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1. Abrash: Meaning "cloud" in Farsi. A change in color caused by using materials like wool or cotton from differing dye lots within the same color area. Some abrash is considered acceptable in a handwoven rug as long as the overall appearance is balanced and pleasing. Abrash is considered undesirable if it detracts from the overall appearance of the rug by its prominence. For an example of abrash, click here.
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| 2. Antique: A rug is considered an "antique" when it is over 100 years old. |
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| 3. Artificial Silk (Art Silk): Typically mercerized cotton or rayon is used to create the appearance of silk at a lower cost. Color run may be a problem because these fibers do not accept dye as well as silk. To test for artificial silk, light and extinguish a small piece of the fiber. If it has a strong smell, similar in quality to the smell of burning hair, then the fiber is real silk. Also, when rubbed vigorously with an open hand, silk will feel warm to the touch while artificial silk or mercerized cotton will stay cool. Like silk rugs, artificial silk rugs are appropriate for light use rooms and wall-hangings. |
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| 4. Axminster: A type of power loom capable of weaving intricate designs that came into use in the 1920's in England. The loom weaves strips just over two feet wide that are then sewn together to form a larger carpet. A 9' x 12' Axminster rug from the early 20th century in good condition is worth approximately $3000.00. Currently, Axminster power looms are used to weave large wall-to-wall, patterned carpets for hotels and conference centers. |
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| 5. Binding / Persian Binding: Binding is the process of securing the end of a rug by anchoring heavy thread across the rug's width. Binding takes different forms, but all types of binding prevent the rug from unraveling. Binding must be secure, so that it cannot slide off the ends of the fringe. When Persian (style) binding is used, the heavy thread is wrapped around small bundles of foundation threads across the width of the rug. |
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| 6. Blocking: Blocking is the process of stretching a rug in order to regain its intended shape. This maintenance procedure should take place about every 10 years or more frequently, if needed. In the case of a rectangular rug, the rug is stretched to restore the right angles of the corners and to straighten the edges. The back of the rug is then treated with a natural starch to "lock in" the proper shape. We recommend keeping the rug in the blocked position for for at least 4 days in order to achieve the best result. See our Restoration Pages and FAQ for more information about rug maintenance. |
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| 7. Boteh: Boteh, a Farsi word, is the Persian rug motif that influenced creation of the Scottish "paisley" pattern. The boteh has been visually interpreted as a flame, a pear, a cluster of leaves, a pinecone, and a teardrop and is typically used as an all-over or repeating pattern. The boteh may be seen in Kerman rugs. |
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| 8. Cartoon: The design layout drawn on graph paper from which a rug is woven. In the cartoon, each square of the graph represents a knot in the rug. The cartoon that is used to weave the rug will be rendered in color to indicate which colors should be used to tie which knots in the rug. |
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| 9. City Rug: A rug which is woven with intent and pre-planning for sale to local consumers and possible export. These rugs usually have a detailed and complex design scheme. City rugs are woven using permanently installed vertical looms of wood or steel and have cotton foundations. Rugs made on these looms can be woven in large widths and long lengths, usually up to 12' wide and over 18' long. The idea that City rugs are woven with a deliberate imperfection in them, because only Allah may create something perfect is a myth. |
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| 10. Color Run: When the wool used to weave a rug has been colored with poor quality dye or has not been rinsed completely prior to weaving, and water comes in contact with the rug, some colors will bleed or run into others. Red happens to be the color that will run the most frequently. For more information regarding color run and how to detect it before it occurs, please visit our FAQ. |
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| 11. Cotton: Material most commonly used to create the warp and weft threads that are the foundation for rugs. City rugs are always woven on a cotton foundation, while Village (Tribal) rugs may have foundations of wool or cotton and occasionally goat hair. Most Village rugs woven in Iran over the last 40 years have been made using a cotton foundation. Cotton is also used to weave some Dhurrie rugs from India. |
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| 12. Dozar: Farsi word that means "2 square meters." A dozar sized rug is roughly 4.5 feet x 6.5 feet. |
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| 13. Dusting / Washing Rugs: Approximately every 4 years, a rug should be dusted and washed. This process should take place more often if the rug is in a high traffic area. See our Restoration Pages and FAQ for more information about rug maintenance. |
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| 14. Fringe: Fringe are the continuation of the rug's warp threads. To some extent, one can identify the country of a rug's origin by the way the fringes are finished. Almost all handmade rugs have fringe. |
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| 15. Gul: Farsi for "flower." Any design element used in rug making, but most often the term refers to an octagonal motif used in an allover or repeated pattern. Often seen in Turkoman rugs. |
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| 16. Herati: Known as the "fish" design. The fish is an optical illusion created by placing a dot at the based of a curved palm frond. The base of the leaf is the fish's head and the tip of the leaf is the tail. This clever design is the result of animal depictions being forbidden in the Muslim religion. Often seen in Bijar or Tabriz Mahi rugs. Mahi means "fish" in Farsi. |
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| 17. Jufti Knot: This knot is not as fine as other knots used, because it is tied around 4 warp threads rather than 2. Rugs tied with jufti knots may be finished more quickly, but tend to be looser and less durable. Some Khorasan rugs use this knot. In the 1970's, use of the jufti knot was banned by the Iranian government, because the knot resulted in rugs being made that were of much lower quality than those woven with the Persian knot. |
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| 18. Kork: Kork wool comes from a special breed of sheep that develops a downy undercoat during cold weather. Before the sheep sheds its winter wool for the warmer weather, it is shorn, and the soft inner coat is separated from the coarse outer hairs that surround it. These sheep are only found in the Southern part of Iran and Northern Afghanistan. |
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| 19. Loom: A loom provides the frame on which a rug is woven. There are tall vertical looms such as those used in weaving "City Rugs," and there are horizontal looms such as those used in weaving "Village Rugs." Using a vertical loom gives the weaver the leverage to create a more tightly woven rug, because gravity is working with her when she pushes down each row of knots, as opposed to the horizontal loom where the weaver must compress the rows of knots by pulling them towards her. Horizontal looms are collapsible and portable, making them well-suited for the use of nomadic weavers. Tall vertical looms are made of wood or steel - steel looms are sturdier and therefore provide a framework on which to weave the tightest and most even rugs. Steel looms are more commonly found in India and China where the weaving industry is more organized and modern. |
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| 20. Mina Khani: The Mina Khani design is a repeating field pattern not uncommon to find in the design of many Oriental rugs. The isolated design is generally a palmette surrounded by a circular vine, and eight stylized flowers of alternating colors. While the isolated design element is square, the overall impression created by the repetition of the design is what might be called a lattice. The flower used resembles the overhead view of a pomegranate. Seen in some Varamin rugs. |
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| 21. Mordant: A substance used to set dye. Tannic acid is a mordant as are certain types of salts. The wool is washed in the mordant solution prior to dying. The use of different mordants in combination with vegetable dyes can result in a range of colors resulting from a single dying agent. |
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| 22. Moth Damage: Moths will eat a rug's wool off of its cotton foundations. If moths infest a rug that is all wool, then one is in danger of losing areas of the rug completely. Moths will lay their eggs in rugs are well, so the infestation will continue until the rug is treated. Rugs should be laid in the sun and all visible moths, moth eggs, and larvae should be swept away. Finally the rug should be taken for professional washing. Moth damage can often be repaired by reweaving these areas. When rugs are going to be stored for any length of time, they should be wrapped with a few moth balls: cedar chips, tobacco, and crumpled newspaper are also moth deterrents. When we wrap rugs for storage, we use a technique that is also used by museums to prevent moth infestation. A long cardboard tube that has been sealed at one end is poked with a few holes, then about a half dozen mothballs are placed inside the tube, and the other end is sealed. The rug is then wrapped around the tube, and the entire package is wrapped in plastic. Rugs stored for long periods of time should be opened for airing out at least once a year. |
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| 23. Myths (About Rugs): One myth about rugs is that very finely woven rugs with small knots were made by the hands of children, the story being that small fingers are required to tie knots of this size. This statement is inaccurate. It takes a very experienced and dexterous weaver to knot a fine rug. In fact, a special metal tool that incorporates a blade in the middle and a small hook on the end helps the weaver repeatedly tie small knots and then cut the ends of the yarn. Another myth is that when there is a mistake in the design or weave of a rug, this was done purposefully, because only Allah can make something perfect. This is a fictional tale: a rug with a defect is a defective rug. A knowledgeable rug merchant will not buy defective merchandise. |
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| 24. Needlepoint: Sewn on a mesh or canvas foundation, using continuous strands of wool, a needlepoint is a flat weave rug that is suitable for use on the floor or for hanging on a wall like tapestry. Needlepoint rugs and pillows were primarily made in Europe, including Portugal. Older needlepoint rugs woven on a burlap foundation were not so durable and most have not lasted to the present day. Needlepoint rugs from China became popular during the 1980's and 90's. When looking at the back of a needlepoint rug, you will see the yarn ends will be pulled through, so the owner of a needlepoint rug may choose to have the back of the rug covered in cotton muslin for a somewhat tidier appearance. This is not necessary, but rather a matter of personal preference. In recent years, fewer needlepoint rugs have been sewn as Chinese laborers moved away from rug-making and towards working in higher wage industries; European countries like Portugal have not made needlepoint rugs for export in over 30 years. As a decorative art, needlepoint continues primarily in the home for personal use. |
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| 25. New: A rug that is less than 20 years old is typically described as "new" in a rug seller's showroom. Due to the nature of the business, a rug seller may have a new rug for several years before the right buyer is found, because each rug is sold when the right match is found between the style and appearance of the rug and the preferences of the buyer. |
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| 26. New Zealand Wool: Better rugs produced in India and Pakistan are made from imported wool combined with local wool. New Zealand wool is very lustrous due to being rich in lanolin. The climate and breeding practices in New Zealand result in sheep with thick, soft coats. New Zealand is the world's largest producer and exporter of crossbred wool, and is second only to Australia in the export of all wool. When rugs are woven, New Zealand wool may be combined with local wool. |
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| 27. Oriental Rug: The term was once used to refer to Persian rugs, but it now is used to describe any hand-knotted rug influenced by traditional Persian designs. |
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| 28. Overcasting: Overcasting is the yarn wrapping around the long sides of a rug, which are perpendicular to the fringe. A rug's overcasting is made from the same material used in weaving the rug, so a hand-knotted wool rug will have wool overcasting while a cotton Dhurrie will have cotton overcasting. When a rug is handmade, overcasting is sewn around and through the edge of the rug; when a rug is machine made, overcasting is wrapped around the edge of the rug and is fastened to the back of the rug with nylon thread. |
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| 29. Palmette: A motif based on the fan-shaped leaves of a palm tree. One famous palmette is referred to as the Shah Abbasi palmette. The motif was seen in both rugs and architecture during the reign of Shah Abbas "The Great." |
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| 30. Persian (Senneh) Knot: A strand of wool is wrapped completely around a single warp thread, and the end of the strand is pulled up to the top of the rug around a second warp thread. Unlike the Turkish knot, the Persian knot is really only tied around a single warp thread. Neither the Persian knot nor the Turkish knot is not considered superior. To see a Persian Knot, please click here. |
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| 31. Pile: When a rug is hand-knotted, the ends of the wool strands become the pile of the rug. As more knots are tied and new colors are introduced, the design of the rug begins to emerge. The ends of the strands will be uneven during the weaving process, which is just fine, because when the rug is finished and removed from the loom, it will subsequently be sheared to create a neat and even appearance. Smooth, level shearing is vital to the overall appearance of the rug and is one aspect of good workmanship in rug-making. |
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| 32. Rosette: A design utilizing a circular arrangement of floral motifs radiating out from the center of the medallion, suggesting the petals of a rose. The floral may be naturalistic or geometric in form. Seen in Nain rugs and some Ghom rugs. |
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| 33. Rug (Carpet): In the U.S., any "portable" floorcovering is referred to as an area rug. In Great Britain, any piece larger than a 6' x 9' is referred to as a carpet. |
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| 34. Semi-Antique: A rug 50-100 years old is considered semi-antique. |
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| 35. Shah Abbasi: A motif that refers to a grouping of palmettes surrounded by curving vines and flowers. Frequently seen in Tabriz, Isfahan, and Kashan rugs. |
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| 36. Shearing: With regards to rugs, the process of trimming the rug's pile after weaving has been completed. The expectation is for a rug to be sheared evenly and uniformly. One should inspect the shearing of a rug prior to purchase by feeling the surface of the rug for smoothness, avoiding rugs with dips or gouges in the pile. |
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| 37. Signature (On a Rug): A signature woven into a rug only enhances its value if the signature is of a famous, master weaver. This could be compared to the signature on a painting only adding value when the painter is well-known and highly regarded. |
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| 38. Silk: Some very fine and lustrous rugs are hand-knotted in silk. 100% silk rugs are beautiful and somewhat rare. Due to the luminscence of silk, it is sometimes used as an accent in wool rugs. Design elements may be outlined in silk or the elements themselves, like flower petals or leaves, may be woven in silk to reflect the light. Small prayer rugs made of silk are not uncommon. Silk rugs feature a very low pile and are smooth and velvety in texture. Being a silk rug does not necessarily mean that a rug is better. Like wool, there are different grades and qualities of silk, and a silk rug may in many cases be comparable in price to a wool rug. While silk is a delicate material for rugs, and we recommend silk rugs only for light use rooms or wall-hanging, each individual silk fiber is quite strong and durable. A well-cared for silk rug will last a long time. When the rug is not in use it should be covered in white or natural cotton muslin and wrapped around a tube for storage. Wrapping in a water resistant, yet breathable home wrap like Tyvek provides additional protection. The goal in wrapping is to reduce contact between the rug and the air, which causes oxidization, without sealing in moisture. |
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| 39. Sunlight: Sunlight has been used as a natural disinfecting agent in the Middle East for thousands of years. Clothes and bedding are laid in the sun where UV light kills the germs that may cause disease. 3 hours of exposure to the sun will kill dust mites, while washing removes the allergens they leave behind. Sunlight in combination with other treatments prevents the recurrence of pet odors after washing. If a rug has been exposed to moisture or insects, like moths, placing it facedown in direct sunlight is a good first step in the process of restoration. Intensive, prolonged exposure to sunlight will cause a rug to fade regardless of the type of dye used. |
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| 40. Synthetic Dye: Dyes made from chemical compounds. Colors derived from synthetic dyes may not age as softly as those from vegetable dyes. As the demand for handmade rugs increased in the West, and production correspondingly increased in the East, the need for controlled, large batch dyes that were less expensive grew. German Chemistry student William Perkin stumbled across the first aniline dye in 1856 while trying to synthesize artificial quinine - the resulting color was mauve. Other aniline dyes followed, like "Fuchsine" in 1858, which provided a magenta color. The inexpensive aniline dyes developed in the late 1800's created bright, attractive colors easily and inexpensively, but they faded rapidly with exposure to sunlight and ran when exposed to water. The Persian King, Nasser-e-Din Shah, banned the use of aniline dyes in Iran in 1903 due to their inferiority. Synthetic dyes were not used by Persian rug makers again until modern chrome dyes were developed in the late 1920's / early 1930's. Chrome dyes are colorfast and provide the color variety and intensity required by contemporary rugmakers. Synthetic dyes were thought of as inferior to natural dyes in the 1950's and 60's, however, they have come a long way. Because a rug is made with synthetic dye, it is not necessarily a "bad" rug. Over the years, Germany and Switzerland have produced some of the best synthetic dyes on the market. |
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| 41. Tea StainedTea: Tea stained rugs are produced primarily in India where dipping in a solution of tea, herbs, and nuts gives the rugs an aged look. Tea stained rugs were first made for the export market in the late 1980's to coordinate with antiqued fabrics that had come to popularity at the time; the practice peaked in the late 1990's. When a tea stained rug is washed, it may lose some of the aged effect provided by the stain, and the end result could be a rug that looks blotchy and uneven. |
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| 42. Turkish (Ghiordes) Knot: A strand of wool is wrapped around two warp threads. The two ends of the wool strand are then held together and are threaded back between the two warp threads to secure the knot. As a result, the Turkish knot is tied around two warp threads. Neither the Turkish knot nor the Persian knot is not considered superior. To see a Turkish Knot, please click here. |
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| 43. Used: In the rug industry, a rug between 20 and 50 years old is considered used. This is a trade term and does not necessarily mean that the rug has received heavy wear. |
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44. Vegetable (Vegetal) and Natural Dye: Natural textile dye is made from materials like berries, nuts, and bark. Madder is used to make red dye, as is cochineal. Madder root from a more mature plant (at least 5 years old) makes a darker red dye. Cochineal is a beetle, which is dried and ground to make a dye called carmine. Yellow is made from marigolds, saffron, and tumeric. Browns and blacks come from sumac leaves and walnut hulls. Henna, saffron, and pomegranate skins create orange shades. Green is made by overdying indigo blue with yellow. There are also several mineral dyes such as ocher (yellow), limestone (white), manganese (black), cinnabar (red), azurite and lapis lazuli (blue), and malachite (green). Natural dye intensity may vary from batch to batch due to differences in the quantity of dye used and the temperature of the dye bath, which results in the abrash, or shade variation within a color area, which is seen in some rugs.
Natural dyes are certainly superior to old, 19th century synthetic dyes, however, the shades produced by newer synthetic dyes can be very high quality, beautiful, and colorfast. |
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| 45. Village (Tribal) Rug: A rug woven by nomadic or semi-nomadic tribal groups outside of the city weaving centers. A Village rug is usually more primitive and geometric in its design. While the foundation threads of City rugs are generally cotton, the foundation threads of Village rugs are usually wool or are even sometimes made of goat hair. Rugs are woven on a horizontal loom that may be taken apart, making it portable. The leverage for compacting the rows of knots on a horizontal loom is less than when using a vertical loom, which results in rugs that are not as tightly woven. Village rugs are generally woven from traditional designs handed down from one generation of weavers to the next. |
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| 46. Warp: Vertical foundation threads around which knots are tied in a hand-knotted rug. Fringe are the visible ends of a rug's warp threads, which are finished after the rug is removed from the loom. Warps in City rugs are cotton. In Village (Tribal) rugs, they may be cotton, wool, or even goat hair. |
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| 47. Weft: Horizontal foundation threads that are used to hold rows of knots in place in a hand-knotted rug, wefts are woven between the warp threads. A weft thread may be sewn over a single row of knots or over multiple rows of knots. When all the warp threads are on the same level the weft will be a thin thread. When the warp threads are on two levels, a thick weft is used. Wefts in City rugs are cotton. In Village (Tribal) rugs, they may be cotton, wool, or even goat hair. Warp and weft threads together make up the foundation of the rug. |
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| 48. Whorl: Design element which is a circular arrangement of leaves or flowers around a single stem. |
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| 49. Wool: Most Oriental rugs are hand-knotted in wool on a wool or cotton foundation. A rug's wool pile should be soft and lustrous. Shedding and dryness are signs of poor quality wool. The quality of wool is impacted by the breeding of the sheep and the climate in which they graze. Warm, dry climates will produce dry wool, while cool, mild climates will produce a soft, lustrous wool. New Zealand wool is known to be of a high quality, and this is the result of a climate and breeding, which are conducive to raising sheep that will produce the highest quality product. |
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| 50. Zaronim: Rug size that is roughly 3.5 feet by 5.5 feet. |
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