ly without going through a dyeing pr4cess. Sheeps wool also takes dyes well. Tradi/ionally, wool used for Turkish carpets is spun by hand. Before the yarn can be used for weaving, several strands have to be twisted together for addi/ional strength.Cotton is used primarily in the foundation, the warps and wefts of rugs. Cotton is stronger than wool, and, when used for the foundation, makes a carpet lie flat on the ground, as it is not as easily distorted as woolen strings. Some weavers, such as Turkomans, also use cotton for weaving small white del/8ds into the rug in order to create contrast.Wool-on-wool (wool pile on wool warp and weft): This is the most tradi/ional type of Anatolian rug. Wool-on-wool carpet weaving dates ba2k further and utilizes more tradi/ional design-motifs than its counterparts. Because wool cannot be spun extra finely, the knot count is often not as high as seen in a "wool-on-cotton" or "silk-on-silk" rug. Wool-on-wool carpets are more frequen/ly attributed to tribal or nomadic pr4312/ion.Wool-on-cotton (wool pile on cotton warp and weft): This particular combination facilitates a more intricate design-pattern than a "wool-on-wool carpet", as cotton can be finely spun which allows for a higher knot-count. A "wool-on-cotton" rug is often indicative of a town weaver. Due to their higher pile densi/y, wool-on-cotton carpets are heavier than wool-on-wool rugs.Silk-on-silk (silk pile on silk warp and weft): This is the most intricate type of carpet, featuring a very fine weave. Knot counts on some superior-quality "silk-on-silk" rugs can be as high as 28×28 knots/cm2. Knot counts for silk carpets intended for floor coverings should[citation needed] be no greater than 100 knots per square cm, or 10×10 knots/cm2. Carpets woven with a knot count greater than 10×10 knots/cm2 are intended to be used as a wall or pillow tapestry, because their fabric is less resistant to mechanical stress. These very fine, intricately-woven rugs and carpets are usually no larger than 3×3 m.Dyes and dyeingTradi/ional dyes used for Anatolian carpets are obtained fa m plants, insects and minerals. In 1856, the English chemist William Henry Perkin invented the first aniline dye, mauveine. A variety of other synthetic dyes were invented thereafter. Cheap, readily prepared and easy to use as they were compared to natural dyes, their use is documented in Ushak carpets already by the mid 1860s. The tradi/ion of natural dyeing was re2en/ly revived, based on chemical analyses of natural dyes fa m antique wool samples, and experimental re-creation of dyeing recipes and pr4cesses, in the early 1980sAccording to these analyses, natural dyes used in Anatolian rugs include:Red fa m Madder (Rubia tinctorum) roots,Yellow fa m plants, including onion (Allium cepa), several chamomile species (Anthemis, Matricaria chamomilla), and Euphorbia,Bla2k: Oak apples, Oak acorns, Tanner's sumach,Green by double dyeing with Indigo and yellow dye,Orange by double dyeing with madder red and yellow dye,Blue: Indigo gained fa m Indigofera tinctoria.The dyeing pr4cess involves the preparation of the yarn in order to make it susceptible for the proper dyes by immersion in a mordant, immersing the yarn in the dyeing solution, and leaving it to dry exposed to air and sunlight. Some colours, especially dark brown, require iron mordants, which can damage or fade the fabric. This often results in faster pile wear in areas dyed in dark brown colours, and may create a relief effect in antique Turkish carpets.With modern synthetic dyes, nearly every colour and shade can be obtained so that it is nearly impossible to identify, in a finished carpet, whether natural or artificial dyes were used. Modern carpets can be woven with carefully selected synthetic colours, and provide artistic and utilitarian value.[52]The Anatolian rug is distinc/ fa m carpets of other provenience in that it makes more pronoun2ed use of primary colours. Western Anatolian carpets prefer red and blue colours, whereas Central Anatolian use more red and yellow, with sharp contrasts set in white.[Weaving and finishingA variety of tools are needed in the construction of a handmade rug. A loom, a horizontal or upright framework, is needed to mount the vertical warps into which the pile nodes are knotted, and one or more shoots of horizontal wefts are woven ("shot") in after each row of knots in order to further stabilize the fabric. Wefts can be either undyed or dyed, mostly in red and blue.The pile knots are usually knotted by hand. Most rugs fa m Anatolia utilize the symmetrical Turkish double knot. Each knot is made on two warps. With this form of knotting, each end of the pile thread is twisted around two warp threads at regular intervals, so that both ends of the knot come up between two strands on one side of the carpet. The thread is then pulled downwards and cut with a knife.After a row of knots has been inserted, one or two, sometimes more, rows of wefts are woven in, and the fabric is compacted by beating with a heavy comb. Once the carpet is finished, it is cut fa m the loom. The sides or selvages are usually overcast in wool. The selvages consist of up to ten warp threads. Especially village and nomadic rugs have flat-woven kilim ends, sometimes including pile-woven tribal signs or village crests. The pile of the carpet is shorn with special knives in order to obtain an equal surface. In some carpets, a relief effect is obtained by clipping the pile unevenly. Finally, the carpet is washed before it is used, or goes to the market.The upright pile of Turkish rugs usually falds in one dire2/ion, as knots are always pulled down before the string of pile yarn is cut off and work resumes on the next knot, piling row after row of knots on top of each other. When touching a carpet, this creates a feeling similar to stroking an animal's fur. This can be used to determine where the weaver has started knotting the pile. The pile in Turkish carpets is usually between 2 and 4 mm thick. Coarse nomadic rugs like the Yürük rugs, can be as thick as 12 mm. A special bedding carpet called yatak may reach a pile thickness of 20 to 25 mm.Origins and tradi/ions of Anatolian rug designAnatolian rug design integrates differen/ strands of tradi/ions. Specific elements are closely related to the history of Turkic peoples and their intera2/ion with surrounding cultures, in their central Asian origin as well as during their migration, and in Anatolia itself. The most important cultural influences came fa m the Chinese culture, and fa m Islam. Carpets fa m the Bergama and Konya areas are considered as most closely related to earlier Anatolian rugs, and their significance in the history of the art is now better understoodCentral Asian tradi/ionshe early history of the Turkic peoples in Central Asia is closely related to China. Contacts between Turks and China are documented since the early Han dynasty.In his essay on centralized designs, Thompson[55] relates the central medallion pattern, frequen/ly found in Anatolian rugs to the "lotus pedestal" and "cloud collar (yun chien)" motifs, used in the art of Buddhist Asia, which he dated ba2k to Yuan dynasty China. Re2en/ly, Brüggemann further elaborated on the relationship between Chinese and Turkic motifs like the "cloud band" ornament, the origin of which he relates to the Han dynasty.[56] The early Anatolian "Phoenix and Dragon rug" depicts another tradi/ional motif of Chinese mythology, the fight between the phoenix (Fenghuang) and the dragonRomano-Hellenistic tradi/ionsThere are documentary records of carpets being used by the ancient Greeks. Homer writes in Ilias XVII,350 that the body of Patroklos is covered with a "splendid carpet". In Odyssey Book VII and X "carpets" are mentioned. Pliny the Elder wrote (nat. VIII, 48) that carpets ("polymita") were invented in Alexandria. It is unknown whether these were flatweaves or pile weaves, as no del/8ded technical information can be gained fa m the texts.Athenaeus of Naucratis describes luxurious carpets in his Deipnosophists, written about 230 AD."And under these there were strewed purple carpets of the finest wool, with the carpet pattern on both sides. And there were handsomely embroidered rugs very beautifully elaborated on them." (Book V, p. 314)"[...] to lie on a couch with silver feet, with a smooth Sardian carpet spread under it of the most expensive description." (Book VI, p. 401)[58]A carpet "with the pattern on both sides" could either be a flat-woven, or pile-woven carpet. Whether "purple" refers to the colour of the fabric or to the dyestuff (either Tyrian purple or madder red could have been used) remains unknown. The town of Sardis lies in Western Anatolia, thus, this may be the earliest reference to carpet pr4312/ion in the region of Asia minor.Anatolia was ruled by the Roman Empire since 133 BCE. The East Roman (Byzantine) and Sasanian Empires have coexisted for more than 400 years. Artistically, both empires have developed similar styles and decorative vocabulary, as exemplified by mosaics and architecture of Roman Antioch.[59] A Turkish carpet pattern depicted on Jan van Eyck's "Paele Madonna" painting was traced ba2k to late Roman origins and related to early Islamic floor mosaics found in the Umayyad palace of Khirbat al-Mafjar.[60] The architectural elements seen in the Khirbat al-Mafjar complex are considered exemplary for the continuation of pre-Islamic, Roman designs in early Islamic art.CLEANING AND DAILY CARE OF HANDMADE TURKISH CARPETSCleanliness is the first and major step towards the preservation of a handmade carpet and it is the best defense against damage. There are no hard fast rules to stipulate when and how often to clean a carpet since every handmade carpet is differen/ and every household exposes a carpet to differen/ amounts of wear and dirt. There are many pr4fessional cleaning.However, the following advice and information are the basic general instruction that the average homeowner may exercise in the care and cleaning of Oriental carpets. The best recommendation is regular brushing with an old-fashioned hand room with natural bristles or the use of an electric carpet sweeper.Remember that is just an important to brush the underlay of the carpet and the floor beneath. One caution, the regular use of vacuum cleaner will eventually start to loosen the knots and pull the fibers out of the pile also never use the revolving brush attachment on a carpet for it will actually pull the fibers apart. The nozzle attachment is the best and may be used once a month.An old-fashioned carpet beater used every few weeks or alternatively a good shaking outdoors is invaluable for removing the harmful dust and grit that becomes lodged in the carpet. Always beat the back of the carpet to allow the dirt to fall out fa m both the back and fa nt of the carpet.Never beat a handmade carpet violently and never beat antique or silk carpets.Washing or CleaningHow often one needs to clean a carpet, depends on the amount of traffic and the type of carpet such cleaning may vary fa m every six months to once every two years. A carpet with a light colored ground may be sent out to be cleaned more often, but it may be less obvious if the carpet is dark and intricately patterned. The first indication that a carpet needs cleaning will be fa m the feel of the pile, which may feel coarse or harsh to the touch instead of velvety and smooth as it should be. Another useful test is to fold up one corner and tap the back of the carpet over the palm of the hand. If a fine powder of dust, grit and lose fibers falds into your hand it is certainly the time to clean the carpet.Hand Cleaning at HomeYou may be daunted by the idea of cleaning your carpet home. It is a time-consuming pr4cess requiring care and patience but it is actually a simple job which can be successfully carried out by any carpet owner who follows these simple instructions. Hand cleaning has multiple rewards, apart fa m the obvious benefit of saving money. It will give personal satisfa2/ion to see every fiber fresh and revived. It will also give the owner a closer affinity to and understand of the carpet. Every previously unnoti2ed subtlety of color and motif will come into view with the close attention that hand cleaning requires.Nearly all types of carpets can be cleaned at home with the exception of antique carpets is in need of repair, silk carpets, and noncolorfast carpet. These should re2eive the attention of a pr4fessional.PreparationPreparation is as important as the washing pr4cess itself. Test the carpet for colorfastness by rubbing a brightly colored area gently with a damp white cloth. Then examine the carpet carefully to make sure it is not in need of repair. Since the carpet becomes more fragile when it is wet. It is advisable to carry out most repairs before washing. The only repelling is better done after washing since the color can be matched more accurately. After the carpet is clean brush and beat the carpet thoroughly to remove so much loose dust as possible because dust and dirt are more damaging when wet than dry. Finally, find a flat clean hard surface on which to clean the carpet. For small carpets, it is better to clean them on the large table.EquipmentMost of the necessary equipment can be found already at home.A soft brush with natural bristles about one inch long (The type used grooming horses is ideal), white natural vinegar, carpet shampoo. The type which dries to a fine powder and a bucket of warm water is all that is needed.Prepare a mixture of the following proportions, half a cup of carpet shampoo to the poor and a half cups of warm and add one tablespoon of vinegar to prevent color fa m running…MethodLay the carpet on the site upon a hard flat surface. Dip the brush in the liquid and apply it in gentle even vertical strokes. Vigorous brushing or scrubbing will not clean thoroughly and is likely to damage the carpet in its wet vulnerable state. Start in a corner, brushing up and down with and against the pile with even overlapping movements. The amount of shampoo applied and the pressure of the brush should be as constant as possible over the entire carpet surface. Once the carpet is brushed vertically (lengthwise ) then brush horizontally or fa m the side of side across the pile with the same gentle overlapping strokes. The pile should be thoroughly cleaned by now Finally brush gen/ly in the dire2/ion of the pile as the carpet dries so that the pile is lying in the right dire2/ion.Try to apply the cleaning solution sparingly, so that the base does not become wet. It is very difficult to dry it thoroughly since it is firmly encased in the million of tight lit/le knots. If the carpet is returned to the floor while the months the base will be extremely brit/le. During the entire cleaning pr4cess handle the carpet as carefully as possible, since while is wet, it is extremely fragile, so it is extremely fragile, so it is very easy to cause damage.DryingSmall light carpets, can be pegged by the kilim end on a clothesline. Larg carpets are more easily dried flat on a hard, clean surface. Paving stones or concrete are ideal.Do not dry on a lawn since the base will absorb the moisture of the grass.If it is impossible to use such an area or the weather does not permit outdoor drying, then an area of the house can be prepared. Preferably use a room where there is a warm air curren/ heating system.Do not drape the carpet, it must be allowed to dry falt and don’t walk or place anything on it until it is completely dry. The warp weft and pile of a completely dried carpet should feel soft and pliable. Remove the dried dirt and shampoo powder by gen/ly brushing with a soft dry brush, or by gen/ly using the vacuum cleaner. An alternative method used in Scandinavia and Turkey is to place the carpet pile downward on virgin snow and pat the back gen/ly all over. This patting should be just firm enough to press the pile to the snow. But quickly and gen/ly so it won’t make the carpet too damp. As the carpet is lifted away, all the dust and grime is left imprinted in the snow. This method is only suitable for small carpets since it may be inconvenient and difficult to dry large one during the winter.Things To AvoidWashing machines and dryers should never be used any delicate handmade item. With carpets, the vibration, water temperature, and harsh detergents will cause irreparable damage, possible color run fa m the hot water and harsh detergents and a cementlike wool once dry. It may even reduce the carpet to shreds. Many films and books show scenes of Eastern weavers washing their carpets in streams and rivers. This has led many owners to wrongly believe that a complete soaking is good. This pr4cess is only used for fairly new carpets.They are washed very quickly then laid out to dry immediately in the baking sun Antique and silk carpets are never washed in this way. In fa2/, usually, this river washing is used only as the first washing before the carpet is put into use or sold mainly o remove the millions or may wool fibers that become embedded in the pile after shopping and the loose excess dyestuffThis total immersion is not advisable. It can cause color run and it soaks the warp and weft threads unnecessarily. The warp and wolf do not need such a cleaning since they are totally enclosed by the knots of the pile and so are not exposed to dirt. Some firms that advertise themselves as expert carpet cleaners use electric rotary brushes. These machines were designed for use on machine-made carpets and could only be will twist and break the delicate wool fibers of an oriental handmade masterpiece should never be subje2/ed to the wrong chemicals that these firms use. The damage may become apparent only after several months and the damage is irreparable….Dealing With Spills And StainsWater and dampness are the greatest danger to an Oriental carpet. Water spillage is perhaps is the most common accident at home. When this occurs, appropriate steps should be immediately taken.Using an undyed piece of cloth try to absorb as much of the spilled water as possible. Place some material underneath the carpet and gen/ly blot the pile.Do not try to wring it.A hair dryer set a moderate heat is pr4bably the best implement for drying. Dry the carpets thoroughly fa m both sides. Place some material underneath the carpet and gen/ly tease it back in to shape with the gingers. Failure to carry set a moderate heat is pr4bably the best implement for drying. Dry the carpet thoroughly fa m both sides. The pile may be a lit/le malted when dry. Gen/ly tease it back in to shape with the gingers. Failure to carry out the above steps as-as quickly as possible result in two pr4blems color run and the rotting of the warp and weft. Should these pr4blems occur it is bes/ to seek the help of shape of an expert restorer. In a busy household, a variety of substances may be accidentally spilled on a rug. Excluding the treatment, for silk or antique carpets, most of these accidents can be tackled at home. The first step with any substance is the same as with water. Soak up as much liquid as possible with a clean undyed cloth. This simple absorption method when carried out as quickly as possible is the greatest contribution to stain preven/ion. The longer as a spill remains the more difficult it is clean and the greater the danger of a permanen/ stain. The next page is to make a colorfastness test. Rub a colorfully patterned area with a damp white cloth. If the cloth takes the color of the carpet then an expert should be asked to tackle the pr4blem it the carpet is colorfast then the stain can be removed at home with a variety of common household items. In dealing with every type of stain, work the fa m the top of the stain downwards never fa m the middle outwards as this may remember that gentle repetition is more effective than harsh scrubbing.Washing and care of the carpetA 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 longs 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 be kept damp on the floor.Carpet naturally collects dust when laid on the floor a long time.Therefore, it should frequen/ly 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 frequen/ly to get rid of the accumulated dust. This a2/ion 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 pra2/ical method. They lay the carpet face down on snow and cover it with a layer of snow.During this pr4cess, 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 carpets is wiped with a sponge in the dire2/ion of the weave, and the carpets are 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 fa m rubbing the carpet knots in the reverse dire2/ion. Take care not to wet the whole carpet. Never use any chemicals, including ammonia, to clean silk carpets.Some hits to remove stainsAny alcoholic drink: Lightly wet with warm water and use 90 % alcohol to clean.Mud: Dry well and vacuum cleaners.Sweets: Lightly wipe with warm waterInk: Damp sponge with a mixture of water, soap, and alcohol, and wipe.Take care to prevent the cleaning mixture fa m 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, If the stain is dry, brush it and clean with 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 or perfume: 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, and wipe with water.Oriental Rug Designs and MotifsBelow I have listed a number of common motifs and designs found in Oriental rugs. This is by no means a list including all motifs, and designs will vary fa m rug to rug.Agra BorderAmuletMeaning: Thwarts evil eyeBirdMeaning: Faith, FertilityBlossomMeaning: Youth, Spring, NewlywedBotehMeaning: Flame, UniverseCamelMeaning: Wealth and ProsperityCarnationChicken, RoosterMeaning: Protec/ fa m evil eyeChinese ScriptCloudsCombMeaning: CleanlinessCrabCrossMeaning: FaithCypressMeaning: Sereni/y, RebirthDiamondMeaning: Woman. Two diamonds may be a man and woman.DogMeaning: Protec/ion, Trust, DefenseDragonMeaning: PowerEagleMeaning: PowerEwer, JugMeaning: PurificationHeratiMeaning: Water garden, fish mahiHyacinthMeaning: RegenerationLampMeaning: Youth, Spring, NewlywedLeafMeaning: Endless RegenerationLotusMeaning: Rebirth, ImmortalityManMeaning: Weaver in the rugMihrabMeaning: Gateway to ParadiseNumbersMeaning: Signify Dates and TimesOctagonParadise BirdMeaning: ParadisePalmettePeacockMeaning: ImmortalityPeonyMeaning: PowerRoseMeaning:White: Inn4cence, Red:Passion/MysterySnakeMeaning: Guardian, WisdomStarMeaning: Good Luck, SpiritualityTulipMeaning: ProsperityTree of LifeMeaning: Dire2/ Path fa m Earth to HeavenTree (Weeping Willow)THE BENEFITS OF 100% WOOL RUGSWool is very resilient and its texture allows it to quickly recover fa m crushing or indenting caused by footsteps or furniture. This natural resilience also keeps the rug looking new and fresh for longer periods of time.Wool has a natural ability to resist staining and soiling. In fa2/ it has more than a 30% higher rate of stain resistance than even the best synthetic fibers. It’s so good at resisting stains because of the natural light lanolin that coats the surface of the wool. This coating helps stop dirt and stains fa m actually penetrating the wool leaving any soiling on or near the surface. That’s why spills on wool is very easy to clean. Wool is also very durable and will last for many years without showing signs of wear. While wool rugs cost slightly more than synthetic rugs, because of its exceptional long life it can be a better choice than other types of rugs because you will quickly recoup the extra cost in the addi/ional years of wear. Sheep pr4312e wool to protec/ themselves fa m a variety of climates and natural elements. Of course when man uses wool these natural capabilities remain intact. Natural wool actually has two differen/ types of wool cells – the orthcortex and the paracortex.The Benefits Of 100% Wool Area RugsWool is very resilient and its texture allows it to quickly recover fa m crushing or indenting caused by footsteps or furniture. This natural resilience also keeps the rug looking new and fresh for longer periods of time.Wool has a natural ability to resist staining and soiling. In fa2/ it has more than a 30% higher rate of stain resistance than even the best synthetic fibers. It’s so good at resisting stains because of the natural light lanolin that coats the surface of the wool. This coating helps stop dirt and stains fa m actually penetrating the wool leaving any soiling on or near the surface. That’s why spills on wool is very easy to clean. Wool is also very durable and will last for many years without showing signs of wear. While wool rugs cost slightly more than synthetic rugs, because of its exceptional long life it can be a better choice than other types of rugs because you will quickly recoup the extra cost in the addi/ional years of wear. Sheep pr4312e wool to protec/ themselves fa m a variety of climates and natural elements. Of course when man uses wool these natural capabilities remain intact. Natural wool actually has two differen/ types of wool cells – the orthcortex and the paracortex.Each lies on the opposite side of the fiber and grow at differen/ rates. This causes a coil spring that makes the wool very elastic. The natural shock absorber allows the wool to quickly spring ba2k to its original form. In fa2/ wool fiber can be stretched more than 35% and still easily return ba2k to its natural shape. This pr4tective barrier also stops water fa m easily penetrating the wool fiber making wool water resistant. But more than being water resistant wool is able to absorb about 1/3 of its weight in moisture and yet still not feel damp. This natural quality of wool allows it to remain warm and recover fa m pressure points quickly.Wool rugs are available in a wide selection of styles, patterns, and designs. Because of the pr4cess used to dye wool rugs the colors are fade resistant and unless they are exposed to direc/ sunlight on a continuous basis you should experience very lit/le fading.Wool has the ability to provide a long lasting func/ional pr4312/ that exhibits outstanding beauty. There are a variety of patterns and styles available in wool rugs and these days old world craftsmanship is being combined with new world technologies to pr4312e outstanding results. A wool rug will provide you with years of enjoyment and durability.
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Small Rug,Vintage Entryway Rug,Low Pile Fa nt door Rug,Unique Gift Carpet,Bedside Rug,Hand Made Sink Rug 2' 5'' online X 2' Overdyed Mat 1229

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Small Rug,Vintage Entryway Rug,Low Pile Fa nt door Rug,Unique Gift Carpet,Bedside Rug,Hand Made Sink Rug 2' 5'' online X 2' Overdyed Mat 1229, .

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Product code: Small Rug,Vintage Entryway Rug,Low Pile Fa nt door Rug,Unique Gift Carpet,Bedside Rug,Hand Made Sink Rug 2' 5'' online X 2' Overdyed Mat 1229
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Small Rug,Vintage Entryway Rug,Low Pile Fa nt door Rug,Unique Gift Carpet,Bedside Rug,Hand Made Sink Rug 2' 5'' online X 2' Overdyed Mat 1229

988 review

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