Repairing Rugs

Repairing an Oriental or Persian rug is undoubtedly a job to be performed by a professional mender. Fringes and selvedge bindings around a carpet are most often the main areas that will need repair work before any other parts of a rug. Afterall, these are unprotected and exposed to regular wear and tear, as well as suction of vacuum cleaners by careless rug owners, and therefore subject to premature damages. However, menders sometimes repair a selvedge or a fringe, and at other times, they may repair part of the warp or weft in order to fill a gap and re-tie the required knots with a hook or by bare hands to replace the missing pile. As repairing a rug is a matter of immitating the original work as closely as possible, the mender needs to master all the skills of a master weaver. For this complex and difficult craft, the only way to train is to be apprenticed to a master and to work under his supervision for many years. The master is likely to have very little patience, so the student may be left on his own to practice and go through a trial and error process, learning to be somewhat innovative.

The repairman needs to be fully knowledgeable not only in the structure of a rug, but also different techniques of making rugs as well as various types of knots. Just by studying the backside of a rug, they need to determine what type of knot has been tied on the rug (symmetric or asymmetric), how many shots of weft – and with what thickness – passes over each row of knots, what is the material of the foundation, and whether or not the pile has been dyed by natural or chemical substances. They need to have stocks of different types of wool which they often must dye themselves to recover the exact colors of fiber to be used on their repair projects. Remember, a professional repair needs to come as close to the original work as possible.

Working conditions are often very harsh for carpet repairers most of whom prefer to do their work on the floor rather than on comfortable tables. Sitting cross-legged for several hours in a row, the mender handles carpets, which although dusted and washed, still contain certain amounts of residue. With time, sand, loose particles, and even gravel are lodged inside the pile, within the very body of the carpet through which the needle and thread must inevitably be passed. He has to use pliers to pull the infected needle through the thickness of the carpet causing many needles to break, often puncturing his own fingers by which all sorts of contamination can easily develop. In many cases, repairs need to be carried out before a rug is sent out for dusting and washing. This makes the potential for infections so much easier to take place. Although major repairs on an Oriental rug or a Persian carpet can be quite costly, every penny paid for such a difficult work will be “money well spent”. A repairman can do magic in saving your beloved piece of artwork.

Repair tools

Experience shows that you will always achieve best results by picking your rug before you select any furniture, drapes, as well as the color of the walls. However, this is not always very practical. If the existing furniture in your room are visually impressive – antique or majestic – a traditional rug with an intricate pattern and rich colors may be the best fit with the surrounding. On the contrary, a carpet with a more simple and repetitive design and delicate colors may be a better choice for small apartments. Modern furniture demand contemporary rugs with open field backgrounds or geometric designs.

Old Persian Kashan

No matter what the environment, Oriental and Persian rugs must have their own internal harmony in colors and pattern. Motifs must be in relation to the size of the rug, colors should work well next to one another, and the width of the borders should be in proportion to the center medallion. This harmony is observed in traditional and older rugs more often than in many modern carpets. Although proper attention should be paid to the fineness of the weave and the number of knots per square inch (KPSI), you should avoid taking this element into too much consideration and be overwhelmed by it. There are many beautiful carpets of medium quality with relatively large knots that could bring life to your space for many years. At the same time, there are many high quality rugs with KPSI of over 600 that lack harmony of colors and the overall beauty one would expect of them.

Make sure you select your rug from reputable dealers who will let you try a few pieces in your room before making a final decision, and those who offer a generous return policy should you decide against a piece you might already have purchased. Having made all the above points, you are the one who is going to live with the rug of your choice for a long time, so make it “your choice”.

Traditional Vertical Loom

Although the techniques of weaving a double-sided rug may seem relatively easy in principle, it is rather delicate to weave. It does not emerge as two separate pieces of rug placed back to back by means of some type of adhesive. Weaving such a carpet can be done only on a vertical loom and by tying Turkish knots, the number of which in the width have to be identical, and the two cartoons (design laid out on a paper) need to be exactly of the same size. There is one single set of warps on which both rugs will be knotted. There are two weavers each sitting on one side of the loom; the first one starts the first row of knots along the width of the loom and inserts one or two shots of weft (depending on the style of the weave) over each row of knots. Now the second weaver on the opposite side does the first row of his own design, finishing again by inserting the one or two shots of weft over this row. Now the work goes back to the first weaver who will tie the knots for the second row of his design. The task is carried out in this manner up to the last row which is where the rug ends. The two weavers are, in fact, sharing one single loom, each producing his own work.

A double-sided rug needs to have a relatively high KPSI (number of knots per square inch) because the back of either side should be hidden by the pile of the other side. In other words, the back of the knots will be alternating row by row on the warp lying deep inside and is hidden by the two piles, and a coarse weave would simply not provide this “protective layer”. Incidentally, it would not make sense to produce such an amazing work of art in the quality of a commercial grade carpet. The drawback here is that two weavers are spending their time on a rug, and one of them is always idle. This is why such rugs are almost always woven in smaller sizes (not exceeding 5 by 7 feet) which will not take very long to finish, and also, one of the weavers will have higher skills to coordinate the work, whereas the other can be a beginner, and not very costly to employ.

Although a double-sided, hand-knotted rug may not capture the attention of general public, those who know a bit about the technical aspects required by such sophisticated work will not only appreciate it but will also be impressed and fascinated by it. Now you know that such pieces are not created by placing two rugs of identical size back to back and have hopefully learned to  get more amazed should you come across such a rug in the future.

A Double-sided Rug

Copyright

Up until the end of 1970’s, the economic situation in most rug-producing countries was as follows: a large workforce originating from rural areas and expanding to the very borders of larger cities, provided the task of weaving all types of hand-knotted rugs, mostly of low-cost and acceptable quality. There was a wide range on offer; each region would stand out from the others with its traditional designs, its local wools and natural dyes. From the villages producing the carpets to the largest markets supplying their clients, the costs of production allowed the numerous intermediaries a sufficient profit margin to make a living from the distribution process. Production of hand-knotted rugs gradually became an important source of employment and made the industry a crucial factor in the economy.

Domestic markets absorbed the majority of this production and the carpets of “contemporary” master weavers were sought after by middle classes who considered these as good investments. These same middle classes would sell their 30 to 50 year-old rugs in local markets to export merchants who would then sell them to some exporter or foreigner, and supplying Western markets in this way. These dealers, wonderful story tellers, managed to spin a yarn transforming the most worn of carpets into original antique rarities sold for a fortune to those with a taste for the “Oriental”.

This market blossomed all the more thanks to the genuine antique carpets of exceptional and magnificent beauty, which had been exported since the 17^th century to centers such as the U.S., Austria, Germany, England, Italy, and Switzerland. They became the objects of transactions between well-known merchants and discerning collectors, all of which helped to increase their market values. End users lacked the knowledge and the information to distinguish genuine antique and collectible rugs from simply worn pieces. With so much data available today, potential rug buyers are certainly making more educated choices when purchasing a rug for their home.

TRADE-MARK

Before the 1970’s, there still existed an extraordinary regional diversity within the rug industry among nomadic tribes as well as famous master weavers.  Each town and each tribe had its own characteristics. All the elements were there to develop geographic designations, but this is no longer the case today. At a time when Europe was introducing “A.O.C.” (the sign of controlled quality and origin) aiming at protecting products from the countryside along with crafts and luxury brands, rug-producing countries proceeded to ignore and despise the protection of brands, which has had adverse effects on the indutry as a whole. Perhaps the lack of motivation to come up with new ideas, patterns, and colors has had the most undesirable effects within the rug industry during the past few decades, and it seems like copyright regulations would be the best option to combat this effect.

Old Persian Tabriz Rug

parts of the world, demand has been relatively weak during the past two decades. It seems like the younger generation is somewhat reluctant to decorate their homes with authentic pieces of art work and would rather go with more casual alternatives to cover floors with. Although rug makers add value to the most basic raw materials on the face of the planet, and constantly come up with new patterns and colors to satisfy contemporary settings, the culture of fine carpets has almost vanished from modern interior design of today. At the same time, rising costs of labor and raw materials for production of hand-knotted rugs in today’s competitive markets requires increased investments by rug producers for the most uncertain results.

Master weavers and producers of Persian carpets and Oriental rugs will have to unite for more dynamic and targeted marketing policies and organize collective exhibitions of their works in different parts of the world while seeking new markets for their products. It is no longer sufficient to wait for the customers. Like all other luxury items, hand woven carpets should be sold, by professionals, as works of art in galleries and showrooms, all the more as the current global economic climate makes it difficult to reach new markets for these rugs.

For carpets of a commercial grade, the solution becomes more complex. National “quality control” frameworks need to be set up urgently in an inter-professional approach by rug-producing countries. Certain markets need to be targeted more strongly in the way the producers within farming industry managed to do with the common market. Unfortunately, such efforts have not yet been undertaken in countries where rug weaving remains, for thousands of families, a complementary source of income and an important factor in the social stability of rural communities. Increased production of hand-knotted rugs requires more serious marketing efforts to satisfy the tastes of the younger generation of the world’s population.

Pakistani Modern Gabbeh

In general, tribal patterns are not created by following instructions of a cartoon, a piece of paper consisting of square cells each representing an individual knot of different colors to be tied on the warps. Instead, a smaller piece of rug is examined from the back side and its pattern followed by the weavers, moving around the elements and colors of the pattern and creating minor modifications as deemed necessary by them. Since imitating the pattern on a large rug would pose difficulties, smaller pieces called “Dastoor” or “Vagereh” are often used. Weavers of “Lori” and “Qashqai” tribes show the most freedom and innovations in tribal weaving of Persian rugs.  These same weavers gradually switched their production to what is known as “Gabbeh”. Unlike other Persian rugs, the word “Gabbeh” does not refer to the region where this type of rug is woven. The word simply means “something raw, unfinished” in Persian language, making the point that Gabbeh is nomadic, simple, informal, and meant to be used for day to day life. Gabbeh rugs have hand-spun, naturally-dyed wool and are very durable. They normally come in smaller sizes, and can seldom go up to 10 by 13 feet. The pattern is very simple, usually with a plain field and no border, displaying simple animals or motives. Gabbeh rugs look their best in contemporary settings. The recent innovation in Gabbeh has been a much higher quality of the weave and a shorter pile. Knot density varies from 85 (older type) up to 220 (newer type) knots per square inch.

Gabbeh rugs gradually gained more popularity in Western markets and were soon produced in Turkey, Pakistan, as well as in Nepal. The

Persian Gabbeh, The Bird and The Cage by Parviz Tanavoli

renowned artist, sculptor, painter, art historian and researcher, Parviz Tanavoli, is perhaps known as the first  producer of “new Persian Gabbeh” starting his work right after the revolution, and responding to the rapid increase in demand for such beautiful pieces. After a successful exhibition of these rugs at “Bassim Gallery” in Austria, a local magazine called them “freedom with wool”. These tribal rugs are easy to match with so many different settings due to the fact that they are simple, and display very few colors. Although Gabbeh rugs are not very tightly woven, they can work magic if used in the correct environment, giving a room much more beauty than any other top quality rug possibly could. With a heavy migration of tribal weavers to larger cities during the recent decades, the future of nomadic rugs remains increasingly uncertain. We can only hope that tribal pieces in present use will be properly cared for so we will have antique nomadic pieces for future generations.

The best choice for a storage space would be a room that is dry, cool, and preferably open to natural light. Although we may not have access to a separate room with these specifications, a closet or a space underneath the bed will do the trick. However, any space with extreme fluctuations in temperature and humidity, such as basements and attics, should be avoided as the alternative storage space for Persian and Oriental rugs. If you live in relatively humid climates, use a dehumidifier to control the conditions in the storage area. A regular electric timer will run the device a few hours a day and save on your electric bill. Remember that the storage space needs regular cleaning as dirt and dust attract insects. Contrary to common belief, you should avoid blocking the natural light from entering into the storage area. You should know that a dark environment, poor ventilation of air, and humidity are the most general causes of trouble in any storage area for wool rugs.

Storing Rugs

Have your rug rolled up rather than folded and do not store it directly on the floor. The space between the floor and the back side of the rug provides ideal living conditions for insects. Always roll your rug in the direction of the nap, and not against it, to avoid pressure on the knots. We recommend that you unroll your rug every two to three months, vacuum clean it, and let it get some fresh air, or ideally, some sunlight. To prevent storing damages, it would be a great idea to have your Oriental or Persian rug professionally washed before storing it. For additional precautions, have your rug mothproofed as well. Protecting your Oriental or Persian rug against moth damage has been discussed in length in a separate article which can be found in our blog. You should only keep in mind that the source of the infestation may have developed earlier when your rug was being used on the floor or was hung on the wall, but in the quiet, dark surroundings of your storage space, the infestation may rapidly grow.

At first Tyvek papers that are water and fire proof, and used for shipment of rugs, may seem to be the ideal choice to wrap up your rugs in. However, they do not let your rug breath and should therefore be avoided. If you prefer to wrap your rug in something, a regular sheet of cotton would be an option. Any wood material that comes into contact with your rug in the storage area needs to be coated with varnish, since the acids of the wood can damage your rug in the long run. For antique and more expensive area rugs, a sheet of polyethylene can be wrapped around them as a protection against water damage in the event of a leak. Remeber that these rugs are intended to be walked on and not to be stored, and that improper storage practices can insert too much pressure on the foundation, creating creases and bubbles which may be very difficult to remove.

Tyvek Paper

New Turkish Azeri rug

Generally, older Turkish rugs have a wool foundation and a simple, non-intricate pattern. Due to the fact that wool cannot be spun finely, the KPSI (number of knots per square inch) in rugs of this category is not higher than 100. In newer pieces, the foundation is almost always cotton and the pattern is either floral or geometric displaying more detail. A cotton foundation results in a much higher KPSI in these rugs. Turkish rugs are very rich in design, color, and symbols, and are produced in more than 700 villages and tribal areas throughout Turkey. Although they may look similar, each Turkish rug is an unique creation. They come in many different sizes, but anything larger than 9 X 12 feet would be considered less common. In most Turkish rugs, two shots of weft is inserted on top of each row of knots, and the average knot density is from 100 up to 800 KPSI (for silk Turkish rugs). The best example of high quality Turkish rugs would be Hereke, produced in the coastal town of Hereke near Istanbul with either a wool or silk pile and sometimes gold or silver threads used in the pile. In recent years, some Chinese silk rugs have been sold in Turkey, unfortunately as genuine Hereke rugs, thereby damaging the reputation of these fine Turkish rugs.

Antique Turkish Rug

Handmade rugs have always been considered far superior to industrial carpeting by Turkish people. They protect their rugs by taking off their shoes upon entering their homes. A Turkish mosque is often covered from wall to wall with handmade carpets, and there is no chair or table. However, as synthetic dyes were introduced to the Turkish rugs industry over 100 years ago, weaving hand-knotted rugs with natural dyes did not remain unharmed. Fortunately, there has been a considerable amount of work and effort carried out by European and American importers aiming to bring back the traditional methods of weaving rugs using handspun wool and natural dyes within the Turkish rug industry.

Gradually, Turkish carpets found their way to European markets and soon became more popular. These rugs were first purchased by the Dutch as Netherlands gained more economic power during Seventeenth century, and came to indicate the higher social status of their owners. Demand by the U.S. market has also been rising during the last couple of decades, with an inclination toward softer colors found in older pieces. Producers of Turkish rugs have responded by unraveling fragments of antique Kilims and using the old wool to make new rugs. Whether these pieces should have a price tag equal to genuine old pieces of Turkish rugs remains open to debate.

Persian Turkeman

Even though rugs of patterns similar to Bokhara and Afghan are woven by Turkemans, it should be mentioned that they have produced some of the most unique pieces of Persian rugs for many centuries. It is believed that Turkeman weaving started as door rugs for their “Yurts”, the center of family life. In these rugs, patterns are repeated and geometric diamond-shaped motifs, displayed by ornamentation of main and supplementary “Guls”. By these guls, Turkeman weavers reflect their feelings and dreams, hopes and wishes, as well as their joy and grief. Colors of deep red, dark blue, brown, green, and ivory are the most common in Turkeman rugs. Vegetable dyes are used in most of older pieces of Turkeman rugs, and chrome dyes in newer ones. Although Turkeman rugs come in sizes as large as 9 by 12 feet, pieces larger than 5 by 7 feet are less common. As for the foundation, warp is either cotton or wool, and weft is wool, with two shots of weft inserted over each row of knots. Pile is often cut short displaying the pattern more vividly. Average knot density is around 120-150 KPSI, though it can be much higher in some old pieces, making them quite valuable.

Turkeman women learn this traditional art from the early age. The “Salor” tribes are considered to be initiators of Turkmen rug-weaving. It is hard to say when the Turkeman people began to weave their first rugs, but our best estimates is that these rugs have been produced from the very ancient time. Weavers create the whole composition and ornamentation of the rug only by means of their imagination and memory, combining patterns in new interpretations. The nature gives Turkemans all necessary material to make fine and durable rugs. The yarn for the production of rugs is acquired from the wool of “Sarajin” sheep. Having absorbed the heat and cold, dyes and fragrances of the environment, this wool is in accordance with the world standards.

Odd sizes of Turkeman rugs are to be seen once in a while. There are pieces of very long and narrow hall runners (Navar) woven in the style of Kilims, used to decorate around the ceiling of the tent, or pieces in a square shape of different sizes (Mafrash) to store the blankets, pillows and other sleeping gear in. There has also been woven pieces of smaller size in the shape of a circle or a long band to be

Typical Turkeman Design

used on the body and around the neck of animals, mostly horses and camels on special occasions such as weddings and birthdays. Being so unique, some of these odd pieces are quite valuable and often regarded as collector items. A magnificent collection of antique pieces of Turkeman rugs is owned by the renowned Persian researcher and collector, Dr. Siavash Azad, who resides in Germany. Dr. Azad is also the author of one of the best books ever written on the subject of Turkeman rugs. As nomads are subject to more and more conflicting interest against formalities and legalities imposed by local governments, and as they are absorbed to new jobs created by technological advances, the production of such tribal and authentic Persian rugs decreases rapidly. Similar to many other forms of applied art, Turkeman weaving is sure to disappear altogether within the next few decades. This makes it all so much more important that we try to preserve the ones available today, as they will soon be impossible to replace at any price.

Qashqai Weavers

Qashqai tribes speak a particular dialect of the Turkish language. They move to higher or lower elevations within the area, together with their herds of sheep and goat with the passage of a season to another. This explains why most of their rug production comes in smaller pieces which are woven on an horizontal loom, normally made of wood. A large number of hall runners are also woven by Qashqai tribes. Historically, Qashqai women took on weaving Gabbeh rugs for their own use, mostly as a prestigious asset at the time of their wedding. These rugs used to have colored decorations along the fringes or the side selvedges.

Majority of Qashqai rugs have a high quality, hand-spun wool and natural dyes, making them some of the most durable of Persian rugs. Both the acquisition of wool and the dyeing of the wool are carried out locally. The pattern is highly geometric in Qashqai rugs, often including drawings of animals, birds, and sometimes the head of a horse as inspired by their environment. Two of the most popular designs in Qashqai rugs are called Shekarlu and Kashkooli. Both warp and weft threads are usually cotton, but wool foundation would not be very rare in older pieces. Qashqai rugs are typical examples of tribal Persian rugs. They are very decorative and look fantastic in many different settings. Average knot density in Qashqai rugs is 150-180 KPSI.

A Persian Qashqai Rug

As Gabbeh rugs gained more and more popularity in Western markets, many weavers of this area shifted their production from traditional Qashqai to contemporary Gabbeh rugs. Qashqai rugs are becoming a thing of the past. The renewed introduction of Gabbeh, together with a sharp increase in decentralization of Qashqai nomads and engagement in non-pastoral and non-traditional economic activities have resulted in a sudden drop in the production of Qashqai rugs. Antique pieces of Qashqai rugs are valuable collector items and very difficult to come by.