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STAR This universally known symbol is seen by all the countries with the weaving tradition. For the Turks of Central Asia, stars held their place of honour among the cosmic gods. The Turks believed that the movements of stars affected destiny of the people and empires. They further believed that the earth had 7 layers and with seven stars at each layer. These stars not only influenced the daily matters of the world, they were responsible for a days the star symbolised the happiness and immortality of the soul. Seeing a star during a dream was considered as the sign of happiness. MIHRAP Mihrap or praying niche pattern is encountered in all the cultures as the place of honour for the God or King. For Muslim people, mihrap design, which is richly decorated with flowers, vases, fountains, is considered as a gate to paradise. Although human and animal figures are not depicted in the Muslim faith, we see often birds in the praying niche designs. TREE The tree which is one of the most popular symbol appearing on the rugs, is pictured either single or as a group. In its most general sense, the symbolism of the tree denotes the life of cosmos: its consistence, its growth, proliferation, generative and regenerative processes. Briefly, it symbolise world-axis and inexhaustible life-process putting focus on multiplication, fertility, continuity and immortality. With its roots, trunk and leaves, it also symbolise the main axis of the world. It was believed that tree connected the underground world(magical world),the earth(land of human beings), and the sky(sacred world) to each other. Tree with the birds symbolised unification and recarnation. In the Christian faith, the tree denotes the Cross of Redemption and the cross which is depicted as the tree of life. PLANE TREE The use of plane tree and almond design symbolise the garden of Eden. SWASTIKA Swastika, the wheel of destiny, is encountered as early as 3.millennium. It is symbol of good luck, abundance and fertility. In some cultures swastika symbolise the sun and stars. In Anatolia, it is considered as the wheel of destiny. The rugs with swastika pattern are woven as a vow or votive offering. POMEGRANATE Pomegranate with its countless seeds has always been a great symbol of fertility in Anatolia. The statues of Mother goddess in most of the Anatolian cultures, especially in Hittites and Frigians, holds a pomegranate symbolising her fertility power. Pomegranate with its seeds getting together in one single fruit symbolised the faithful assembling in the church, thus it became a great symbol for the Christian faith. People in various parts of Turkey still believe that the pomegranates is closely related to fertility. During the marriage ceremonies, the friends and relatives of the couple throw pomegranates to the feet of the couple and looking at scattered pieces of the seeds, they try to guest how many children this new couple would have. TRIANGLE/AMULETS The amulets, which are seen great deal on the rugs and kilims, are used to protect people from sorcery, evil eye, malice and foreign dangers. These triangles symbolise "muska" triangle shaped amulets filled with holly verses of sacred Coran. HUMAN FIGURE since it is prohibited, human figures are rarely seen on the Turkish carpets and Kilims. It is interesting to note that Shiites in Iran have more tolerance for human figures. When they are depicted, human figures often represents weaver's husband or boy friend. They are put for the memory or remembrance of some family member. CLOUD S design S design is often seen on the Turkish kilims and rugs. While the vertical S symbolised richness and fertility, horizontal ~ stood for eternity and immortality. S design also represents the snake and its supernatural knowledge. ELI BELINDE FERTILITY/FRUITS/CEREALS All the fruits and cereals having many seeds such as pomegranate, figs, grapes, mulberry and wheat, barley and poppies symbolise fertility. THE JEWELS OF MOHAMMED Former Jewish patters such as 6 or 8 pointed stars were renamed by the Muslims as "the jewels of Mohammed" and widely used on the Turkish rugs and kilims. These stars especially seen on the Yagcibedir Rugs woven in the north west part of Turkey. RAM HORN HUMAN FIGURE Because of the restriction put by the Muslim faith, the use of human figures are rare on the Turkish rugs and kilims.They are used to commemorate people or to remember them or to show the hope and expectations of the people for having a child. EWER It symbolise the cleanness and pregnancy. Since it is one of the household objects used daily, it is often seen on Turkish prayer rugs and kilims. It reminds the faithful performing ablution or washing hi body before the prayer. Since ewer also represents the washing after the sexual intercourse, it symbolise the expectation for having a child or hope for pregnancy. KARNIYARIK DESIGN This pattern symbolise the pregnancy. CAKMAK design In Anatolia Cakmak means trachoma and weaver using this design wishes all the evil eye directed to her should be blinded by trachoma. GOOSE FEET Goose feet is symbol of fertility due to legend of Sarikiz. EYE Eye, which is one of the most powerful symbols, is widely used on kilim and rugs. People always believed that anything bad or good came thorough eyes, and evil look of jealous people caused damage and even death. So using an eye symbol to ward off the evil eye came from the idea "having a power against power". EYE AND ARROW This interesting pattern which is combination of an eye image flanked by arrows symbolise good luck. It represent a wish for good harvest and good luck at hunting.The eye image in the center wards off the evil power while the arrows symbolise hunting. HAND Hand designs, which are seen even in the mural paintings of Neolithic city of Catalhoyuk, is one of the oldest and most powerful patterns.The hand, known as the hand of Fatima, Mohammed's daughter, is the symbol of fertility and good luck. It also provided protection against evil eye, blasphemy and magic. Hand motif with five fingers also symbolise number of prayers(5) that faithful should follow, five rules of Islam, Mohammed and hid four Califes. It also indicate the location where the faithful put his hands on the rug. SCORPION Scorpion which is a protection symbol against malice is seen often on the rugs and kilims. Tribal people and nomads believed that scorpion design protected them from the real scorpion and prevented them from entering their tribal tents and homes. Scorpion is also symbol of pride and independence. SERPENT Snake which is universally known symbol for the power, happiness and fertility often seen on the rugs and kilims. For the pagans, they symbolised wisdom and supernatural knowledge. It was well accepted that serpent knew al the secrets of the nature and especially the plants and herbs which had healing power. Because of this reason, the serpents became undisputed symbol for God of Medicine. As to black serpent, it was symbol of happiness and fertility. Although serpent were much respected and revered in the pagan times, neither Christian nor Muslim faith welcomed serpents warmly.While It represented sensuality and lust in the Christian faith, for the Muslims it became good and powerful talisman giving productivity to human beings. Serpent design was also used as protective symbol warding off the real serpent and malice. HOOKS Hooks which are abundantly used on the kilims and carpets are symbols of protection. They always surround the symbols representing health, happiness and protect them from the malice and evil eye. Anything bad approaching is caught by the hooks. Hooks also represent animal heads and figures. PELT The pelt which is often encountered on the kilim and rugs symbolise the sacrifision. Following the Muslim tradition, after having accidents or casualties, people sacrifice animals to Lord to thank Him for sparing their lives and properly or they do so to ask for the god's protection against accidents and malice. After the sacrifision, the pelt of the animal is often given to the mosque. Pelt design is also allusion for the Golden Fleece and in this specific case, it represent the desired richness. Consectric circles on the pelt symbolise the fertility. The use of pelt and oil lamp designs together might symbolise that the rug is oven for the mosque. HAIR BAND Hair band, which is widely used design in all rug making countries. symbolise the desire for marriage, bride, happiness, good luck. Hair band is presented to the bride during the ceremony. PITRAK Pitrak design ward off evil eye also symbolise abundance. EAR RING Ear ring which is one of the absolute presents given to bride during the marriage ceremony symbolise marriage and desire to get married. It shows weaver's expectations for marriage. YING YANG This design with the far east origin symbolise the harmony, balance and love between men and women. The dots on the white and black they indicate that nothing is pure and perfect in the nature. Ying Yang design symbolise the love and union. BUKAGI This simple tool which prevents the animals from moving around idle way symbolise the unity and continuation of the fidelity in the family. It also represents love, balance and harmony between the couples. It shows expectation for happiness and happy togetherness and as a result of this expectation to have a baby. CHESS/SACK For the people of Anatolia, the throusou chess or sack in which bride's personal belongings are kept symbolise desire for marriage, having child and happiness. This pattern is widely used by the weavers. COMB Comb, symbol of birth, marriage and happiness also symbolise cleanness. This refers to especially to get clean before prayers. Because of this reason it is often used with the ewer pattern.This design resembling a hand with five open fingers is called Parmakli patter. WATER Water design, which symbolise paradise, fertility, life and cleanliness, underlines the importance of the water for the human life. It also symbolise the desire to overcome all the difficulties just like the water which goes over, under or around all the barriers and obstacles. Sometimes the water patter refers to local river giving life and abundance to the region. This feature is seen nearly all of the Milas carpets where one sees the Meander River. BIRD Of course, one of the most important events related to birds comes from the "Mirac"the night journey of Mohammed who sees the tree of life situated on a big square, surrounded by the streets lined by the trees. He sees many birds perching on the branches of the tree of life. These birds with various colour symbolise the faithful and righteous ones in the paradise. DRAGON Dragon, which is encountered on the historical rugs and kilims is a protective symbol. It is the master of the sky and earth and guard of the tree of life and world's secrets. It prevents the malice, sickness and enemy. On the rugs of Caucasus,the Dragon is accepted as the sign of fertility. . In the Chinese art, the dragon is deified and enthroned and it symbolise the emperor(dragon with five claws) and power of the nature. It symbolise the clouds and rain giving abundance. In the Chinese Art, we see dragons fighting over a pearl, symbol of perfection. On the Caucasian Art, the use of double dragons became the origin of Dragon rugs. The oldest and most famous of theses dragon rugs is displayed in Berlin and depict the fight between the Dragon and Phoenix. PHOENIX Phoenix which represents the empress and sun also symbolise the happiness and good luck. The tradition has it when this myhtical bird in the size of an eagle saw death draw near. it built a nest with wood and resins and expose it to the full force of sun rays, until it burnt itself to the ashes in the flames. Then another phoenix would arise from the bones of the former one. In every respect it symbolises the destruction and re-creation. Colours of the phoenix stands for the five main virtues. It symbolise the extinction and recarnation. Phoenix which is considered as the quenn of birds also symbolise the sun. DRAGON AND PHOENIX The fight of the Dragon and Phoenix is symbolise the fertile rains of the spring. It represents cosmic harmony, the union of the earth and heaven, the meeting of the mother goddess with the god in the spring. This is a popular subject n the eastern mythology. GOOSE FEET Goose feet design is used to ensure the protection of protective mother during the birth of the child. OLEANDER Oleander design is used to protect the happiness. CAMEL Camel, which is seen on the tribal rugs and kilims, indicate the importance of this animal for tribal people. AVSHAN, AFSHAN This a all over design which consist of highly stylised right angle blossom cups or calyxes on a stem surrounded by the florets is used in Turkish, Persian, Caucasus and Indian Carpets. Avshan pattern is often used on the Hereke rugs. DRAGON Dragon design which is often depicted in the form of S or Z form on the Persian and Turkish Rugs can be seen on the borders of the rugs. PEACOCK/AKSTAFA Peacock design, which originates from the town of Akstafa in Caucasus is encountered on the Turkish and Caucasus Rugs. This highly stylised peacock with very ornamented tail is also used on the 19th century rugs form Sirvan in Caucasus. PEACOCK AKSU MOTIFI ALINLIK The place where the faithful would put his forehead on his prayer rug. Alinlik which is located above the prayer niche is usually decorated with the verses taken from the Holly Coran. ALL OVER PATTERN All over pattern is the repetition of geometrical and floral patterns vertically of horizontally on the main plain of the rug. This design is often cut by the border pattern or sometimes it goes under the border. All over pattern is seen on the Hereke Rugs. ANIMAL FIGURED RUGS Animals or hunting scenes containing animals are often seen on Persian, Indian and Caucasus rugs. As to Turkish rugs, we can see animal figures only on the historical Turkish rugs. These animals are depicted sometimes in their natural form sometimes in a very stylised way. Extinct animals such as dragons or bizons are also seen on the oriental rugs. As to tribal people or nomads, they depict mainly their domestic animals such as camel, rooster, horse goat. These animals sometimes represent an etnique group of a tribes. ANIMAL HEAD DESIGN/ COLUMN Animal heads or stylised hooks used on the tribal rugs a and Kilims basically symbolise the dragon which guards the three of life. CHINTEMANI DESIGN This popular pattern with Chienese or Budist origine which consist of three circles forming an triangle and two wave or clouds pattern. Chintemani pattern was widely used on the Turkish rugs, textiles and ties during the Ottoman centuries especially from 15th to 17th centuries. The rugs with this pattern are called Postlu Hali "the rug with the fleece" because of the resemblance of design for leopard skin. It is also suggested that the design combination of the Chintemani pattern symbolise the dragon protecting either the moon or sun. CLOUD PATTERN Cloud pattern which is a popular design of Chienese rugs is encountered on the Turkish carpets. Known as "cloud band", this design resembling a horse became so popular in a vast area streching from Chiene to Anatolia. CLOUD BAND DESIGN This horse shoe shaped pattern is seen on the 16th century Persian and some Turkish Rugs. SKY GATE, CLOUD COLLAR This design with Chienes origine was often used around the smoke hole of Trial Rugs of Central Asia. This pattern became the prototype of some Turkman Gul patterns. RUGS WITH COMPARTMENTS/WITH MOSAIC These rugs known as Chessboard design Carpets or rugs with the compartments are seen in India and Persia. These compartments are in squarish or ogival and filled with flower patterns. SECCADES WITH DOUBLE COLUMNS These seccade(prayer rugs) where the arch of the mihrap supported by double columns are encountered in Usak and other areas. These seccades which are wrongly attributed to Ladik are considered as the prototypes of saf rugs where the prayer niches are put side by side. YENGEC USAK These 16th and 17th century white coloured Usak rugs with palmette columns resembling crab are known as "Crab Usaks." CRIVELLI RUGS These rugs which are named after the Venetian painter Carlo Crivelli draw our attention with their 16 pointed big stars, divided into section and decorated with small animal figures. Since these rugs appear on the paintings of Venetian Painter Carlo Crivelli who worked between the years 1482 and 1486, these are known as Crivelli Rugs. CUBUKLU An attractive design which consist of 7 bands filled with tiny buds. This pattern is often seen on the Gordes rugs. CROSS The cross which is mostly considered as a Christian pattern is encountered in every region and community. In realty the cross design is much older than all the great religions of the world. Cross which is derivation of the tree of Paradise was depicted in Y shaped tree during the Mediaeval times. Like the tree of life, the cross stands for the "world axis". Placed in the mystic center of the cosmos, it functions as a bridge or ladder by the means of which the soul may reach God. The cross, consequently represents the relation between celestial and earthly worlds. CYPRUS TREE This evergreen tree is the symbol of grief and mourning. FIL AYAGI/ELEPHANT FOOT The name given to hexagonal patterns ENDLESS KNOT This knot, which is symmetrically knotted and having no ends, is seen on Turkish, Persian and Chienes rugs. ENSI Theses rugs, which contain the big cross pattern, decorate the entry of Turkoman tents, is called Ensi GUL/GOL This octagonal or many sided design which is repeated to cover nearly whole surface of the rug is called "gul" pattern. Various versions of Gul or Gol designs was used as a tribe emblems by Turkoman tribes. The origine of this pattern either came from or from totemistic animal designs. GULBUDAK Gulbudak design, which is a typical pattern of Central Anatolian Kilims. symbolise two birds standing side by side. GULI HINNAI/GOL HENNA The name given to Henna flower covering the whole main ground of a rug. HATAYI/HYATAYI Turkish pattern which depicts the flowers and buds of water lily. HAVUZLU PATTERN It is suggested the this pattern which is often seen on the Kurdish Rugs symbolise a water tank or a pool. There are four arrows at four cardial direction coming out of this square shaped medallion. HOLBEIN DESIGNS The carpets which appear on the painting of Germain painter Hans Holbein who lived between 1465 and 1524 are known as Holbein designed carpets. Although these rugs are attributed to Usak Workshops, their origine is still studied carefully. From the point of their designs, Holbeins are divided into two main categories: Great Holbeins: this design is consist of octagons put in a square. The rugs containing this design are possibly woven in Canakkale region. Small Holbeins: HOOKED MEDALLION A logenge with outward and inward hooks is frequently seen on the tribal kilims. ISLIMI/ESLIMI/RUMI/SELIMI This leave shaped design with its various forms is used in textiles, rugs, tiles. Islimi design gets different names according to its various shapes: plain, winged islimi, almond shaped, assorted islimi. KAIKALAK This popular Anatolian motif which consist of a losange, surrounded by for ram horns, is a birth symbol. KIRKBUDAK/KIRK DOL This old Anatolian motif depicts diamond surrounded by the hooks. KOCHAK CUFIC DESIGN A border design originating from city of Kufa. This very stylised Arabic writing widely used on prayer rugs. These inscription are so much stylised that they have the appearing of geometrical patterns. KUILONG/DRAGON Kuilong design which is considered as the early form of the dragon is seen on the Chienese and Turkish rugs of earlier periods. FROG Frog is a design of secondary importance on the Turkoman rugs. KORANI/LACHAK This pattern which consist of a medallion and two quarter medallions originally decorated the cover of book. When the rug weavers started using the design, it was called Korani pattern. CORANIC VERSES Coranic verses which are seen basically on the praying rugs around the mihrap warn the faithful about the praying rugs and remind that these rugs are only for praying and shouldn't be stepped or used on the floor like the ordinary carpets. TULIP/LALE/SCEPTER HEAD CARNATION Carnation which is considered as one of the tree famous Ottoman flowers is widely used on the rugs, Ottoman textiles and tiles. Carnation which is ayways depicted in red colour and with open and closed forms in a single form or in group, are seen on Demirci, Gordes, Kirsehir and Sivas rugs. When it is used with water pattern, carnation symbolise the gardens of paradise. LAMP Lamp design which appears on the prayer rugs symbolise the divine guidance and the light showing the true path. This also represents the God who is depicted as the light of the Heaven and earth. The lamp is suspended from the summit of the niche. MIZRAKSI YAPRAKLAR Spear shaped curved leave is a popular design appearing on the Oriental carpets. MEZARLIK/MANZARALI HALI/TURBELIK/GEMI Halisi These rugs with unusual design combination are named quite differently in the various parts of Anatolia. Mezarlik rugs with Cyprus trees, mosques, houses, put side by side first appear in 19th century and the beginning of 20.century in famous weaving center such as Kula, Gordes and Kirsehir. One of the well accepted suggestions is the use of the rugs during the funerals to carry the body from the house to cemetery which is represented on these rugs. LAPPET This small rectangle with a pediment and stylised flower patterns on it is often seen on the border of Turkish Rugs. HOOK/CENGEL Hooks or cengel design which is very much used on te flat weaves symbolised the feet of the dragon or animal heads bred by the peasents. Hooks put around the main ground represents the protection. HOUR GLASS A symbol denoting the inversion of the Upper and Lower Worlds. Hour Glass also symbolise that how short the time on earth for human being. LEAVE AND GLASS DESIGN This border pattern can be seen on the Caucasian and Turkish Rugs. Diagonally put leaves and very stylised wine glasses form this pattern. WATER CLOCK DESIGN Water clock design which is seen on the Kurdish Kilims and rugs emphasise the value of the time and remind us our temporary life on earth LESGHI STAR This attractive design with eight pointed star and 4 outward and four inward arrows is first seen on the Dagistan Carpets in the 19th century then was frequently used on the East Anatolian, Caucasian rugs and Shahvasan kilims. LOTTO DESIGN These very attractive rugs with the red ground and yellow arabesque pattern was depicted on some painting of Lorenzo Lotto, a Venetian painter and named after him. LOGENGE This diamond shaped logonges are widely used on the Oriental rugs. MEMLUK DESIGNS AND MEMLUK RUGS Memluks were the soldiers and administors of the Eyyubid Dynasty which ruled over Egypt and Syria. These former slaves and soldoers with Turkish and Circassian origine first took control over the goverment and then Egyptian Sultanate(1260). In 1261, Memluks after preventing the Mongolian Invasian, they took over Cairo where they ruled till the Ottoman Conquest. During this period, the Memluks produced rugs with very unusual patterns containnng octagons, triangles and vivid colours such as yellows, greens, blues. Woven with an asymecrical knots, having S spun yarn wool, Memuk Rugs has great medaliionsin the center. During the Ottoman centuries, in addition to Ottoman Flower Pattern Rugs, Memluk style rugs continued to be woven. Memluk rugs of the later periods started having divisions, chessboard pattern and octagons covering the whole groung of the carpet. OTTOMAN CAIRO FLOWER CARPETS During the 16th and 17th centuries, Cairo workshops produced rugs with flower patterns, tile designs and patterns borrowed from the book covers. Cairo rrugs which were woven with asymetrical knots are displayed in the various museums of the world. PARA MEMLUK RUGS These rugs which were woven in Cairo, Damascus and Anatolia are easyly recognised because of their designs having medalions used in 2 1 2 order. Para Memluk rugs, which are woven by asymecrical knots and Z spun wool, has red as the main ground colour and green, brown, yellow and violet colours as the main colurs. MEDALLION/KORANI A central medalion which is widely used on the Oriental carpets is believed that weavers adopted form the book covers. Since it was used on Coran covers, it was called Korani design. REPEATED MEDALLION Many Turkish carpets have repetion of central medalions in the lay out of designs. MECIT STYLE Rugs decorateed with naturalistic flowers which Sultan Abdulmecid loved enormously. Mecit Period hich lasted from 1839 to 1861 influenced the rugs made in Gordes, Makri and Milas. MIHRAP SAF SYMETRICAL MIHRAP MIHRAP WITH STEPS MIHRAPS INSIDE OF MIHRAPS MILLE FLEURS A design formed with the mixture of carious flower buds. Mille fluers usually covers the main ground of the praying rugs. This popular pa ttern of south Persian and Indian rugs also seen on the Hereke Carpets. BOTEH Boteh design which is called as leave, prince, palm, female parrot, fig,pear, almond, pine cone, cypress tree and Zoroastrian fire desing is one of the popular patterns in the east. It is still disputed the place of its origine whether it was in india or Persia. Boteh is used as a single pattern and sometimes it is used with the other designs. there is no other design with so varied explanations. According to these explanations, Boteh design represents parrot or symbolic eye image protecting people from the evil eye. Another interesting explanation suggest that Boteh is the sun bird which protects the entry of the paradise. Boteh which is depicted big on the village rugs is shown as a quite small figure on the workshop carpets. MIR-I BOTEH A design consist of use of many tiny boteh motifs side by side. BELLINI/MOUNTAIN RUGS MUSKA/AMULET This triangled formed a mulet which is usually filled with the Coranic Verses, religious and Shamanictic objects is considered to have magical powers. Muska sometimes appears in the form of a pramit formed with unification of many triangles. OCTAGRAM Eight pointed star which i formed with the unification of squares and crosses. TWO SIDED PRAYER RUGS These seccades which have two sided praying niches first appear in the 17th century in Usak and Romania. PARMAKLI The degign which resembles the hand with open fingers. It is widely used on the Kilims of Anatolia. PEACOCK Peacock which symbolise paradise, royalty and nobbles is depicted in naturalistic way on the Persian and Indian rugs. we have more stylised forms of the peacock in Persian, Caucasian and Turkish rugs. PENDANT PAISLEY DESIGN Paisley design which is first appeared on the Kasmir shals was introduced to West during the refabrication of these shals in Scotland. Since they were produced in the town called Paisley, the design was named after it. PEONY/SAKAYIK Peony which symbolise richness, beauty and love is seen in the Chienese Art. MEDALION COLOUMN A coloumn which is formed by the repeat of the medallion designs is often used on the tribal rugs and kilims. It is suggested that this symbolised he tree of life. ANGELS/PERI The winged angels are seen on the Persian Carpets. SECCADE /PRAYING RUGS The carpets having a praying niche and used by the faitful for praying are called seccade or praying rug. RHODIAN LILLY The design which consist of stylised lily or tulip, flanked by two leaves, is known as Rodian Lilly and often seen on the Ladik Carpets. Iznik ceramics containing this design are mistakenly attributed to Rhodes and known as Rhodian ware. ROSE Rose which is a popular design of the Oriental Rugs is often seen on the Turkish Rugs of Mecit Style, on the Senne kilims and on the Karabag carpets. Rose is one of the flowers which represent the gardens of paradise. RUNNING DOG PATTERN This design which resembles the repetition of waves is popular border pattern. some very stylised form of this design is known as Greek Key. HORN Horn which is one of the greatest and most popular symbols of the Turkish rugs and kilims is symbol of strength, power, elevation and prestige. Horn symbol was put on the helmets and shield of many nations to give them power. Contrary to what is accepted, the horn is not only a masculine symbol, it is a receptive feminin symbol. DIAMOND Like all the precious stones, it partakes the general general symbolism of richness and treasures. It also symbolise moral and intellectual knowledge. POPLAR TREE Poplar tree, seen all over Turkey has a special symbolism. Since its leaves have different shades of green on their two sides, the poplar is considered as the tree of life. SAINAK/RAM HORN This pattern with two outward ram horns is called Sainak pattern and usually used on the Ensi rugs. Ram horn symbolise male power and fertility. SANDIK/CHEST This pattern resembling a box is encountered in the center of kilis and rugs and symbolise the trousseau box. generally, this design is accompanied by a "eli belinde" design which is put in the center of chest.The star on the chest is symbol of the happiness. TESTERE DISI A design resembling saw mouth is often used on the Kilimm and rugs. SAZ Popular Ottoman flower design which consist of long leaves, rosette and palmette leaves. S BORDER DESIGN This border motif containing S or Z design symbolise the dragon or serpent which represents the endless knowledge and wisdom, SULTAN'S HEAD DESIGN This pattern, which is attributed to master Zareh, is seen on the prayer rugs. Since the upper end of the mihrap niche resembles the head and shoulders of Sultans figure, it is called Sultan's had figure. STAMP/TAMGA The stamp which is put on the animal to recognise them also used by the tribal people on their kilims and rugs. RUGS WITH TILE DESIGNS Rug experts believe that designs of the some Turkish rugs with white ground such as Cintemani or Bird Ushaks might have originated from the repetions of the tile patterns. This suggestion is also valid for the compartment rugs. TINTORETO CARPETS These rugs having small central medallion, arched niches and red ground are named after a Venetian painter, Tintoretto who usedthem in his paintings. Tintoretto's mos famous painting is displayed in Brer Museum in Milano. KEY HOLE DESIGN This design which consist of a square opening to two hexagons is seen on the Shirvan, Caucacian and historical Turkish rugs.This form might have originated from the mihrap form or from a architectural form. KEY HOLE DESIGN 2/BELLINI Key Hole design, one of the most popular and continuing patterns in Anatolia has been in use for 600 years. since it first appeared in the paintings of Giovanni Bellini, it was known as Bellini Pattern and widely used 16th century. Nearly 33 historical rugs with this pattern are recorded. BELLINI DESIGN The first example of so called "Bellini Rugs"which contain triangle shaped pediment and key hole pattern at the lower part of the rug is seen on the painting of Gentille Bellini who finished his painting in 1507. Belline Rugs which appear on the 16th and 17th century rugs has kufic border design. YING YANG Ying Yang which is the popular pattern of the Chienes Art also seen on the Turkish rugs. It symbolise the light and darkness, male and female bodies, materialistic and spiritual matters. The dots, on the both sides, symbolise that nothing is pure and without fault in the nature, and emphasis they are always together. WOLF MOUTH Wolf mouth is a protective symbol which protect people from the wolf and other wild animals. KARI BOSATAN/GELIN CATLATAN MOTIFI This pattern which is very difficult and time consuming is named by weavers as " the pattern which would make you divorce your wife" because of the difficulty of the design. SPIKE MOTIF Spike design symbolise fertility. TABACCO BAGS Tabacco bags indicate that the rug is woven for a certain man. DOLAPLI HALI This rugs with field arrangement resembling closet covers are called dolapli hali. They are composed of four medallions put next to each other.
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