Carpet
Patterns for tiled carpets made of a number of squares, called Berlin wool work, were introduced in Germany in 1804, and became extremely popular in England in the 1830s.
Polyester has good physical properties and is inherently stain-resistant because it is hydrophobic, however oil-based stains can pose a problem for this type of material and it can be prone to soiling.
DuPont subsequently commercialized a biological process for making 1,3-propanediol from corn syrup, imparting significant renewable content on the corresponding Sorona polyester carpet fibers.
[18][19] The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship".
[16] The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
The handmade rugs come in many patterns and colors, yet the traditional and most common example of Afghan carpet is the octagon-shaped elephant-foot (Bukhara).
The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship".
They were diverse in style, rich in colour and ornamental motifs, and were even separated in categories depending on what sort of animals were depicted on them, such as artsvagorgs (eagle-carpets), vishapagorgs (dragon-carpets) and otsagorgs (serpent-carpets).
[25] The rug mentioned in the Kaptavan inscriptions is composed of three arches, "covered with vegatative ornaments", and bears an artistic resemblance to the illuminated manuscripts produced in Artsakh.
According to Iranica Online, "The main weaving zone was in the eastern TransCaucasus south of the mountains that bisect the region diagonally, the area now comprised in the Azerbaijan SSR; it is the homeland of a Turkic population known today as Azeri.
Once in contact with western influences, there was a large change in production: Chinese manufactories began to produce art deco rugs with commercial look and price point.
Common motifs include scrolling vine networks, arabesques, palmettes, cloud bands, medallions, and overlapping geometric compartments rather than animals and humans.
Excavations at Harappa and Mohenjo-Daro, ancient cities of the Indus Valley civilization, have established that the inhabitants used spindles and spun a wide variety of weaving materials.
Pakistani craftsmen have the capacity to produce any type of carpet using all the popular motifs of gulls, medallions, paisleys, traceries, and geometric designs in various combinations.
[43] Historically: religious, cultural, environmental, sociopolitical and socioeconomic conditions created widespread utilitarian need and have provided artistic inspiration among the many tribal peoples and ethnic groups in Central Asia and Turkey.
[44] Turks, nomadic or pastoral, agrarian or town dwellers, living in tents or in sumptuous houses in large cities, have protected themselves from the extremes of the cold weather by covering the floors, and sometimes walls and doorways, with carpets and rugs.
[46] 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.
Scholars speculate that when the Mongols invaded northwest China in the 13th century, under the leadership of General Subutai, they may have taken as captives some of these skilled carpet weavers.
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 Samokov.
The western traveller Ami Boué, who visited Chiprovtsi in 1836–1838, reported that "mainly young girls, under shelters or in corridors, engage in carpet weaving.
These 105 masterpieces, made under the artistic direction of Charles Le Brun, were never installed, as Louis XIV moved the court to Versailles in 1688.
Their design combines rich acanthus leaves, architectural framing, and mythological scenes (inspired by Cesare Ripa's Iconologie) with emblems of Louis XIV's royal power.
His many surviving works and drawings display graceful rococo s-scrolls, central rosettes, shells, acanthus leaves, and floral swags.
These works are either adaptations of Anatolian or Indo-Persian designs, or employ Elizabethan-Jacobean scrolling vines and blossoms; all but one are dated or bear a coat of arms.
[5] From the 16th to the 19th century, the term "carpet" was used "...as an adjective often with a tinge of contempt, when used of men (as in carpet-knight, 1570s)", which meant a man who was associated with "...luxury, ladies' boudoirs, and drawing rooms".
In some cases, an actual red carpet is used for VIPs and celebrities to walk on, such as at the Cannes Film Festival and when foreign dignitaries are welcomed to a country.
In modern usage in the U.S., the term is sometimes used derisively to refer to a politician who runs for public office in an area where they do not have deep community ties, or have lived only for a short time.
In the United Kingdom, the term was adopted to refer informally to those who join a mutual organization, such as a building society, in order to force it to demutualize, that is, to convert into a joint stock company, solely for personal financial gain.
