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Oriental rugs, like other textiles, are fragile compared to many domestic objects. Eventually,
oriental rugs are destroyed by reasonable use. They are not “over-engineered” in the manner or a
cast-iron stove that could last an eternity of reasonable use. However, if rugs are viewed more as
art works than floor coverings, then special measures for their preservation are justified.
Many of the measures for the use, care, storage, and display of oriental rugs in this chapter are
merely common sense. But sometimes reminders of common sense are helpful. Some of the
measures are more appropriate for rugs as art objects. The measures you use are the true
indicators of your valuation of a rug- a valuation somewhere between household expendable and
work of art.

Consider the condition, type, and value of a rug in deciding where to place it. A fragile rug or
kilim will not last long in high-traffic areas such as halls and entryways. Rugs in such areas
should be in full pile as the resilience of this surface protects the knots. Knots without pile are
not so effective in protecting the foundation. The rate of wear down to the foundation speeds up
rapidly once the knots are exposed.

Do not put oriental rugs in the kitchen. This is the wrong location for a rug of any value as food
stains and heavy use will destroy it quickly. Among Near Eastern villagers and nomads, it is
customary to remove shoes or boots when entering houses or tents. Older nomadic, tribal, and
village rugs were never intended to be exposed to footwear. They are not designed to withstand
the constant friction of leather or the tortuous pressures of high heels. Accordingly, they should
not be used in high-traffic areas. Contemporary factory-made oriental rugs are a different matter.
They are constructed to hold up under normal Western usage.

You can protect oriental rugs from hard friction and crushing wear by placing them on pads or
other carpets. The resiliency of underlying materials allows the rug to flex, which prolongs its
life. As an added benefit, the rug is more comfortable to walk on. Fiber or felt pads are
preferable to foam rubber particles work their way into the back of the rug.

Cut rug pads I inch (2.5 centimeters) smaller than the rug, all the way around the edge. The rug
edge will then conceal the padding. Fiber or felt pads tend to flatten and spread slightly at the
edges, but the I-inch border allows for this.

Before cutting a pad, measure the rug carefully and check the corners with a large square. You
may find the rug is not a rectangle but another quadrilateral. To cut fiber pads, use heavy-duty X-
Acto knife. Mark the cut line on the pad with a felt-tip pen. Then use a metal straight edge guide
the knife. Considerable pressure or multiple strokes are needed. A wooden board can be placed
under the cut line and pad to protect work surfaces. Pads can be pieced together using 2- or 3-
inch (5 or 6 centimeters) gaffer tape or duct tape.

Wear will be more evenly distributed if rugs in high-traffic areas are reversed each year. This
end-to-end reversal is very desirable even though you do not notice annual wear. Once the knots
are exposed in a particular area of the rug, wear will proceed much more rapidly. Reversing the
rug will preserve the pile and delay wear exposure of the knots.

Use coasters to protect rugs where furniture rests on the rug. Move the furniture around or
reverse rugs annually so that crushed pile can “relax”. If pile has been crushed by furniture legs,
it can usually be restored by steaming and brushing the area.

It is a good idea to vacuum rugs that are in frequent use. Vacuuming prolongs the period between
washes and reduces rug wear. Rugs in high-traffic areas should be vacuumed once a week.
Use a brushless vacuum nozzle for the greatest efficiency. If your vacuum cleaner has a power-
driven rotating brush at the nozzle, never pass the nozzle over rug ends. Rotating brushes loosen
fringes, end wefts, and end knots. How often should a rug be washed? Frequent washing can
weaken a rug. This is offset by the fact that rug fibers are cut by entrapped soil particles. There is
no rule of thumb as to the frequency of washing. Consider these questions in deciding whether a
rug needs a wash:

  • Does solid come off on your hand when to rub the pile, even after vacuuming?
  • Aside from abrash, are there differences in the shade of similar light-colored areas?
  • Has the rug been exposed to heavy traffic?
  • Does the rug have a stale or dusty smell?
    If your answer to any two of these questions is “yes”, then the rug probably needs a wash.
    Of course, you know that a rug with foundation damage should not be used. Where warps or
    wefts are broken in the foundation, the selvage, or ends, the damage will spread rapidly under the
    stress of use. Either repair the damage promptly or take the rug out of service.
    Clean up spills right away. Scrape up solid materials and blot up liquids. Blot from the edges of
    the spill towards the center. After all excess liquid has been soaked up, surface clean the spill
    area. If the spilled substance may stain, use the appropriate stain-removal techniques.
    Finally, it is a good idea to carefully inspect rug at least once each year. Look for wear or
    damage that should be repaired before it gets any worse. For rugs mounted on walls, check the
    back side annually since this is where moths leave their eggs.

The area where rugs are stored should not be subject to wide temperature variations. Some
humidity is all right. But it should not be high enough to support mildew. Optimum storage
conditions are 50% relative humidity and a temperature of 70° (21 °C). Do not place rugs in
storage unless they are clean. Soiled rugs invite insect attack and mildew.
Periodically inspect stored rugs. This is the only way you can be sure that the rugs are not being
attacked by insects. Moth repellent products are not entirely dependable. Though their use ins
recommended, do not rely on them to the exclusion of regular inspections.
Roll rugs up for storage. It is best to store rolled rugs horizontally rather than on one end. Rugs
will be damaged along crease lines if they are folded for long-term storage.

Regular brown wrapping paper can be used to protect most rugs in storage. Never store rugs in
plastic wrapping. The rugs should be able to absorb moisture from the atmosphere and release
moisture into the atmosphere. For every valuable rug, acid-free tissue paper is placed on the rug
and rolled up with the rug. Heavy acid-free paper is then used to wrap the rolled rug.

Increasingly, fine rugs and collectors’ rugs re displayed on walls. The motive is greater visibility
and protection for the rug. But a rug displayed on the wall is exposed to a whole new set of
hazards. These hazards can be eliminated or reduced depending on the location and manner of
Let’s consider the risk posed by the location of the rug, these include:

  • Fading. Consistent exposure to direct sunlight will fade a rug. Do not mount a rug on a
    surface where it will be regularly exposed to direct sunlight. If there is n alternative
    location, rugs can be protected with ultra-violet filtering Plexiglas (UF-3). Contact a local
    museum to find the nearest supplier of conservation materials.
  • Dust condensation. If rugs are hung against a relatively cool surface in a room, fine dust
    in the air will be deposited on the rug. Avoid mounting rugs in such locations.
  • Desiccation. Do not hang rugs above radiators or hot air registers. The long-term effect is
    to dry out and embrittle the fibers.

Material used in connection with display can cause damage. Metal in combination with moisture
and air pollutants will corrode fibers where there is contact. Accordingly, nails, screws, hooks,
staples, suspension rings, and wire should never actually touch the mounted rug. Direct contact
with raw wood can cause staining and corrosion So, wooden surfaces must be covered with some
other fabric (preferably unbleached, unstarched muslin) where contact with the rug is possible.
Wall display, if incorrectly done, can structurally damage a rug. The weight of the rug can
permanently stretch warps and wefts, producing scalloping at the suspension points, bellying,
and wrinkles. To avoid structural damage, the mounting system must provide even support for
the rug. We will describe four mounting systems: permanent frame or panel mounting,
suspension rings, Velcro mounting, and hanging a rug from a batten.

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A wide variety of natural fiber are used in oriental rugs. By far the most common are wool, cotton, and silk. Goat hair, camel hair, horsehair, yak hair, and jute are also used.

Some of these fibers can only be distinguished microscopically. With experience, wool, cotton, and silk can be identifies by their appearance and texture. In comparison to cotton, wool is less soft, more coarsely textured, and has more “spring” to it.

Undyed cotton has a hard white appearance compared to white wool. Silk is more flexible and glossier than either wool or cotton, although it is possible to mistake very glossy wool or mercerized cotton for silk.

As a group, vegetable fiber is much resistant to alkalis the animal fibers. Animal fibers will disintegrate in a string lye solution, while vegetable fibers will remain intact. This is one of distinguishing silk and cotton. 


The most important qualities in wool are fiber fineness, fiber length, and natural color. These qualities are primarily determined by the breed of sheep, but they are also influenced by climate and pasturage.

The fineness of wool fiber ranges from a thickness of I/3,000 inch (I/7,620 centimeter) to I/275 inch (I/1698 centimeter). The merino and its crossbreeds regularly produce the finest wool, but fine wool is also taken in the first shearing of lambs from many breeds. Breeds producing coarse wools are generally found in the Middle East. Fairly coarse wools have better wear resistance than fine wools. When in doubt yarns or fibers, a small quantity can be burned. This test is reliable. 


The use of cotton in the foundation of pile rugs is incredibly old practice. There are 17th-century Persian carpets with wraps and wefts of cotton. Indeed, most town or factory rugs have cotton warps. Undyed cotton is occasionally used for pile in small areas, where its hard white appearance provides contrast. Cotton is not generally used as an all-over pile fiber because of its tendency to mat.

Cotton is grown throughout the Middle East and Asia. Egyptian cotton is well known for its long staple, only exceeded in length by Georgia Sea Island cotton. Staple length varies from 3/8 inch (0.952 centimeter) to 2 ½ inches (6.35 centimeters), the longer being more prized.

Fiber of the cotton plant has the cross-section of a flattened tube. The fiber is naturally twisted, and this characteristic makes it easier to spin.

Mercerized cotton is cotton yarn treated with caustic alkali while the yarn is under tension. This process increases the luster off the yarn to such a degree that it may be mistaken for silk. 


Silk is used in the pile and foundation of some of the costliest Middle Eastern and Chinese rugs. Silk is sometimes used for the pile in a rug with a cotton or wool foundation. In some Turkmen and Caucasian rugs, small colored areas of silk pile are found with an otherwise wool pile. 

The principal source of cultivate silk is the cocoon of the moth, Bombyx mori. Filament from the cocoon is about I/I,200 inch (I/3,048 centimeter) thick, and from 800 to I,200 yards (730-I, I00 meters) long. Commercial silk from cultivated moths is initially classified as reeled or unreeled silk. Reeled silk is unwound directly from undamaged cocoons floating in a hot water bath and is made up of along parallel filaments before it is spun. This pearly soft-white silk is the finest and most highly valued. Unreeled or spun silk comes from damaged or stained cocoons The cocoon filament is loosened by fermentation or washing. After cleaning, the tangled filament is combed and then spun.

Wild or tussur silk, from a variety of moth species, is collected and processed in remote areas of the Orient and the Middle East. Tussur silk is usually gray, but it can be brown or orange depending on the moth species. This type of silk dyes and only takes darker colors successfully. 

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Carpet designing is a continuation of that those days. Despite the improvement in the quality of its production in cities such as Tabriz and Isfahan, and the effort of great artists like Bahadori, Archand, Reza Vafa and many others, Iranian carpet is in the need of a serious review to gold is Position on the peak of beauty. To complete this subject, it is necessary to study a little about the quality of carpet designing in Iran and to specify its main factors.  Generally, carpet designing has the following characteristics:

  1. Classical designing.
  2. Portrait designing (Miniature).
  3. Color.

It is evident that the above-mentioned classification is not a definitive scientific one and it has been considered in connection whit carpet’s production and its weaving.


In considering the methods of production in Iranian carpet-weaving, we can observe the process and history of carpet-weaving from the time of making felt carpets, weaving Gelim (Persian word for short-napped coarse carpet) and primitive carpets to its most advanced phases of carpet-weaving such as woven carpet and miniature ones. According to some standards, methods of production are divided into rural type of production and urban type. The development of designing is exactly like the process of carpet-weaving. Most of the advanced designing of today is the developed form designs which were woven with broken and angled lines in villages and some small towns years ago.

These designs are either named with recognized traditional Iranian names such as shah Abbas, Lachak Toranj Afshanm Boteh, Mahi, Kaf Sadeh, Shekargah, Gol-o-Derakht, Heivandar, or after the places where they have been produced: Joshagah Ardebil, Cucasia, Sarough, Bijar, Torkman, etc. Some other time they take their names from the form of the carpet such as: Janamazi, Sotoundar, Goldani, Ghabghbi, Bazoubandi, Minakhani, or from the name of the subject: Sheikh Lotfollah, Bou Ali Sina Tomb, Eivan Madaen.

Although there are a great number of names used in carpet-weaving; it seems that the number of its principal designs, does not exceed from 19, that was mentioned by Iranian carpet Co. Considering the unlimited power of imagination of Iranian artist and designers, now we can witness, for example, the presentation of Shah Abassi flower in many different forms and colors, every one of which a complete example of Iranian talent and love of beauty.

The most distinguished component of designs consists of elements such as Shah Abassi’s Flower, Gol Anari, Gol-Niloufari, Shak-o-Barg (foliage), Eslimi (Islami), Khotaei, Boteh Rose (Gol-e-Sorkh), Cypress tree, etc. These elements appear under different forms. The designs are overshadowed by a long period of time, so they need profound historical, artistic, and cultural studies. 

Designs such as Mahi (Mehr and Mitra, Iranian’s myths before Islam), Cypress, Pine and shrub (Sacred tree or symbol of Zoroastrian fire), Gol Anari (Sacred fruit), and Eslimi, are related to those old Iranian myths and beliefs that have been changes under the influence of cultural and social conditions of subsequent centuries. Eslimi is a design that was wrongly attributed to Arabic culture and was called Arabesque. This design is probably a painting of the head of an elephant, and it shows the talent and imagination of the artist who made it and known as one of the most beautiful Iranian’s traditional design. It is Said that Khataei may be named after Khat (line) or may be related to Khotan, a city in China.  Boteh is a symbol of pine and Cypress trees that signifies some concepts and forms in the carpet-designing. Anari and Shah Abassi flowers are forms which are related to Safavid age.

There are different opinions about the origin of carpet designs, we leave the critical study of these opinions to clear-sighted persons. Wherever these designs come from or to any period they belong, they have been dissolved in Iranian culture and were adapted to the Iranian’s desire and spiritual needs. So, the discussion is not about the place from where the designs had come or the period to which they may belong, important pint is the fact that “Kermani” weaver creates such a flower and plant on his carpet, that it appears to be most beautiful ones, and by this creation he satisfied his spiritual needs. The Iranian weaver does not weave only for this reason that the design is historical, mythical, or Iranian, he does his work because he needs to do it. This need, whether spiritual or economic, is the best reason for the continuance of carpet-weaving. In comparison with miniature, Iranian classical design has some particularities that require the weaver to have some experience. So, in this type of designing the artist point of view does not hold the first importance. It is so because these designs; however large and difficult they might be, can be woven with a little precision and the knowledge of drawing-reading. The difference between and experienced master and apprentice is in their quickness and the remembrance of some of its particularities like dimension. 

Since there was not printed and checkered papers in old times, the designs were either painted the same size as the carpets or the were lined in checkered form by coal or chalk (in the absence of Pencil). Drawings were read loudly by a master who knew drawing-reading (This method still exists because some weavers do not know drawing-reading). 

Using designing papers, skilled painters can draw precise and clear drawings and exactly specify the colors, so the weaving of classical designs would become a technical work even in its most difficult form. The artist is mainly responsible for the artistic aspect in classical designs, and he can create a work like design of “Bashariat” (humanism) by Elissa Bahadori, which became a masterpiece in classical designs. Obviously, to obtain such an artistic rank in classical drawing one needs, in the first place, a profound artistic and technical proficiency with long years of experience and skill. It is understood that one of the Iranian’s traditional method of teaching drawing in Academic centers was to recommend copying out the buildings of Safavid age. Many known artists have done this difficult task with love during long hours. Although we do not claim that the most valuable carpet designs are the traditional Iranian ones; all Iranian art lovers find Isfahan with its flower, trees and bird designs, the center of the world’s art.


Miniature is an old and recognized word in Iranian designing, but what is called miniature in carpet-weaving is a fine-woven and delicate carpet whose design is based on concepts of poems, stories and proverbs or other Iranian artistic works. Although portrait-weaving on carpet is not a new profession; the primitive designs in this field were miniatures (taken from Chinese paintings) that despite their brilliant coloring did not have pictorial and perspective dimensions. It is not known when the present tableaux weaving was learnt by Iranians, but the presence of fine pictorial carpets not only shows the potential abilities in carpet-weaving, but also indicates a climax in reaching the technic of the best usage of colors. 

Weavers of this kind of carpets are highly skilled, they earn their skill and experience through long years of hard work.

The apparent development of this kind of carpet-weaving is confirmed by the presentation of several carpets on which one can see different designs of buildings, mosques, or rural areas, but the development of this kind of carpet does not necessarily means that all the products of these designs were successful. Most of these carpets do not have the basic characteristics of anatomy, perspective or coloring’s standards and rules. The main reason is the use of non-skilled and in experiences painters who have no information about designing. 

Although the designer, weaver and producer are charged with the responsibility of the artistic value of this kind of carpet; the final quality of the carpet is determined by design and coloring which proceed from the talent of the painter. If the producer himself gives the design of the carpet, the best result will be obtained. 

Carpet designer and painter will be successful only when he is highly informed about, the perspective, anatomy, coloring different schools of art and the method of conformation of drawing with texture. 

The matters mentioned above are accessible, but sometimes they are disregarded because of uniformed and profiteer producers who follow only the mode and fashion and never think about the creation of a perfect artistic work.

At the end of this subject, it is good to mention that despite many difficulties, the fineness, and the high value of some of the pictorial carpets, that are equal to artistic tableaux, we cannot confirm the development of this method of carpet production. It is so because when non-Iranian subjects are used, the design will be mostly influenced by European art, and it will lead to the loss of Iranian’s traditional and delicate carpet-weaving.

  1. COLOR

There is no doubt that design and color are two undividable qualities in carpet designing, and it is not in our intention to separate these two aspects. Whenever we talk about a proper and artistic design of a carpet, it is obvious that this design is shown by coloring. Color is the principal parameter in Iranian carpet and is not dividable from the carpet itself. The pleasant Iranian colors that are shown in numerous figures and flowers are the symbols of Eastern culture and arts as well as the creative talent of the weaver and designer. The selection and harmony of colors, particularly in fine-woven carpets is a specialized job that needs extraordinary skill and experience. Just for coloring a face, one may need at least ten shades of a single color.

To get a clear notion about the value and extreme difficulty of tableau weaving, it is good to mention those carpets which are woven from “Leonardo Davinci’s” “last Supper”; On these carpets, the designer and weaver have to try hard and put many different colors together in order to recreate just a line that the painter had produced.

Therefore, very few carpets can be found that conforms to the tableau of Leonardo Davinci. The best result will be obtained when, first, the designer is endowed with a philosophical point of view of art, then the designer must know how to weave the carpet and at last the weaver should have the ability of understanding artistic concepts and possess a rich color sense. The result of such harmony with the assistance of the proper devices and equipment, will be an artistic masterpiece.

The remarkable quality of colors in carpet is its closeness to that of the nature which produce in the mind of the viewer, a kind of spiritual calmness and tranquility. This special effect can be taken from natural colors, and this is one of the most important reasons that clear sighted persons insist on its use. In the structure of a natural dye called by “Ronas”, for example, there are four or five dye stuff. When these stuffs are combined; they will produce a dye named by “Ronasi” that is one of the most pleasant vegetable dyes.

To obtain a chemical dye, like Ronasai, we need to mix several dye stuffs. On the other hand, the essential factor in the color of Ronas, Alizarin, can never give a similar color to Ronas in its purest form. 

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Carpet history could be traced to the beginning of human civilization. When man realized that he could not live on cold, thorny, and insect-ridden ground, he began to use the skin and mixed wools of the animals living around his residential place. No doubt, the various kinds of the early carpets had a quality like the felt or primary weavings. There is no trace left of primitive carpets and is due to the fact that it has a nondurable quality, so none of historians and researcher’s theories can trace the exact date at which this beautiful human phenomenon was originally produced.

Obviously, Iranians can not claim to be the first producers of the hand-woven carpet, but the historical evidence, especially the discovery of the “Pazirik carpet”, outlines the immense portion which Iranians had in the creation and production of this precious art.

In Homer’s poems, it is mentioned that “The Iranian chariots are covered with purple carpets”. Xenephon in recording the history of Iran’s wars, points out that <Iranians used soft carpets under their beds>. Un Anabasis book, the author speaks about a carpet with a price equivalent a 10 Minaos (the ten Greek currency). Which was equal to 38 Silver pounds. 

There have always been various opinions about the real quality of those carpets and the fact that whether they were really carpets, or a kind of felt or painted needle work and as on.

In a book, published in 1950 about the discoveries of professor “RODENK”>, a Russian archeologist, the discovery of a carpet, which has been found from the frozen tomb of a Sokaidking in Altai of Mongolia near the southern part of Siberia, is mentioned. This carpet is called after the place from where it was found, “the Pazirik”. It has surprisingly survived almost intact, because of the eternal ice of Siberian area, and is now kept in Leningrad’s “Armitage” museum. The dimension of this carpet is 6.7 feet by 6 feet equal to 190 by 210 cm2. The number of knots within one square centimeter is about 36 Persian knots. Its colors are dark-red brown, orange, and a kind of greenish blue, known today as pazirik color. Colors used in this carpet are form animal and plant origin.

The age of this carpet, which is a villous and knotty type, goes back to the 5th century B.C., because of its designing and drawing of Persian cavalry with their costumes and arms that belonged to the glorious era of Iranian’s Empire and reminds us “Clearly the Perspolice figures”. The fact is that this carpet had been woven in an Iranian territory, probably in “Khorasan”, or at least in an Iranian dominated land of Media and Parthia.

In any case, whether Iranians are producer of the first woven carpets or not, they can claim that 2500 years ago they were producing woven and knotty carpets with exact technical painting in Iran.

From the supposed date of the production of the “Pasirik” carpet up to 16th century, when the famous carpet of “Ardebil” was woven, no examples are available. Before the discovery of the “Pasirik” carpet, the record of Persian carpet weaving was referred to the “Mongul” or “Seljukian” time. But according to the Islamic geographers and historians, carpets have certainly existed before these times.

We avoid mentioning the sayings of historians and tourists such as “Moghadassi”, “Tbn Batouteh”, “Yagut” and others, because not only there is not any supported evidence, but also, we are not write history. For getting more information about the history of carpets as well as the existing carpets in museums, we can only refer our readers to other books.

In any case, as I mentioned earlier, we do not intend to repeat the historical matters about carpets, such as disrespects of the “Mongul”, “Seljukian”, “Helakooian” and other invaders who did their utmost efforts to impair the cultural and traditional manifestations of this territory as the hardships and bitterness imposed upon the carpet weavers.

The influence of Islamic culture on eastern carpets in general, and Persian carpets is obvious to the extend that we have witnessed the transformation of many mythical and old Iranian design to Islamic symbols which have been mainly religious and dramatic. The best example is the “fish design” known as “MAHI-DARHAM”. The design is, in fact, and improved picture of the fish which once was the symbol of Mehr and Mitra (the sun), the old Iranian myths. This symbol was changed to a curved leaf after Islam. 

On the other hand, to respect the pictures and the names of the saints as well as the Qoranic verses, painted on foot carpets, the art of carpet weaving witnessed the appearance of a new type of carpet which took the decorative and curtainlike forms. These later type of carpets ere the first ones which were exported to Europe and were known as “Sajedehei” and “Janamazi Mehrabi”. 


Although the beginning of the period during which carpet presented itself as an artistic – economic good in Iranian society is not known, but the time of its culmination which is equal to the period of production of precious and commercially oriented carpets has almost been determined. There are certain documents that indicate the carpet industry was in its culmination during the reign of Safavid. The famous carpet known as “Sheikh Safei” which has been woven for the tomb of “Sheikh Safieddin Ardebili”, the funder of this dynasty, is now preserved in the Victoria Albert Museum. Other carpets, belonging to this period that are preserved in different museums throughout the world, are the best evidence that the Persian Carpet attained its perfection for almost 100 years for the sake of its designing and coloring.

The Safavid period, especially during the reign of the first three kings of this dynasty, was golden age for carpet. Many of the most beautiful designs, paintings, and textures, such as inconceivable beauty of mosques and historical monuments are indebted to this period. Because of the protection that was carried out for the artists in general and designers and painters in particular, many souvenirs of that golden age can now be seen on the Iranian carpet. Visitors and travelers such as Tavernier and Chardin reported of specific ateliers located near the royal palaces where exquisite carpets were often woven for foreign princes and governors, and at the come time great designers and painters like “Reza Abassi” created their valuable works in there.

We can not talk about this period without remembering with regret that many delicate and priceless carpets which were sent out of Iran in different ways with the help of some companies and brokers. These carpets are now exposed to the sight and pleasure of art lovers from different countries. 

Since it is our intention to discuss about more important aspects of Persian carpet, we will allude briefly to some famous carpets, including “Sheikh Safei” known as “Ardebili Carpet” (A similar carpet to this one is preserved in U.S.A). An important characteristic of this carpet is the weaver’s name and the weaving date which have been mentioned in the margins of the carpet in the following form:

AMAL MAGHSOUD KASHANI 946 Having no shelter, except your threshold, this is all my wealth.

Since the evaluation of carpets, especially the artistic ones, is mostly considered for historical point of view, the date and quality of weaving would be of much importance. It is so, because a carpet like other artistic works, reflects the features and problems of its time.

Due to the modesty of the Iranian artists, most of the old carpets, like other handicrafts do not hold the weaver’s name and the weaving date. However, we have some relatively clear criteria for tracing the time and place of the production of the carpets. These criteria are such as:

The technical and scientific methods used in carpets, the specific principals such as the usage of different materials (wool, silk, cotton, natural and chemical dyes), it degree of wearing out, the degree paleness for determining the age, the type of drawing and coloring, the weaving method and etc.

Despite all these, the name and the date mentioned on a famous carpet like “Sheikh Safei” does not lead us to a clear conclusion, because, while the definite place of carpet is the tomb of “Sheikh Safi Arbebil”, but we know the type of knots and weaver’s name apparently show that carpet has been woven in Persian style in “Kashan”. Although this matter ins not definitely established, it is likely to be correct. It is on the account of the fact that much carpet weaving was not then practiced in “Isfahan” and the city of Tabriz also was not considered a safe place for this purpose because of the “Ottman Turks” invasion. 

Other famous carpets, some of them the most valuable objects of museums, are such as: the famous “Hunting” carpet kept in the “Vienna Museum”, “Chelsi” carpet and “Medallyon” carpet with base design in the Victoria Albert Museum in London, carpet including flower and animas design in the “Poldi Pezzoli” Milan, another carpet with a same style in the “Metropolitan” museum, New York city and hundred more Persian Carpets which are priceless masterpieces and are kept in foreign museums and private collections. It is not known how and when these carpets were transferred to these new places. 

Persian’s Carpets well known quality and beauty facilitate its penetration to the international market. Although Turkish and Chinese came to this market at the same time or probably before Iranians, with the appearance of Persian carpets. Apart from the extraordinary preservation of the Pazirik, there is not any other trace of Persian carpets, except for few occasions, before the sixteenth century. It is very difficult to estimate when Persian carpets came to foreign market as a commercial commodity but according to the visitors’ and travelers’ references, there are documents proving the presence of Persian rugs in: “Venice” and “Geneva” markets alongside with “Anatoli”, “Caucasian” and other carpets. It is an exaggeration to think that Iranians were the first exporters of carpet to European and other markets. There were some other countries, especially Turkey and Anatoli, with traditional Islamic design that have opened this market door before or least at the same time with Persian carpets.

The different kind of these carpets which gradually became the traditional carpet design of Iran are “Mehrabi”, Janamazi Sjadeh” and “Goldani” that are mastered in style, design and production. 


In the absence of a good design and color, the carpet. In its best condition, can be only judged by its fine texture. From artistic point of view, a good carpet is one that is designed by “Behzad”, “Bahadori”, “Srchang”. Or other famous designers or at least has the traditional Eastern form even if it does not include an exceptionally fine texture.

The designs of Abrabzadeh, Rostam, Shirazi, and Binam Tabrizi show such a concept. On the other hand, a good design with its firmness can improve a carpet from the state of a mere commercial object into an artistic work.

But Iranian’s carpet design, which in fact reflects painting and gilding art, is connected to a chain based on which all other limited but perfect Iranian’s arts such as calligraphy, Engraving, designing carved-works, Gilding and even diaphoretic, are found. Although traditional and social restriction in some Iranian artistic fields limited them; it influenced the creative mind of artists and caused their work in poetry or writing full of deep sensibility. Carpet-weaving became a vast field where all those hidden arts, in old, buried books came out of their exiles and after a hard work, were combined with fine design and color that created many fine carpets for the future generation.

Whenever carpet designing was protected; it was not only a good chance for showing the artistic ability of its generation, but also an opportunity for the symbolic presentation of historical, social, and national concepts.

Blossoming arts such as calligraphy designing, and gilding are the best results drawn from the combination of the young Islamic ideas with the old Sassanid works. Carpet designing is the continuation of arts such as: gilding and writing in Iran. Traditional designing reached its perfection at the Safavid age. Although “Pazirik” or other designs on the works like “cachmere” and “needle lace” show that 2000 years ago there was a kind of primitive but at the same time planned designing; there is no document which could show us when carpet designing exactly began to change. Since there has always been a linkage between the decorative and drawing arts in the Iranian handicraft, we can estimate that at least carpets produced in cities, were like gilding, tilework, and other arts in whose perfection, designing played the major role. The perfection of the tenth and eleventh centuries’ art was the continuation of the above-mentioned styles. 

The glorious period of carpet-designing in Iran belongs certainly to the Safavid age. Carpet-designing like other artistic works, was improves by the support of the government. Although in carpets that are presented in museums, we see no trace of famous artists such as Reza Abbasi, Behzad or Soltan Mohammad; the production of such beautiful and valuable carpets is the result of their and talent. 

The support of designing carpet-weaving during Safavid age, not only enriched today’s world with the most beautiful assemblage of artistic work, but also affected the history of carpet-weaving of Iran greatly years after it. The effort in the ground of carpet-weaving not only led to the development of classical designs but also created a new field in carpet-weaving, which was the use of figurative painting (miniature). The use of painting made Persian carpets, the most unrivalled kind in the world.

After the Safavid age, a recession began in the carpet industry. Although we have some slight movements during and after Qajar dynasty; it was nothing more than the repetition of the gold design. It is not necessary to repeat that any other art except carpet needs to change itself whit time in order to survive, but in carpets-weaving; although, the designs of 500 years ago with its particularities and colors are still used; it does not lose its attraction and beauty.

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The Pazyryk carpet, discovered in an ancient grave in Siberia, has survived for 2,500 years. That is an amazing endurance record for a pile rug. But then it was frozen for most of that time. It was not exposed to wear, insect attack, and rot – the sources of damage that of the bring a 5-year-old rug to the scrap heap.

Ultimately, protection from damage depends on the owner’s view of the rug’s value, for this generally determines how well he or she cares of it. The value of oriental rugs has varied with fashions in interior decoration. When oriental rugs fell out of fashion, their value declined, and they received less care. Accordingly, the techniques of repair could be considered as remedies for failures in popular judgment as to what is beautiful, valuable, and thus worth preserving. 


Occasionally one finds a rug that will not lie flat. When looms are not rigid or wraps vary in tension across the loom, wrinkles can be woven into the rug. This is more likely to occur with nomadic or village rugs than with factory or city rugs.

Steam pressing is sometimes effective in removing wrinkles and curls. After a rug is washed and rinsed, it can be stretched to remove wrinkles and curls by nailing the rug down on a frame as it dries. This approach may be successful in some cases. The curl will probably return the next time the rug is washed.

Another method is to sew stiff tape along the curling edge, being careful not to leave the stitching visible from the front. If a wrinkle cannot be removed by these methods, it is best to view it as a sign of hand craftsmanship, much like design inconsistencies and abrash. 


Because of their size and use in high-traffic areas, rugs are a subject to a wider variety of staining substances than most household fabrics. The pile makes rugs more absorbent than other fabrics and complicates the removal of some substances. Wool does not have the resistance to stains possessed by many synthetic fibers. This is the same quality that makes wool relatively easy to color with natural or vegetable dyes. 

Stains are unwanted substances that are not removable by normal washing. This does not mean that you should wait until the rug is washed to identify and remove stains. Any substance that may stain should be removed immediately. This prevents the stain from spreading and, more importantly, from fixing or permanently setting through the passage of time. Stain can also set if the wrong procedures or solvents are used to remove them. 


Dogs and cats in particular pose a threat to rugs. Perhaps a puppy is exercising his jaws on an edge or corner of a rug. You can discourage this behavior by sprinkling a few moth flakes under the rug in the areas where he has been chewing. The taste ins unpleasant to dogs as well as moths. 

Cats are a problem when the dig their claws into rugs. They discard a partial sheath that grows around their claws by scratching. To change this behavior, provide a scratching post for the cat and keep a water pistol close at hand. When the cat is scratching the rug, give it a squirt from the pistol. 

Animal vomit, urine, and waste are a particular problem. The substances contain acids that may easily change the color of dyes in a rug and should therefore be cleaned up as soon as possible to prevent permanent marks on your rugs.


Before any actual repairs are begun on a rug, it is a good idea to identify all the damage. One way to do this is to mark the damage by making long stiches around each repair area with thread of a contrasting color. Then, you can look at the whole rug and form a reasonable estimate of the total amount of work to be done. This could affect your decision as to whether you want to do any work on the rug. Marking damaged areas not only serves to emphasize the extent of repairs to the owner of the rug but also prevents you from overlooking damaged areas when repairs are in progress.

It is a good idea to take color photographs of areas to be repaired. These photos are useful as before and after documentation of your works. They may also help you in reconstructing areas where designs are missing.

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Different Rug Types – Are They Worth the Investment?

Some people feel that investing in expensive rugs is senseless because people will only walk on them. Some prefer an artistic rug because it transforms the space and environment. The impact they have visually and on touching with hands or feet is amazing. For example, the Oriental rugs are hand-knotted and add genuine elegance to space. For centuries Oriental rugs have been cherished because of their durability and high-quality character. It is an investment that accrues value over time. It has passed from one generation to another, thus holding sentimental value. 

Oriental rug never goes out of style and if cared for properly the age of the rug reaches 50 to70 years, this qualifying the antique status. If you decide to sell antique rugs have remarkable bargaining power. On Rug Source you will find a variety of rugs like oriental, modern, Persian, floor rugs, area rugs, and antique. For more than a decade the online store has been offering budget-friendly, aesthetic rugs to businesses, homeowners, and designers around North Carolina. 

Persian rug makes a grand statement when installed at the entrance. They are heirloom pieces that can pass from one generation to the next and so on. They are hand-knotted and durable art pieces whose value increases over time. You will not find the same piece because each piece is a genuine artwork with distinguishing features. Their dense fiber offers warmth to your feet as well as traps sound vibrations from echoing off the hard floors and walls. 

Turkish rug has a double knot technique, while Persian rugs have a single knot. The majority of Turkish rugs have sharp, geometric designs full of meaningful and tribal motifs. Motifs include animals, trees, and rivers. You will even see ‘Tamga’ a symbolic sign associated with the old ‘Tengriism religion. Turkish rugs offer the space a cool, alive, natural, and bohemian look. Handmade rugs are expensive as it takes more than one year to weave a single carpet. The versatility in color, design, and function is what makes the Turkish rugs so special.

Moroccan rugs or Berber rugs are visually vibrant, aesthetically pleasing, and rich in symbolism. The rugs are designed by indigenous people and each conveys a unique story. Moroccan rug is versatile and is available in thin and thick piles. They are soft and offer a feeling of luxury. 

Moroccan rug is an investment and its price depend on materials used, knot density, production time, dyeing process, and artistic value. The value of machine-made rugs depreciates, while handmade rugs value is retained and as soon as the rug reaches 100 years, it is categorized as vintage. In another 70 to 90 years it progresses towards becoming collectible rugs.

Modern rugs are available in attractive color schemes, designs, and durable just like traditional ones. Currently, there is a modern rug suitable for each kind of buyer’s personality and taste. You can look for abstract rug ranging from zigzag lines to polka dots to abstract shapes. Luxury rugs are costly, but the designs are worth the investment. 

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A clean rug has brighter, clearer colors and the wool is glossier. If this is not reason enough, washing a rug protects it. When a soiled rug is used, soil particles cut the fibers and accelerate wear. If a rug is to be stored, then washing it helps protect it from carpet beetles, moths, and mildew. Another motivate is to discover the rug’s true condition. The first washing of a newly acquired rug may disclose virtue and faults. One may discover brilliant color and attractive design details or painted areas and permanent stains. Ultimately, the truth is best.

When a rug is washed, what is removed from it? According to a research survey of American households, soil on surfaces in the home typically consist of:

45% sand and clays

12% animal protein fibers

12% cellulose fibers

10% alcohol-soluble particles (resins, gums, fatty acids)

6% ether-soluble particles (fats, oils, rubber, asphalt)

5% gypsum

5% limestone

3% moisture

2% miscellaneous

Usually, the combination of the solvent action of the detergent and the mechanical action of the washing process are sufficient to remove this collection of substances.

Sometimes washing a fabric is a necessity, even though conservators regard it as an irreversible process. A rug can be permanently, and perhaps adversely, affected by washing. Generally, the risk is worthwhile. But it is best to understand and evaluate the risk before the rug goes into the bath.


Household detergents are unsuitable for washing rugs. It is too difficult to rinse out the suds and detergent. Use a mild industrial detergent with a Ph of less than 7.5. A good detergent is Orvus WA Paste. This is sodium lauryl sulfate. The product is biodegradable and manufactured by Procter & Gamble. It is sold by commercial laundry and cleaning supply companies. Orvus is used by veterinarians to wash pets. If it is gentle enough for Old Shep, it’s gentle enough for your rug.

Mix about one cup (250 milliliters) of Orvus with about 15 to 20 gallons (60-80 liters) of water for the washing solution. I there is a high mineral content in your water supply, a water softener helps the cleaning action. Only cold or room-temperature water should be used for washing and rinsing. 

The rug is completely immersed and soaked in the washing solution for about one hour. Agitate the rug every 15 minutes. After half an hour of soaking, a considerable amount of soil is usually visible in the wash water. 

A large rug can be accordion folded into the washing solution. In this case, washing time should be increased to two hours, with a rinse and new washing solution after one hour. In agitating a folded rug, lift the folds one at a time on either side to allow wash water to circulate between the folds.

After soaking, the rug is scrubbed vigorously on both sides with a fiber brush. The rug is then rinsed until the rinse water runs clear.  A large rug should be spread out, with the back facing up, and rinsed by hosing it down. Then it is reversed, and the front of the rug is hosed down. Ringing must be very thorough. Inadequate rinsing leaves mud in the rug. The result is a “concrete” effect which will break fibers when the rug is flexed.

A wet rug is very heavy and must be handled with care. It will take two strong people to handle a wet 9 x 12-foot (3 x 4 meter) rug. Support it also essential. The weight of a waterlogged rug can cause the rug to tear if it is supported at only one edge. Do not stress damaged areas in handling the rug when it is wet. 

When rinsing is complete, the rug is spread out, pile upwards, and water is forced from the rug with a squeegee. This is the same type of squeegee used to was windows- a thick rubber strip fixed in a bracket with a handle. The squeegee is moved in the direction of the pile, starting at the top of the rug, and working towards the bottom. This should be done three times. The more water forced from the rug, the sooner the rug will dry. 

If possible, the rug should be allowed to dry flat. Drying time depends on the rug’s condition, size, and ambient temperature and humidity. Typically, a 9 x 12-foot rug in full pile will require between two and three days to dry completely. 


There is an exceptionally large range of dyes used in rugs. This range includes vegetable dyes, aniline dyes, azo dyes, and chrome dyes. Usually, the specific rug dye is not identified in stain removal. As a result, the effect of the stain-removal process on the dyes in the rug is not entirely predictable. There is a definite risk of damaging the rug through stain-removal techniques, which could cause colors to fade or bleed, or possibly dull of weaken fibers in the rug.

The risk of damage is minimized by testing. Always test the stain-removal procedure on a small area on the back of the rug. Only by testing can you be sure that you are not making a bad condition worse. 

An excellent reference for stain removal is “Removing Stains from Fabrics”, Home and Garden Bulletin, No. 62, United States Department of Agriculture. Most of the following stain-removal procedures are from this source. First, stain-removal, supplies are described, then the basic manual techniques for removing stains, then the specific procedures for removing eight groups of staining substances. 


Most of these items are ordinary household supplies. Substitutes are suggested for a few materials that may be difficult to obtain. Carefully follow all precautions for the storage and use of hazardous chemicals. 

Absorbent materials You will need an ample supply of clean absorbent materials, such as cotton, white paper towels. White facial tissues, and soft white cotton cloths. Sponges are also useful but test them with stain removers to be sure they can withstand the chemicals. 

Alcohol Use rubbing alcohol or denatures alcohol (70 or 90 percent concentration). Do not use alcohol with added color or fragrances. Alcohol fades some dyes, so test the rug for color fastness before using alcohol on a stain. CAUTION Alcohol is poisonous and flammable. Observe all precautions on the label.

Ammonia Use household ammonia diluted with an equal amount of water. Do not use ammonia with added color or fragrances. Ammonia changes the color of some dyes. To restore the color, rinse the color-changed area thoroughly with water and apply a few drops of white vinegar. Rinse well with water again. CAUTION Ammonia is poisonous, so avoid inhaling fumes. Ammonia will cause burns or irritation if it comes in contact with the skin or eyes. Observe all precautions on the label. 

Amyl acetate Amyl acetate (banana oil) is sold I drug stores. Ask for “chemically pure amyl acetate”. If you cannot obtain amyl acetate, you may substitute it with nail polish remover. Do not use the oily type of polish remover. CAUTION Amy acetate is poisonous and flammable. Do not breathe the vapors. Amyl acetate is strong solvent for plastics. Do not allow it to co me into contact with plastics or furniture finishes. 

Coconut oil Coconut oil is sold in drug stores and health food stores. It is used in combination with a solvent. If you cannot obtain coconut oil, you may substitute it with mineral oil, which is almost as effective. 

Dry cleaning solvent Dry cleaning solvent is sold in variety stores, hardware stores, and grocery stores. It may contain any or all these ingredients: petroleum solvent, petroleum hydrocarbon, petroleum distillate, trichloroethane, perchloroethylene, or Varsol. CAUTION Do not use dry cleaning solvent near a flame or where sparking may occur. Use where there is an ample fresh air circulating. Do not inhale fumes and avoid contact with the skin. Observe precautions on the label. 

Dry spotter to prepare dry spotter, mix one part coconut oil and eight parts dry cleaning solvent. This solution is used to remove many kinds of stains. Dry spotter keeps well if the container is tightly capped to prevent evaporation of the dry- cleaning solvent. If you cannot obtain coconut oil, use mineral oil in the same amount as coconut oil. CAUTION Dry spotter is poisonous and may be flammable. Follow all precautions given for dry-cleaning solvent.

Enzyme product Use an enzyme presoak. This product may be stored as purchased but becomes inactive in stored after it is made into a solution. 

Glycerin Glycerin is sold in drug stores. It used to prepare “wet spotter” which removes many kinds of stains, including ballpoint ink stains. 

Hydrogen peroxide Use a 3 percent solution sold as a mild antiseptic. Don’t use the stronger solution sol in cosmetic departments for bleaching hair.

Hydrogen peroxide should be stored in a cool, dark place. It loses strength when stores for extended periods of time. Bleach that contains sodium perborate or “oxygen-type” bleach may be substituted for hydrogen peroxide, although it is slower acting. Very thorough rinsing is needed to remove this type of bleach.

Do not store hydrogen peroxide or oxygen-type bleach in metal containers or use it with metal objects. Metal may speed up the action of the bleach enough to cause fiber damage. Also, metal in contact with hydrogen peroxide or bleach may tarnish and cause additional stains on fabrics. 

Sodium thiosulfate Use pure sodium thiosulfate or “fixer” sold in pharmacies, drug stores, and photo supply stores. Do not use photo fixer solution that contains other chemicals in addition to sodium thiosulfate. Sodium thiosulfate is used to remove iodine stains. 

Vinegar Use white vinegar as colored vinegar can leave a stain. If a dye changes color after vinegar has been used, rinse the color-changed area thoroughly with water and add a few drops of ammonia. Then rinse well with water again. 

Wet spotter Prepare wet spotter by mixing one part glycerin, one-part Orvus or mild liquid detergent, and eight parts waters. Shake well before each use. This mixture is used remove many kinds of stains. 

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Your Ultimate Guide to Hand-Tufted Rugs

If you’re in the market for high-quality rugs, you’re in the right place. Choosing the right rug can take a lot of hard work and multiple decisions. You need to start your research in the right place, figure out how your room looks in different lighting, and decide on the rug’s material. You will find all sorts of rugs made with all sorts of materials. Then it’s up to you to pick your favorite and place it in the relevant room!

So, let’s talk about hand-tufted rugs. These are colorful rugs that feature bright floral or geometric patterns and can elevate any room or space. Hand-tufted rugs are different from hand-knotted rugs since the latter are woven meticulously by artisans and master crafters. However, hand-tufted rugs claim their own space when it comes to durability, design, and quality. 

How are Hand-Tufted Rugs Made?

These rugs are created using a tool called a tufting gun. The textile expert places different sets of wool or yarn on a special frame and uses the tufting gun to place the materials in their respective positions. The backdrop or main design of the rug is placed at the back of the frame so weavers can assess where they need to punch in the materials. Once all the fibers are punched in, the whole creation is secured with a piece called a scrim attached with strong latex glue. This ensures the fibers won’t fray or break when the rug is taken off the frame. Lastly, the weave flattens the rug to make it fit for placing on floors. This is done by snagging and roughing the various loops in the rugs. Some of the rugs have bound edges to make them durable and strong. 

Creating a hand-tufted rug is much easier than crafting hand-knotted ones. This is a relatively fast-paced process, and artisans don’t need a lot of training to create hand-tufted rugs. So, what are the differences between hand-tufted and hand-knotted rugs?

Hand-Tufted Vs. Hand-Knotted Rugs

Both of these rugs are made by hand, but that’s the only similarity they share. Hand-knotted carpets take a lot of time to put together because they feature a very high density of knots. These are also naturally more expensive. A particularly complicated rug can have artisans tying upwards of 9000 knots per day, so you can imagine how long it would take to finish these.

Alternatively, hand-tufted rugs take much less time to produce because they don’t have all the intricate details that hand-knotted ones do. Hand-tufted carpets are mass-produced and can feature some generic patterns as well. If they’re made badly, they can give off a chemical smell for a while until they’re worn down enough. 

When Should You Buy a Hand-Tufted Rug?

Hand-tufted rugs are ideal for those who don’t want to spend too much on their area rug. They also work if you have pets or children prone to making messes because these rugs can be easily cleaned and maintained. What’s more, you can even buy multiple rugs to place in different parts of your home because they’re light on the pocket. These rugs can even last up to 20 years if they are taken care of properly.

How to Style your Hand-Tufted Rug

Hand-tufted rugs go well with hardwood flooring because they liven up flat surfaces. Make sure you understand how much traffic your rug will have to endure wherever you place it. If you keep this rug in a high-traffic spot such as your entryway or living room, you will have to clean it more frequently.

Smaller hand-tufted rugs can be placed under couches, stuffed sofas, or side tables. These are primarily used as accent pieces to add a pop of color to the room. Medium or large-sized versions of these rugs can be placed in the center of big rooms such as dining or family rooms. These go best when big pieces of furniture are kept on top of them, and there’s enough walking space for everyone who steps into the room.

The Bottomline

Consider investing in a hand-tufted rug from if you want an inexpensive, no-nonsense rug to brighten up an otherwise dull room. Make sure you keep it clean and well-maintained, though, so it lasts for a long time!

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5 Factors to Consider Before Buying a Large Rug for Your Home

Have you heard the phrase, “rugs make the room?” If not, don’t worry. It’s not an ancient phrase, but rather one we have come up with and believe in. It means that having the right rug in any room can make it come together like nothing else. When a room is missing a rug, you’ll notice. This is why we recommend using large rugs as harmonizing elements in big rooms with lots of different style elements. 

We know that buying a large rug can be a complex decision. There are a lot of factors to consider when you start. You might think of things like, ‘where will it go?’, ‘which pieces of furniture should I move or get rid of?’ and more. These concerns are usual to have, and we’re here to help! Keep reading to find out how you can make the best purchase decision when you’re buying a large rug for your home. 

#1: The Aesthetics 

This is the first place you should start and the most important. Take note of the colors that your room is decked out in. Make sure to observe if any colors are being repeated or popping up more than others. These are dominant colors and work to set the overall theme of the room. Once you know which colors dominate your setting, you will be able to pinpoint which color your large rug should be. 

Now, you don’t have to buy a rug that matches the color scheme. You can definitely do this, but you might not want to if you know a little thing or two about complementary colors. These are colors that seemingly contrast with each other, but when placed together in the right setting, create unbeatable harmony. For example, blue and orange complement each other. So, if you put a rug with orange elements in a largely blue-themed room, it would bring it all together and look fantastic! 

#2: The Usage 

Another essential factor to consider is the amount of traffic that the rug will see. If you’re putting it in the living room or some other high-traffic area, you should invest in a flat-weave or low-pile carpet that will be easy to clean and maintain. Alternatively, if you want to place a large rug in the bedroom, where people are generally more cautious, you can buy a deep-pile or shag rug. These types of rugs feel super luxurious underfoot, and you can even sit and relax on them if you want to. 

#3: The Maintenance 

Keep in mind that rugs need regular cleanings. Of course, this depends on how many people walk on the carpet in question, but even the toughest rugs will need to be aired and dusted once in a while. Keep stock of how often you can afford to invest in cleanings. Large rugs can be cumbersome to clean, especially if they are made of wool. This is because wool can start releasing a musty scent if left uncleaned for too long, so you’ll likely have to maintain this frequently. Ensure you can clean the rug yourself or afford to take it to the cleaners whenever it’s due for a cleaning. 

#4: The Pattern 

This particular requirement will vary from person to person in one key sense: whether or not they’re investing in a legacy rug. If you’re spending a lot of money on a large rug, you should consider what kind of pattern you want on it. Usually, the best patterns are found on antique rugs, like Persian or Turkish ones. If you invest in one of these, you will be able to use it for years and pass it down to your children and even grandchildren! 

#5: The Climate 

The last and perhaps most important consideration is the climate you live in. If you live in a cooler climate, consider buying a high-pile fur or shag rug. This will keep you and the room warm when it gets cold outside and makes an excellent place to curl up and read, for example. On the other hand, warmer climates require rugs that are lighter and made of natural fibers. These won’t add heat to the room and will still make it look aesthetic.

At Rug Source, we know that buying a large rug can be a hard decision. Having these concerns are usual to have, and we’re here to help! If you’d like to add something special to your room visit today!

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Blue Rugs: Types & How to Use Them

Blue is such a calming color. No matter where we see it, in blue skies, blue seas, or more, there’s a sense of peace that it brings. It’s not surprising that many people gravitate towards blue as their color of choice when picking out suitable rugs for their homes. Blue rugs are some of the best investments you can make, and we will tell you why.

Why Buy Blue?

The color blue has a lot of different and unique shades. There’s duck egg blue, navy blue, royal blue, and many more to choose from. Each of these shades has its aesthetic beauty that you can appreciate in rug form. Blue rugs are suitable investments because they can complement almost any color and any theme. And what’s more, most houses have wooden interiors. Guess which color goes best with brown? Blue, of course! Now that you know why blue rugs are fantastic to have in the home let’s talk about the different kinds and how they can be used.

Duck Egg Blue Rugs

This is a unique shade of blue. It combines both blue and green with a touch of yellow, creating a shade of blue that’s hard to look away from. This shade is often used in traditional blue rugs, so that you might choose it for a more rustic interior. However, there are also modern patterns that feature this shade, so you won’t have trouble finding a rug to fit an edgy theme. 

Navy Blue Rugs

You must have seen navy blue around. A lot of spaces with wooden interiors utilize this color both for accents and furnishes. The name of the shade comes from the traditional blue worn by officers of the British Royal Navy. It has a longstanding tradition and historical roots that complement the most traditional interiors. You can pair this rug with a room with neutral tones, with the carpet being the only ‘pop’ of color.

Baby Blue Rugs

These pastel-colored rugs look divine in rooms that don’t get a lot of natural sunlight. They instantly liven up space, adding light and color that’s both cheering and easy on the eyes. Rugs in these shades also don’t absorb a lot of light, meaning they reflect it. This leads to a brighter room overall. You can put this color down in a room you want to be brilliant, for example, your children’s room. You can add some brightly colored furnishings and other accents to keep the room looking cheerful.

Midnight Blue Rugs

Here’s a shade of blue that brings depth and mystery with it. Midnight blue describes a blue that is so dark, and it resembles black. If you want an idea of how this looks, peek up at the sky an hour or so after sunset. You will find the rich, dark color of the sky at that time mirrored perfectly in your midnight blue rug. This sort of rug should be placed in rooms that have darker themes and tones. It’s also the perfect shade to induce sleep and rest at nighttime. You can use this color in your bedroom, especially if you have one bright accent such as white or light curtains.

Sky Blue Rugs

This shade is a stunning contrast to the one we just discussed, as this one reflects the sky at noon. Think about it: when you step out at noon and look at the sky, it’s an intense, color-filled blue that you can’t find at any other time of day. This is precisely what sky-blue rugs bring to the room you put them in. There’s an ethereal and heavenly feeling when you walk into a room that has a sizeable sky-blue carpet. You can pair this blue with a light interior, some bright or neon accents, and watch the room come to life. This is the perfect rug for springtime!


Now that you know which shade of blue goes where you can think about the kind of texture you want from your rug. This mainly depends on who will be using it and to what purpose. If you have a high-traffic area, you’ll want a coarse, low-pile rug that can easily be cleaned. On the other hand, shag and deep-pile rugs work better in bedrooms and living rooms. 


Blue is a great option for a rug in your home. It is a beautiful, calming accent color. Find more blue rugs at