78 Sentences With "kilims" | Random Sentence Generator

Elsewhere, there are flintlock rifles and camel saddlebags; kilims and suzanis; chain mail shirts and Tartar helmets.

Inspired by the idea that I might find a wealth of kilims at bargain basement prices, I set off from Bucharest on a 24-day, 215,2200-mile journey around the central European country in a small Dacia Logan stick shift in search of kilims and the people who still weave them.

I bought two small antique Caucasian kilims before I wandered back to Republic Square, where I end most evenings.

The disparate elements were all grounded in Arab identity — the colors, for example, came partly from bright rural kilims.

Andrew Franz, a Manhattan architect, favors runners made from vintage kilims, which he said are durable and can withstand the foot traffic in a kitchen.

Kilims, antique sewing machines, a set of 1950s towels, and moldering linen imported from Europe and embroidered with the hotel's name, cascaded from large rattan trunks.

Dodging and weaving, we reached Le Perchoir, a louchely exotic rooftop bar in the rapidly gentrifying 11th arrondissement that is strewn with shopworn kilims and fatigued palms.

"One of my favorite tricks is to use a very big sisal rug, which is relatively inexpensive, and then layer softer, plusher kilims or dhurries on top at the seating areas," Ms. Kemble said.

A former tuna factory, the hotel is decorated with Baroque-style furniture and faded kilims, and in the lounge, a purple whale-tail chair sits by a picture window looking out to the sea.

The museum was closed for renovation, but lunch with Ms. Iuga, who wrote her thesis on rug-making in Maramures, paid off in terms of tips on where to look for kilims along the way.

Su'juk (216 Greene Avenue) offers highly wearable vintage women's clothing and an assortment of items like kilims from Morocco, jewelry by Rachel Weisberg and Sarah Klass, R&Co hair products and face cleansers by Dirty Mermaid Beauty.

For cabdrivers, it was a way station in an unruly city, where they could fill up, use the restroom, or kneel for afternoon prayers on one of the communal kilims the owner let them keep stowed beside the convenience mart.

The trip began with a 21364-hour stay in Bucharest, long enough to visit Old Town and the Stavropoleos Monastery, the massive Palace of the Parliament and the Peasant Museum, where I met with Ana Iuga, who has an extensive background in kilims.

Where the couple's Manhattan apartment is artfully cluttered, layered with art and antiques and kilims, their truly tiny island house — tucked into tall reedy grass and accessible only by boardwalk — is, in a word, essential, containing nothing more than what is absolutely necessary.

From Bechet, a port town on the Danube River near the border of Bulgaria in the south, to Maramures, which borders Ukraine to the north, and then east to Bucovina, cutting south through Moldova back to Bucharest, I circled Romania in search of weavers still making kilims, one of the country's highest forms of folk art.

Hamad International Airport (DOH) in Qatar Qatar Airways and the Qatar tourism board are behind this free tour, which visits a quartet of major landmarks: the Museum of Islamic Art; the Pearl-Qatar, a high-end shopping/dining district built on an artificial island; the seven-year-old Katara Cultural Village, a mixed-use complex complete with opera house, cinema, fine art galleries, and theaters; and the buzzing Souq Waqif, a wonderland of Bedouin weaving, colorful kilims, gold and silver jewelry, handblown glass, and gypsum carvings.

The technique of kilim weaving predetermines the pattern shapes in the form of a lozenge, triangle, trapezium. Nearly all the vegetal elements, images of animals, birds and humans are geometrized in kilims. Kilims of different regions are distinguished by their composition, pattern, and colors. In terms of their technical peculiarities, kilims can be classified into five major groups based on the area of production: Kazakh, Karabakh, Absheron, and Shirvan kilims.

Stapar is known for its weaving craft colony which makes famous rugs, or kilims. The colony is regularly visited by the ambassadors and foreign dignitaries. The Government of the Republic of Serbia, the Government of Vojvodina and the National Assembly of Serbia included Stapar kilims into their gift list protocols, as they are considered the "most autochthonous kilims of the northern Serbia". One was given to the Charles, Prince of Wales.

This tradition was revived in 2011 when Pirot kilims were reintroduced for state ceremonies in Serbia.

Pirot kilims with some 122 ornaments and 96 different types have been protected by geographical indication in 2002.

Because kilims are often cheaper than pile rugs, beginning carpet collectors often start with them. Despite what many perceive as their secondary (or inferior) status to pile carpets, kilims have become increasingly collectible in themselves in recent years, with quality pieces now commanding high prices. What some sensed as inferiority was actually a different nature of rugs woven for indigenous use as opposed to rugs woven on a strictly commercial basis. Because kilims were not a major export commodity, there were no foreign market pressures changing the designs, as happened with pile carpets.

Hotamis Kilim (detail), central Anatolia, early 19th century. A kilim (, , , gelīm) is a flat tapestry-woven carpet or rug traditionally produced in countries of the former Persian Empire, including Iran, Azerbaijan, the Balkans and the Turkic countries of Central Asia. Kilims can be purely decorative or can function as prayer rugs. Modern kilims are popular floor coverings in Western households.

Once collectors began to value authentic village weaving, kilims became popular. Three factors then combined to reduce the quality of the West's newly discovered kilims. The first was a development in industrial chemistry. An important element in the attractiveness of traditional rugs is abrash, the dappled appearance resulting from variation in shade of each colour caused by hand-dyeing of the yarn.

The skill is used in the production of woollen kilims, decorated with various geometric, vegetal and figural ornaments. Today's authentic tapestry has developed under the influence of Oriental and Bulgarian kilim weaving. Rug-making in Pirot is included on the list Intangible cultural heritage of Serbia. The Pirot kilims are considered as part of the Eastern Serbian kilim weaving tradition, together with Chiprovtsi carpets.

These carpets are natural barriers against the cold. Turkish pile rugs and kilims are also frequently used as tent decorations, grain bags, camel and donkey bags, ground cushions, oven covers, sofa covers, bed and cushion covers, blankets, curtains, eating blankets, table top spreads, prayer rugs and for ceremonial occasions. The oldest records of flat woven kilims come from Çatalhöyük Neolithic pottery, circa 7000 B.C. One of the oldest settlements ever to have been discovered, Çatalhöyük is located south east of Konya in the middle of the Anatolian region. The excavations to date (only 3% of the town) not only found carbonized fabric but also fragments of kilims painted on the walls of some of the dwellings.

This tradition was revived in 2011 when Pirot kilims were reintroduced for state ceremonies in Serbia. Carpet weaving in Pirot dates back to the Middle Ages.LEPOTA TRAJANJA One of the first mentions of the Pirot kilim in written sources date to 1565, when it was said that the šajkaši boats on the Danube and Drava were covered with Pirot kilims. Pirot was once the most important rug-making centre in the Balkans.

They are a flat tapestry-woven textile produced in a fashion similar to kilims of Eastern Europe and Western Asia, but with some notable differences. In Navajo weaving, the slit weave technique common in kilims is not used, and the warp is one continuous length of yarn, not extending beyond the weaving as fringe. Traders from the late 19th and early 20th century encouraged adoption of some kilim motifs into Navajo designs.

Today many classical examples of Pirot kilims can be found throughout Bulgaria, Serbia, Turkey, the Balkan peninsula and in many other international collections. One of the chief qualities are the colour effects achieved through the choice and arrangement of colours. In the beginning of the 19th century plant dyes were replaced by aniline colourings. From Pirots old Turkish signification as Şarköy stems the traditional trade name of the rugs as Şarköy-kilims.

An example of the patterns from the last periods is the Model of Rašič ( or ), which was based on kilim brought by Serbian general Mihailo Rašič. Pirot kilims with some 122 ornaments and 96 different types have been protected by geographical indication in 2002. They are one of the most important traditional handicrafts in Serbia. In the late 19th century and up to the Second World War, Pirot kilims have been frequently used as insignia of Serbian royalty.

Pirot carpet (Serbian: Пиротски ћилим, Pirotski ćilim) refers to a variety of flat tapestry-woven carpets or rugs traditionally produced in Pirot, a town in southeastern Serbia. Pirot kilims with some 122 ornaments and 96 different types have been protected by geographical indication in 2002. They are one of the most important traditional handicrafts in Serbia. In the late 19th century and up to the Second World War, Pirot kilims have been frequently used as insignia of Serbian and Yugoslav royalty.

These are prized by collectors for the crispness of their decoration. The motifs on kilims woven in this way are constrained to be somewhat angular and geometric. In tribal societies, kilim were woven by women at different stages of their lives: before marriage, in readiness for married life; while married, for her children; and finally, kilim for her own funeral, to be given to the mosque. Kilims thus had strong personal and social significance in tribal and village cultures, being made for personal and family use.

Cushion embroiders at the shop in Yelizavetpol governorate, Russian Empire (now Ganja, Azerbaijan). Late 19th century. These are both handmade and machine-made (see carpet). Woven rugs include both flat rugs (for example kilims) and pile rugs.

Kilims became the main emphasis of Berlin based “Gallery Neiriz”, which was established together with Karin Pregley Hawkes und Robin Hawkes in Berlin on April 1st 1980, with Neiriz’ discoveries from his travels. Soon it advanced to one of the leading galleries of “Non-European Art”. Although ancient nomadic weaving of the Near East remained the focus, over time African and Oceanic Tribal Art, Islamic and Buddhist Art, archaeological objects from China, Persia, and ancient America, Japanese woodblock prints and Chinese furniture were added. Neiriz' knowledge of kilims is not only based on ethnological studies.

Burdock Kilim motifs In Turkish Anatolia, the burdock plant was believed to ward off the evil eye, and as such is often a motif appearing woven into kilims for protection. With its many flowers, the plant also symbolizes abundance.

In 1967, the British archaeologist James Mellaart claimed to have found the oldest records of flat woven kilims on wall paintings he discovered in the Çatalhöyük excavations, dated to circa 7000 BC. The drawings Mellaart claimed to have made before the wall paintings disappeared after their exposure showed clear similarities to nineteenth century designs of Turkish flatweaves. He interpreted the forms, which evoked a female figure, as evidence of a Mother Goddess cult in Çatalhöyük. A well-known pattern in Anatolian kilims, sometimes referred to as Elibelinde (lit.: “hands on hips”), was therefore determined to depict the Mother Goddess herself.

Alternate warps are deeply depressed. Wefts are in natural colours or dyed red. The selvedges are overcast in wool of different colours, creating a "barber pole" pattern, and are sometimes adorned with woolen tassels. Both ends of the rug have narrow, striped flat-woven kilims.

Samples of hand woven material from the nomadic tribes living in the Taurus mountains including kilims of various styles such as cicim, zili, sumak or soumak, ilikli and plain weaves, rug, saddle bag, prayer rugs and pillows. There are also felt prayer rugs and trousseau bags.

Serbia has a long tradition of handicrafts. Đakovica in Kosovo was known for its black pottery. Pirot in southern Serbia became known for its ceramics under the Ottomans with the potters following Byzantine designs. It also became a centre for the production of Kilims or rugs.

With its six domes, it is one of the oldest examples of multi-dome construction in Anatolia. Today the building houses the Antalya Ethnographic Museum and contains clothing, kitchen utensils, embroidery, tapestries and looms, socks, sacks, kilims, ornaments, and nomadic tents. It was opened to the public in 1974.

Although Uşak's carpet patterns have evolved since then, large-scale weaving still continues and the name of the city still has an important presence in the market for carpets, both hand-woven and industrial. On the other hand, the district of Eşme, which is also in Uşak Province, is famous for its kilims.

Kilims are often decorated with geometric patterns with 2- or 4-fold mirror or rotational symmetries. Because weaving uses vertical and horizontal threads, curves are difficult to generate, and patterns are accordingly formed mainly with straight edges. Kilim patterns are often characteristic of specific regions. Kilim motifs are often symbolic as well as decorative.

Siirt was in the past a fertile agricultural environment. Siirt is famous in Turkey for its hand-made blankets (Siirt battaniyesi). Many visitors find themselves departing with one offered as a present. The traditional kilims produced by the Jirikan clan (aşiret ) and revived since 1996 through joint efforts involving official instances and citizens are also much prized.

Qashqai Confederation Kilim 19th Century. The multicoloured zigzag fields in an ‘M’ shape are unusual. These kilims have been used as tent dividers or to cover up storage sacks within a home, so a horizontal viewpoint might have been intended by the weaver. The Qashqai tribal confederation consists of five major tribes, including the Dareshuri, Farsimadan, Sheshboluki, Amaleh, and Kashkuli.

Middleditch was a painter, draughtsman and printmaker. He drew his motifs from the natural world: grasses, water, feathers, opening petals, reflections etc. Gradually shifting observed patterns became fleeting abstracted movements often caught from water currents and light effects. His later work became much more abstracted, concerned with repeating patterns as if seen from above and filling the picture-frame; drawing influence from kilims and Persian carpets.

Chiprovtsi kilims () are handmade flatwoven kilim rugs with two identical sides, part of Bulgarian national heritage, traditions, arts and crafts and pertain to the Western Bulgarian kilim weaving tradition. Their name is derived from the town of Chiprovtsi where their production started in the 17th century. The basic colours are yellow, brown, red, blue and green. The first carpets were in only two colours - red and black.

Normally, the carpet was woven from memory, without a sketch. There is not surprising because since the beginning of the 16th century till the present day the craftsmen in Heris have traditionally been making only this type of carpet, and they know perfectly well its design and pattern. Note that the residents of Heris are also renowned for production of flat-weave rugs – palases and kilims.

The origin of carpet weaving remains unknown, as carpets are subject to use, wear, and destruction by insects and rodents. Controversy arose over the accuracy of the claimOriental Rug Review, August/September 1990 (Vol. 10, No. 6) that the oldest records of flat woven kilims come from the Çatalhöyük excavations, dated to circa 7000 BC. The excavators' reportEvidence for ancient kilim patterns found in Çatalhöyük. Turkishculture.org. Retrieved on 2012-01-27.

Beytüşşebap is well known for its kilims. Nevertheless, Sirnak province is the poorest province of Turkey in terms of per capita income. Its per capita income comes around to around 700 USD, which is similar to that of many sub-Saharan African countries. But in the future, Şırnak has the potential to flourish from meat processing, leather industries and asphalt mining, which has an estimated reserve of 29 million tons.

Thus, if the boundary of a field is a straight vertical line, a vertical slit forms between the two different color areas where they meet. For this reason, most kilims can be classed as "slit woven" textiles. The slits are beloved by collectors, as they produce very sharp-etched designs, emphasizing the geometry of the weave. Weaving strategies for avoiding slit formation, such as interlocking, produce a more blurred design image.

Soumak Mafrash (bedding bag) panel, from Borchali, Georgia, late 19th century. The pattern includes motifs used on kilims, such as the eye, cross, and hook, to ward off the evil eye; the central diamond-shaped motif represents the dragon. Soumak (also spelled Soumakh, Sumak, Sumac, or Soumac) is a tapestry technique of weaving strong and decorative textiles used as rugs and domestic bags. Baks used for bedding are known as Soumak Mafrash.

With the fading of tribal and village cultures in the 20th century, the meanings of kilim patterns have also faded. In these tribal societies, women wove kilims at different stages of their lives, choosing themes appropriate to their own circumstances. Some of the motifs used are widespread across Anatolia and sometimes across other regions of West Asia, but patterns vary between tribes and villages, and rugs often expressed personal and social meaning.

There is a permanent exhibition of rugs with the oldest exhibits being over a century old. The colony organized an "Ethno-net" which gathers female weavers from all over the rural areas of Serbia, which are then perfecting their skills in weaving, embroidery, goldwork, etc. The rug making originated in the 18th century. The Stapar kilims in the late 19th and early 20th century were transported and sold throughout Austro-Hungary, including Vienna and Budapest.

Also, the archeological ancient areas of Jiroft and Tappe Yahya Baft are located south of Kerman. Rayen Castle is also located in Rayen town, southeast of Kerman. Some of the handicrafts and souvenirs of the province of Kerman are traditional embroidery known as pateh, carpets, rugs, jajeems, Kilims (a coarse carpet), satchels, and other hand woven articles. Caraway seeds and pistachio of Rafsanjan and Kerman are best of the main items of this province.

Ethnographic Museum in Belgrade Carpet weaving in Pirot dates back to the Middle Ages.Pirotski Ćilim - Lepota Trajanja One of the first mentions of the Pirot kilim in written sources date to 1565, when it was said that the šajkaši boats on the Danube and Drava were covered with Pirot kilims. Pirot was once the most important rug-making centre in the Balkans. Pirot is located on the historical main highway which linked central Europe with Constantinople.

152 The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and patterned kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.Foroqhi, p.

Later, she exhibited her works in Krakow, Warsaw, Poznań, Kyiv, and other European cities. During 1920-1930, Kulchytska made major contribution to the Ukrainian book design. She illustrated various works by Ivan Franko, Mykhailo Kotsiubynsky, Vasyl Stefanyk, and Yurii Fedkovych, as well as more than 70 books for children for the series «For Our Littlest Ones», which included Oscar Wilde’s ‘The Star-Child’ (1920). In the field of applied arts, she designed 80 kilims in collaboration with her sister Olha.

It comes various colours, the brighter and rich colours are for small children to young ladies. The gray and dark colours are for elderly women. The oldest piece of kilim which we have any knowledge was obtained by the archaeological explorer Aurel Stein; a fragment from an ancient settlement near Hotan, which was buried by sand drifts about the fourth century CE. The weave is almost identical with that of modern kilims. Hotanese pile carpets are still highly prized and form an important export.

Bahçeseray kilims (oriental rugs) were exported to Poland, and knives made by Crimean Tatar artisans were deemed the best by the Caucasian tribes. Crimea was also renowned for manufacture of silk and honey. The slave trade (15th-17th century) in captured Ukrainians and Russians was one of the major sources of income of Crimean Tartar and Nogay nobility. In this process, known as harvesting the steppe, raiding parties would go out and capture, and then enslave the local Christian peasants living in the countryside.

The ' or hands-on- hips motif is a stylized female figure, symbolizing motherhood and fertility. The meanings expressed in kilims derive both from the individual motifs used, and by their pattern and arrangement in the rug as a whole. A few symbols are widespread across Anatolia as well as other regions including Persia and the Caucasus; others are confined to Anatolia. An especially widely used motif is the ', Elibelinde (hands on hips): Anatolian symbol of the mother goddess, mother with child in womb, fertility, and abundance.

The tent is a black horsehair tent. Inside the tent, there are trousseau bags, felts and kilims on the floor, wall pillows, a lamp, a partridge cage, a hızman, a gun and a gunpowder case. In front of the tent a leather foot-wear (çarık), a wooden water cup, a stone mortar, a churn, and a spoon case. On the left side of the tent a nomad girl with a butter churn, a hand grinder and on the wall a kilim with a ram horn motif.

The founder of the historical- ethnographic museum is a resident of Khinalug village, Khalil-Rahman Abdurrahman oglu Jabbarov. Rare historical exhibits, archaeological and ethnographical materials, and also carpets and kilims, various house utensils, pottery and ceramic dishes, stone books, etc., have been collected in the museum on his initiative and with help of residents of the village. The most interesting exhibit of the museum, attracting many tourists to the village, are manuscript books dated to the 15th–20th centuries and they evidence that the past of the village was closely related to science.

To adherents of other faiths in the region, the nazar is an attractive decoration A variety of motifs to ward off the evil eye are commonly woven into tribal kilim rugs. Such motifs include a cross (Turkish: Haç) to divide the evil eye into four, a hook (Turkish: Çengel) to destroy the evil eye, or a human eye (Turkish: Göz) to avert the evil gaze. The shape of a lucky amulet (Turkish: Muska; often, a triangular package containing a sacred verse) is often woven into kilims for the same reason.

Ancient Armenian Khachkars (cross- stones) Yerevan Vernissage (arts and crafts market), close to Republic Square, bustles with hundreds of vendors selling a variety of crafts on weekends and Wednesdays (though the selection is much reduced mid-week). The market offers woodcarving, antiques, fine lace, and the hand-knotted wool carpets and kilims that are a Caucasus speciality. Obsidian, which is found locally, is crafted into assortment of jewellery and ornamental objects. Armenian gold smithery enjoys a long tradition, populating one corner of the market with a selection of gold items.

All of these items - felt, yarn, fabric, and finished objects - are collectively referred to as textiles. The textile arts also include those techniques which are used to embellish or decorate textiles - dyeing and printing to add color and pattern; embroidery and other types of needlework; tablet weaving; and lace-making. Construction methods such as sewing, knitting, crochet, and tailoring, as well as the tools employed (looms and sewing needles), techniques employed (quilting and pleating) and the objects made (carpets, kilims, hooked rugs, and coverlets) all fall under the category of textile arts.

VIII, 48) that carpets ("polymita") were invented in Alexandria. It is unknown whether these were flatweaves or pile weaves, as no detailed technical information is provided in the Greek and Latin texts. Flat-woven kilims dating to at least the fourth or fifth century AD were found in Turfan, Hotan prefecture, East Turkestan, China, an area which still produces carpets today. Rug fragments were also found in the Lop Nur area, and are woven in symmetrical knots, with 5-7 interwoven wefts after each row of knots, with a striped design, and various colours.

Local Muslims had left with their belongings prior to Serbian forces reaching Vranje, and other Muslims of the wider rural area experienced tensions with Serbian neighbours who fought against and eventually evicted them from the area. The Serbians were warmly received by the inhabitants of Vranje, and the town was decorated with Serbian flags and kilims. Around 1:00 pm on 31 January 1878, Belimarković marched solemnly into the town together with the command of the Šumadija Corps. Vranje was formally surrendered to the Serbian army by the prominent Ottoman feudal lord Ramiz Paša Husejinpašić.

In the 17th century, Flemish tapestries were arguably the most important productions, with many specimens of this era still extant, demonstrating the intricate detail of pattern and colour embodied in painterly compositions, often of monumental scale. The Attainment, one of the Holy Grail tapestries, Morris & Co., 1890s In the 19th century, William Morris resurrected the art of tapestry-making in the medieval style at Merton Abbey. Morris & Co. made successful series of tapestries for home and ecclesiastical uses, with figures based on cartoons by Edward Burne- Jones. Kilims and Navajo rugs are also types of tapestry work.

In his words, to people in the village and tribal cultures that wove kilims, "the device in the rug has a materiality, it generates a field of force able to interact with other unseen forces and is not merely an intellectual abstraction." Similar motifs are sometimes used in pile carpets, such as the rows of Solomon's seal stars, rows of hooks, ram's horns, and hands-on-hips motifs in this Shirvan carpet from Azerbaijan. Other motifs symbolised fertility, as with the trousseau chest motif (), or the explicit fertility () motif. The motif for running water () similarly depicts the resource literally.

She also documented kilims and other textiles she found in villages and village mosques. She also, with Harald Böhmer, researched and studied the natural dyes used to produce the colors in antique textiles. Together, in Turkey's Aegean region, they set up the DOBAG Carpet Initiative of weavers, using natural dyes and traditional weaving techniques to produce new carpets, engaging a younger generation in the traditions of carpet weaving, and opening markets for their work. Sadberk Hanım Museum in Büyükdere, Sarıyer Shortly before her death in January 2007, much of her Turkish collection of textiles and artifacts was donated to the Vehbi Koç Foundation.

It is estimated that around 50% of those involved in all handicrafts work in Ilam province are in the field of kilim production. "Ilam's embossed kilim" is different from other parts of the country because a weaver named "Sahar Chalangar", a resident of Zanjireh village (one of the functions of Sarablah city of Ilam province), succeeds in performing a prominent role in a part of his woven kilim by using a carpet knot. From this, a background is provided for the growth and promotion of embossed kilims. Ilam's embossed kilim has received a national hologram and has been registered as a souvenir and brand of Ilam province.

A smaller rug can be woven continuously by fitting in one line of pile knots around the longitudinal warp threads, followed by the introduction of one or more threads of the weft (or filling yarn) which then span the entire width of the loom. When working on a broader loom, the weaver may decide to build up the area within easy reach first and then move sidewards and complete the rest. The wefts are wound back around single warps at the borders of the respective area. If the weft is always turned around the same warp, a slit will appear in the fabric, as seen in kilims.

From Pirots old Turkish signification as Şarköy stems the traditional trade name of the rugs as Şarköy-kilims. Stemming from the homonym to the today's Turkish settlement of Şarköy in Thracia, which had no established rug making tradition, Şarköys are often falsely ascribed to originate from Turkey. Also in the rug selling industry, Şarköy are mostly labeled as being of oriental or Turkish origin as to easier sell them to non familiar customers as they prefer rug with putative oriental origin. In fact, Şarköys have been established from the 17th century in the region of the Western Balkan or Stara Planina mountains in the towns of Pirot, Berkowiza, Lom, Chiprovtsi and Samokow.

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and eventually spread to the settled societies of Anatolia. Turks used carpets, rugs, and kilims not just on the floors of a room but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

Diagram of Kilim slit weave technique, showing how the weft threads of each color are wound back from the color boundary, leaving a slit Kilims are produced by tightly interweaving the warp and weft strands of the weave to produce a flat surface with no pile. Kilim weaves are tapestry weaves, technically weft-faced plain weaves, that is, the horizontal weft strands are pulled tightly downward so that they hide the vertical warp strands."Carpets v. Flat-woven carpets: Techniques and structures", Encyclopædia Iranica Turkish kilim, folded to show slits between different coloured areas When the end of a color boundary is reached, the weft yarn is wound back from the boundary point.

The majority of them represent geometric and stylized forms that are similar or identical to other historical and contemporary designs. The knotted rug is believed to have reached Asia Minor and the Middle East with the expansion of various nomadic tribes peoples during the latter period of the great Turkic migration of the 8th and 9th centuries. Famously depicted in European paintings of The Renaissance, beautiful Anatolian rugs were often used from then until modern times, to indicate the high economic and social status of the owner. Women learn their weaving skills at an early age, taking months or even years to complete the beautiful pile rugs and flat woven kilims that were created for their use in every aspect of daily life.

Loulan, Xinjiang province, China, dated to 3rd-4th century AD. British Museum, London The explorer Mark Aurel Stein found flat- woven kilims dating to at least the fourth or fifth century AD in Turpan, East Turkestan, China, an area which still produces carpets today. Rug fragments were also found in the Lop Nur area, and are woven in symmetrical knots, with 5-7 interwoven wefts after each row of knots, with a striped design, and various colours. They are now in the Victoria and Albert Museum, London. Carpet fragments dated to the third or fourth century BC were excavated from burial mounds at Bashadar in the Ongudai District, Altai Republic, Russia by S. Rudenko, the discoverer of the Pazyryk carpet.

In 1926, Pope helped design the Persian pavilion and organized an exhibition of Persian art for the Sesquicentennial Exposition in Philadelphia. That year he also organized the first international congress on Persian art; he would lead four more of these congresses over the next 40 years. By 1927, he and Phyllis returned to San Francisco and pursued additional design projects, including an ornate Persian-palace-style interior for the penthouse of the Fairmont Hotel in San Francisco and the interior of the Ahwahnee Hotel in Yosemite National Park, where they made extensive use of Middle Eastern kilims as well as Native American artifacts. In 1928, Pope founded the American Institute for Persian Art and Archaeology, which was incorporated in New York City in 1930 and later became the Asia Institute.

Additionally, documents and photos are here on display, related to Atatürk and Tekirdağ together following the foundation of the Turkish Republic. The wall of the staircase leading to the first floor is decorated with a photo of Namık Kemal with his grandson, and oil paintings depicting Alp Arslan (1029–1072), the third sultan of the Seljuk dynasty, as well as the conqueror of Anatolia, Süleyman Pasha (1316–1357), the conqueror of Rumelia, during his crossing the Dardanelles by raft, and the Ottoman Sultan Selim I (1465–1520), who died at Çorlu, Tekirdağ Province underway to a military campaign in Europe. The second floor is arranged as a drawing room of a typical Tekirdağ house. The chamber is furnished with divan, corner pillows, kilims, a Salonica brazier, a cabinet made of walnut timber and its big mirror, and closets.