115 Sentences With "kilim" | Random Sentence Generator

Many years ago while living in South Africa I came across a Romanian kilim.

Sonja, an 11-year-old wheaten terrier, was sprawled on the wool kilim rug in the living room.

Head to Mendes Wood DM. A big found kilim textile embroidered with river-like currents of silver and gold thread by Raqs Media Collective?

But maybe those items — and the handmade kilim acquired on an indelible road trip through Romania — will be something meaningful to pass along for generations to come.

The lively Sherwood Queenstown has 78 motel rooms updated in industrial-meets-bohemian style with army blankets atop beds and oversize cushions made from recycled kilim rugs.

It evokes that period when the late '70s met the early '80s, when kilim rugs and sunken living rooms faded into marble surfaces and Art Deco-inspired touches.

Goldman designed a range of tasseled tops, slouchy shorts and rompers and kilim-striped dresses that merge Moroccan detailing and Hatch's sensibility; Bachner produced them in his loom studio.

The 422 pieces up for grabs range from an original portrait of Mollen's late dog, Mr. Teets, to a stunning overdyed kilim rug, to an autographed DVD of American Reunion.

Swank leather chairs sat on a kilim rug covering the wood floor and facing the room's only TV. In lieu of a closet, a clothes rack hung next to the sink.

Medallion Wool Kilim, $89-$429, available at ParachuteThis bold, geometric rug looks great as a runner (2.5' x 9') in your hallway or in any other room that could do with a subtle pop.

It also has some much-lauded restaurants and small hotels, including two new and noteworthy properties: Habitas Tulum has a glass-walled Moorish restaurant and 32 canvas structures outfitted with kilim rugs, midcentury-style furnishings and decorative macramé.

Then they expanded their offerings to include such items as handblown glass tumblers (six for $88), produced in a mud-brick workshop belonging to the last in a long line of glass blowers; wooden latticework trays ($425); and kilim rugs ($470).

Freud's works, the Hogarth Press Standard edition, sat in their faded blue jackets behind glass doors in an antique bookcase, and a fainting couch for patients in analysis was spread with kilim rugs, a touch taken straight from Freud's Vienna consulting room.

Reconnect with nature and create a grounding environment with a mid-century-inspired Brewton Bed ($524.99-$594.99, normally $749.99-$849.99) constructed from mahogany wood and a woven Kilim Nagar Indoor Outdoor Rug with textured yarn ($149.99-$449.99) and find your balance while staying on a budget.

The boutique hotel El Fenn has long been a favorite of the fashion crowd for its glittery rooftop bar with views of the medina, and its one-of-a-kind rooms, decorated with hand-woven kilim blankets and plush, modern Berber carpets from the renowned rug seller Soufiane Zarib.

As designers who are fascinated with how materials decay and evolve over time, they have welcomed the coastal air as a kind of natural collaborator in an outdoor-living experiment, for which they have moved beautiful but otherwise ill-equipped household objects (a mahogany chair from sub-Saharan Africa, shearling throws, kilim cushions) out into the newly expanded garden.

His other books include the poetry collections "Kilim" (1987), "The Rest of the Way" (1990) and "Mercury Dressing" (2009), the volumes of criticism "White Paper: On Contemporary American Poetry" (1989) and "Twenty Questions" (1998), and the anthologies "Poets on Painters: Essays on the Art of Painting by Twentieth-Century Poets" (1988), "The Vintage Book of Contemporary American Poetry" (1990) and "Love Speaks Its Name: Gay and Lesbian Love Poems" (2001).

Kilim, a handicraft popular in Ilam Embossed kilim is a combination of simple kilim and carpet knot in its text, which is considered as the most important and original handicraft in Ilam province. Ilam's embossed kilim is different from other parts of the country. Upon its creation by Sahar Chalanghar, a resident of Zanjireh village of Sarableh county, Ilam's embossed kilim became popular both in Iran and the world. Now, there are more than 4,500 weavers of this specific type of kilim in Ilam province, producing around 3,000m2 annually.

Pirot Kilim with the ornament Rašićeva ploča. Pirot rug, Pirot carpet or Pirot kilim ( / Pirotski ćilim, ) refers to a variety of flat tapestry- woven rugs traditionally produced in Pirot, a town in southeastern Serbia. Pirot kilim is often referred as one of the National symbols of Serbia. Pirot kilim making is the skill of making rugs on a vertical loom.

His first song Kilim was a huge success. He then released 15 music albums and wrote over 200 songs. He was known as the ‘Contemporary Ozan’, ‘Mr Kilim’ and ‘The Father of Folk’. Fatih Kısaparmak formed two concert orchestras called ‘Group Kilim’ and ‘Group Mozaic’.

Kilim is the most widespread type of flat- woven carpets. They are made by passing the weft through the warp using the technique of compound interweaving. Kilim is characterized by a slot-like gap (opening) around the geometrical patterns. These openings impart a lace effect the kilim.

Ilam was subsequently appointed as the national capital of embossed kilim.

Soumak is a type of flat weave, somewhat resembling but stronger and thicker than kilim, with a smooth front face and a ragged back, where kilim is smooth both sides. Soumak lacks the slits characteristic of kilim, as it is usually woven with supplementary weft threads as continuous supports. The technique involves wrapping coloured weft threads over and under the warp threads, adding strength and embroidery-like pattern.

Notable brands of Pirot include the Pirot Kilim, Pirot opanak, Pirot cheese, and ironed sausage.

Bergama carpets often show nicely woven Kilim ends, sometimes with an integrated pile-woven pattern.

Diagram of Kilim slit weave technique, showing how the weft threads of each colour are wound back from the colour boundary, leaving a slit A Turkish kilim is a flat-woven rug from Anatolia. Although the name kilim is sometimes used loosely in the West to include all type of rug such as cicim, palaz, soumak and zili, in fact any type other than pile carpets, the name kilim properly denotes a specific weaving technique. Cicim, palaz, soumak and zili are made using three groups of threads, namely longitudinal warps, crossing wefts, and wrapping coloured threads. The wrapping threads give these rugs additional thickness and strength.

It is estimated that around 50% of those involved in all handicrafts work in Ilam province are in the field of kilim production. "Ilam's embossed kilim" is different from other parts of the country because a weaver named "Sahar Chalangar", a resident of Zanjireh village (one of the functions of Sarablah city of Ilam province), succeeds in performing a prominent role in a part of his woven kilim by using a carpet knot. From this, a background is provided for the growth and promotion of embossed kilims. Ilam's embossed kilim has received a national hologram and has been registered as a souvenir and brand of Ilam province.

Kilim in contrast are woven flat, using only warp and weft threads. Kilim patterns are created by winding the weft threads, which are coloured, backwards and forwards around pairs of warp threads, leaving the resulting weave completely flat. Kilim are therefore called flatweave or flatware rugs. To create a sharp pattern, weavers usually end each pattern element at a particular thread, winding the coloured weft threads back around the same warps, leaving a narrow gap or slit.

Products of this village are cereals. People living on agriculture and cattle and they do crafts village is Kilim.

The term 'kilim' originates from the Persian gelīm (گلیم) where it means 'to spread roughly', perhaps of Mongolian origin.

Kilims are often decorated with geometric patterns with 2- or 4-fold mirror or rotational symmetries. Because weaving uses vertical and horizontal threads, curves are difficult to generate, and patterns are accordingly formed mainly with straight edges. Kilim patterns are often characteristic of specific regions. Kilim motifs are often symbolic as well as decorative.

Hand looms, and weaving instruments and tools (loom, shuttle, kirkit, bowspinning wheel, ılkıdır, kirmen, çıkrık) and kilim samples on the wall.

Hotamis Kilim (detail), central Anatolia, early 19th century. A kilim (, , , gelīm) is a flat tapestry-woven carpet or rug traditionally produced in countries of the former Persian Empire, including Iran, Azerbaijan, the Balkans and the Turkic countries of Central Asia. Kilims can be purely decorative or can function as prayer rugs. Modern kilims are popular floor coverings in Western households.

The skill is used in the production of woollen kilims, decorated with various geometric, vegetal and figural ornaments. Today's authentic tapestry has developed under the influence of Oriental and Bulgarian kilim weaving. Rug-making in Pirot is included on the list Intangible cultural heritage of Serbia. The Pirot kilims are considered as part of the Eastern Serbian kilim weaving tradition, together with Chiprovtsi carpets.

Chiprovtsi kilims () are handmade flatwoven kilim rugs with two identical sides, part of Bulgarian national heritage, traditions, arts and crafts and pertain to the Western Bulgarian kilim weaving tradition. Their name is derived from the town of Chiprovtsi where their production started in the 17th century. The basic colours are yellow, brown, red, blue and green. The first carpets were in only two colours - red and black.

The city is as the cultural and political capital of the Semnan Province. The city's main souvenirs are daffodil flowers, Shirmal pastry, Kolüçe cookies, kilim rugs, and shortbread.

Diagram of Kilim slit weave technique, showing how the weft threads of each color are wound back from the color boundary, leaving a slit Kilims are produced by tightly interweaving the warp and weft strands of the weave to produce a flat surface with no pile. Kilim weaves are tapestry weaves, technically weft-faced plain weaves, that is, the horizontal weft strands are pulled tightly downward so that they hide the vertical warp strands."Carpets v. Flat-woven carpets: Techniques and structures", Encyclopædia Iranica Turkish kilim, folded to show slits between different coloured areas When the end of a color boundary is reached, the weft yarn is wound back from the boundary point.

The "Fasaei bread" () is the most significant and the main souvenir of Fasa city. Kilim, Gabbeh, Jajim, Lemon, Orange, Tangerine, Pomegranate, Walnut, Pistachio and handicrafts are other souvenirs of this city.

Kilim and Quasar are open-source projects which implement green threads on later versions of the JVM by modifying the Java bytecode produced by the Java compiler (Quasar also supports Kotlin and Clojure).

In 1920, the locals founded the Manual Labour carpet-weaving cooperative society, the first of its kind in the country.Костова, pp. 20–22. At present. the carpet (kilim) industry remains dominant in the town.

These are prized by collectors for the crispness of their decoration. The motifs on kilims woven in this way are constrained to be somewhat angular and geometric. In tribal societies, kilim were woven by women at different stages of their lives: before marriage, in readiness for married life; while married, for her children; and finally, kilim for her own funeral, to be given to the mosque. Kilims thus had strong personal and social significance in tribal and village cultures, being made for personal and family use.

Several artforms in different parts of the Islamic world make use of geometric patterns. These include ceramics, girih strapwork, jali pierced stone screens, kilim rugs, leather, metalwork, muqarnas vaulting, shakaba stained glass, woodwork, and zellige tiling.

The old barracks within the area of Gülhane is expected to be converted to a cultural center in due course; the center will host a library and exhibition hall together with a workshop on kilim and handicrafts.

Ahmet Ümit was born in Gaziantep, southeastern Turkey in 1960. His father was a kilim merchant and his mother a tailor. He was the youngest of the seven siblings. He finished his primary and middle school in his hometown.

Burdock Kilim motifs In Turkish Anatolia, the burdock plant was believed to ward off the evil eye, and as such is often a motif appearing woven into kilims for protection. With its many flowers, the plant also symbolizes abundance.

Horse cover, Shahsevan people, northwestern Iran or Caucasus, 1850-1900 AD, silk, metal-wrapped silk, view 2 - Textile Museum, George Washington University. Shahsevan rug or Shahsevan Kilim is the Iranian Style, handmade by the Shahsevans in the Azerbaijan region of Iran.

Inside the towers, geometric ornamentation inspired by traditional Turkish carpet (kilim) patterns and motifs, can be found on the towers' ceilings in fresco technique. There are also inscriptions of quotes by Atatürk that correspond to the theme of that tower.

The Ceremonial Plaza is situated at the end of the Lions Road. The area is long and wide and was designed to accommodate 15,000 people. The floor is decorated with 373 rug and kilim (Turkish carpet) patterns, and is made of travertine in various colors.

Animal husbandry is practiced by nomadic people. They mainly breed sheep and various types of goats (ordinary goat, Angora goat, and brown haired goat specific to the area). Traditional handicrafts consist of carpet, kilim and bag weaving. Şırnak scarves are woven out of sheep and goat wool.

This unique and typically Bulgarian craft flourished during the Bulgarian National Revival. The carpets are made of natural materials like cotton and wool. Their thickness is 3–5 mm. The kilim making of Chiprovtsi was inscribed on the Intangible Cultural Heritage list of UNESCO in 2014.

Eşme is a town and district of Uşak Province in the inner Aegean Region of Turkey. Apart from the central town of Eşme, the district counts three townships with own municipality, namely Yeleğen, Ahmetler and Güllü. The principal economic activities include tobacco farming, stockbreeding, kilim weaving and trading.

Monument in Waiting is a collective testimony of the ‘ethnic cleansing’ in Bosnia-Herzegovina, carried out by nationalist extremists during the war of 1992-95, in form of a Kilim, a Bosnian prayer rug. The pattern of this hand-woven kilim tells the story of the systematic devastation of Islamic cultural heritage during the war and points at the impact of this erasure of memory on the Bosniaks’ religious, ethnic, and national identities today. The project Arizona Road examines the informal urban phenomena of the Arizona Market in northern Bosnia-Herzegovina, the largest black market in the Balkans at the time. The market emerged along the federal highway called “Arizona Road” during the recent war in the region.

The carpet (kilim) industry remains dominant in the town. Carpets have been crafted according to traditional designs, but in recent years it is up to the customers to decide the pattern of the carpet they have ordered. The production of a single carpet takes about 50 days; primarily women engage in carpet weaving.

Work is entirely manual and all used materials are natural; the primary material is wool, coloured using plant or mineral dyes. The local carpets have been prized at exhibitions in London, Paris, Liège and Brussels. The kilim making of Chiprovtsi was inscribed on the Intangible Cultural Heritage list of UNESCO in 2014.

Feridun Ahmed Beg and Sokollu Mehmed Pasha (right). Ottoman illustration c. 1568. (See also:Pirot kilim) Fountain of Mehmed Pasha Sokolović in Belgrade from 1578. (Sokollu Mehmed Pasha Caravanserai with Bedestan in Belgrade - 3D Animation) In late 1565 and early 1566, tensions between the Holy Roman Emperor Maximilian II and Sultan Suleiman grew.

At present. the carpet (kilim) industry remains dominant in the town. Carpets have been crafted according to traditional designs, but in recent years it is up to the customers to decide the pattern of the carpet they have ordered. The production of a single carpet takes about 50 days; primarily women engage in carpet weaving.

In the first half of the 1930s she was a forgotten artist. Stryjeńska did not want to seek recognition. She desperately needed money, as she sold few paintings. Only in 1938 did she receive several orders from the Polish Ministry of Foreign Affairs, including one for a kilim for the Emperor of Japan Hirohito.

The selvages consist of up to ten warp threads. Especially village and nomadic rugs have flat-woven kilim ends, sometimes including pile-woven tribal signs or village crests. The pile of the carpet is shorn with special knives in order to obtain an equal surface. In some carpets, a relief effect is obtained by clipping the pile unevenly.

Woodhead Publishing in Textiles: Number 87 (The Textile Institute). . "The two most common types of knot used in an oriental carpet are the Persian knot and the Turkish knot." A flat or tapestry woven carpet, without pile, is a kilim. A pile carpet is influenced by width and number of warp and weft, pile height, knots used, and knot density.

Her designs and fabrics grace major design salons, from Paris to Johannesburg and New York. In 2019, Aissa Dione designed the interiors at Kehinde Wiley's Black Rock artists’ residence in Dakar. Other established textile designers include Nigerian Eva Sonaike, Haitian brand Yael et Valerie, Conakry, Guinea based Tensira, Ethiopian textile designer Sabahar, and Egyptian rug maker Kilim practicing traditional hand-weaving techniques.

Amulet (Muska) kilim motif, for protection (3 examples) Symbols of protection against evil are frequently found on Ottoman and later Anatolian carpets. The Turkish name for these symbols is nazarlık (lit.: "[protection from] the evil eye"). Apotropaic symbols include the Cintamani motif, often depicted on white ground Selendi carpets, which consists of three balls and a pair of wavy stripes.

Starting with a figurative art style she then turned to abstract work, often depicting abstracted Persian female rug weavers and kilim weavers or humans and nature. Persian miniatures have been great sources of inspiration in her latest paintings. She has continued this style while in the United States with a western influence as it appears in some of her abstract figurative 2 collection.

Qashqai Confederation Kilim 19th Century. The multicoloured zigzag fields in an ‘M’ shape are unusual. These kilims have been used as tent dividers or to cover up storage sacks within a home, so a horizontal viewpoint might have been intended by the weaver. The Qashqai tribal confederation consists of five major tribes, including the Dareshuri, Farsimadan, Sheshboluki, Amaleh, and Kashkuli.

Gabba, Encyclopedia Iranica, by JEAN-PIERRE DIGARD and CAROL BIER The gabbeh is usually crafted by women. Gabbeh carpets are much thicker and coarser than other Persian carpets; sometimes they can be as much as one inch or 2.5 cm in depth. In fact, they are more a variety of kilim than carpet. The word "gabbeh" comes from the Persian گبه, meaning raw, natural, uncut.

Although the workshops in each city and some villages produce textiles typical of the region such as Gabes, the quantity sold is low compared to centers such as Kairouan which is still the national center of carpet production. The kilim, an embroidered rug is a legacy of Ottoman rule in Tunisia. Finally, Tunisia has a rich tradition of mosaics dating back to ancient times.

The technique of kilim weaving predetermines the pattern shapes in the form of a lozenge, triangle, trapezium. Nearly all the vegetal elements, images of animals, birds and humans are geometrized in kilims. Kilims of different regions are distinguished by their composition, pattern, and colors. In terms of their technical peculiarities, kilims can be classified into five major groups based on the area of production: Kazakh, Karabakh, Absheron, and Shirvan kilims.

In response to pressure from Yugoslavia's allies, especially France and Czechoslovakia, led Alexander to decide to lessen the royal dictatorship by bringing in a new constitution which allowed the skupština to meet again. Pirot kilim at the balcony on the occasion of the festivities of November 11th 1930. In 1931, Alexander decreed a new Constitution which transferred executive power to the King. Elections were to be by universal male suffrage.

The origin of carpet weaving remains unknown, as carpets are subject to use, wear, and destruction by insects and rodents. Controversy arose over the accuracy of the claimOriental Rug Review, August/September 1990 (Vol. 10, No. 6) that the oldest records of flat woven kilims come from the Çatalhöyük excavations, dated to circa 7000 BC. The excavators' reportEvidence for ancient kilim patterns found in Çatalhöyük. Turkishculture.org. Retrieved on 2012-01-27.

Dates, especially cultivars like Shahani, Rotab, Qasb and Kharak; and also citruses like lemon, orange, tangerine, citrus limetta, bitter orange, and citron are the most well-known products of Jahrom. orange blossom, lemon juice, and date-based sweets like Ranginak and different halvas are also produced in Jahrom. Giveh, carpet, felt, kilim, cuprous dishes, and wickers are handicrafts of the city. Jahromi Gheimeh is a special Gheimeh cooked in Jahrom.

Sirjan (, also Romanized as Sīrjān; formerly, Sa‘īdābād) is a city and the capital of Sirjan County, Kerman Province, Iran. According to the 2016 census, its population was 324,103 in 95,357 families. Sirjan is located 960 kilometers from the Iranian capital of Tehran, and 175 kilometers from the provincial capital of Kerman. It is known for its pistachios, Kilim and its wind towers, locally known as Bādgir-e Chopoqi (calumet louver).

The Kilim Karst Geoforest Park consists of three river estuaries that stretch from Kisap village approximately 10&km; to Tanjung Rhu, and they are all interconnected. They are rich in wildlife with hairy nosed sea otters, brown winged kingfishers, monitor lizards, and swimming macaque monkeys being common sights. There is also a bat cave within the Geoforest Park. Limestone, inherently porous, forms caves and there are several in the mangroves.

This tradition was revived in 2011 when Pirot kilims were reintroduced for state ceremonies in Serbia. Carpet weaving in Pirot dates back to the Middle Ages.LEPOTA TRAJANJA One of the first mentions of the Pirot kilim in written sources date to 1565, when it was said that the šajkaši boats on the Danube and Drava were covered with Pirot kilims. Pirot was once the most important rug-making centre in the Balkans.

They are a flat tapestry-woven textile produced in a fashion similar to kilims of Eastern Europe and Western Asia, but with some notable differences. In Navajo weaving, the slit weave technique common in kilims is not used, and the warp is one continuous length of yarn, not extending beyond the weaving as fringe. Traders from the late 19th and early 20th century encouraged adoption of some kilim motifs into Navajo designs.

Together with the flat-woven kilim, Anatolian rugs represent an essential part of the regional culture, which is officially understood as the Culture of Turkey today,"The historical importance of rug and carpet weaving in Anatolia". Turkishculture.org. Retrieved on 2012-01-27. and derives from the ethnic, religious and cultural pluralism of one of the most ancient centres of human civilisation. Rug weaving represents a traditional craft dating back to prehistoric times.

The richness and cultural diversity of rug weaving were gradually better understood. More recently, also flat woven carpets (Kilim, Soumak, Cicim, Zili) have attracted the interest of collectors and scientists. The art and craft of the Anatolian rug underwent serious changes by the introduction of synthetic dyes from the last third of the 19th century onwards. The mass production of cheap rugs designed for commercial success had brought the ancient tradition close to extinction.

With the fading of tribal and village cultures in the 20th century, the meanings of kilim patterns have also faded. In these tribal societies, women wove kilims at different stages of their lives, choosing themes appropriate to their own circumstances. Some of the motifs used are widespread across Anatolia and sometimes across other regions of West Asia, but patterns vary between tribes and villages, and rugs often expressed personal and social meaning.

So, village rugs tend to vary in width from end to end, have irregular sides, and may not lay entirely flat. In contrast to manufactory rugs, there is considerable variety in treating the selvedges and fringes. Village rugs are less likely to present depressed warps, as compared to manufactory rugs. They tend to make less use of flat woven kilim ends to finish off the ends of the rug, as compared to tribal rugs.

Islands of Langkawi On 1 June 2007, Langkawi Island was given a World Geopark status by UNESCO. Three of its main conservation areas in Langkawi Geopark are Machincang Cambrian Geoforest Park, Kilim Karst Geoforest Park, and Dayang Bunting Marble Geoforest park (Island of the Pregnant Maiden Lake). These three parks are the most popular tourism area within Langkawi Geopark. In 2014, UNESCO issued a "yellow card" warning threatening the status of the Geopark.

Shiraz is known as the city of poets, gardens, wine, nightingales and flowers. The crafts of Shiraz consist of inlaid mosaic work of triangular design; silver-ware; carpet-weaving, and the making of the rugs called gilim (Shiraz Kilim) and "jajim" in the villages and among the tribes. The garden is an important part of Iranian culture. There are many old gardens in Shiraz such as the Eram garden and the Afif abad garden.

Jean Cocteau became friendly with her and helped vault her to international stardom. In 1929, Baker became the first African-American star to visit Yugoslavia, while on tour in Central Europe via the Orient Express. In Belgrade, she performed at Luxor Balkanska, the most luxurious venue in the city at the time. She included Pirot kilim into her routine, as a nod to the local culture, and she donated some of the show's proceeds to poor children of Serbia.

A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three- ply). A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap.

An Ardabil kilim Ardabil rugs originate from Ardabil located in the province of Ardabil Province in northwestern Iran, 639 kilometers from Tehran. Ardabil has a long and illustrious history of Persian carpet weaving. The reign of the Safavid Dynasty in the 16th and 17th centuries represented the peak of Persian carpet making in the region. The name Ardabil comes from the Avesta (The sacred book of Zoroastrians) and has the literal meaning of a tall holy place.

An example of the patterns from the last periods is the Model of Rašič ( or ), which was based on kilim brought by Serbian general Mihailo Rašič. Pirot kilims with some 122 ornaments and 96 different types have been protected by geographical indication in 2002. They are one of the most important traditional handicrafts in Serbia. In the late 19th century and up to the Second World War, Pirot kilims have been frequently used as insignia of Serbian royalty.

Ethnographic Museum in Belgrade Carpet weaving in Pirot dates back to the Middle Ages.Pirotski Ćilim - Lepota Trajanja One of the first mentions of the Pirot kilim in written sources date to 1565, when it was said that the šajkaši boats on the Danube and Drava were covered with Pirot kilims. Pirot was once the most important rug-making centre in the Balkans. Pirot is located on the historical main highway which linked central Europe with Constantinople.

Edges thus reinforced are called selvedges, or shirazeh from the Persian word. The remaining ends of the warp threads form the fringes that may be weft-faced, braided, tasseled, or secured in some other manner. Especially Anatolian village and nomadic rugs have flat-woven kilim ends, made by shooting in wefts without pile at the beginning and end of the weaving process. They provide further protection against wear, and sometimes include pile-woven tribal signs or village crests.

After a year, Neiriz returned to Berlin, but soon went back to Esfahan, to do research for his doctoral thesis at the Madrasah Chahar Bagh under the supervision of Professor Honarfar. During a break in one of the traditional tea rooms he discovered an antique nomadic kilim, which brought up associations with compositions of classical modern paintings, and he set out to search for similar pieces. Neiriz started a collection, explored origins, travelled to the nomads and their khans.

Anatolian kilim with a geometric pattern Large, geometric shapes are considered to be of Caucasian or Turkmen origin. The Caucasian tradition may have been integrated either by migrating Turkish tribes, or by contact with Turkmen people already living in Anatolia. A central medallion consisting of large, concentrically reduced rhomboid patterns with latch-hook ornaments is associated with the Yörük nomads of Anatolia. The name Yürük is usually given to nomads whose way of life has changed least from its central Asian origin.

Sanandaj A fine old Senneh prayer kilim from the 19th Century Kurdistan Province is a mountainous region that can be topographically divided into a western and an eastern section at Sanandaj. As a result of its elevation and mountains, Kurdistan province has many rivers, lakes, glaciers and caves, which render it rather picturesque. Consequently, Kurdistan has always attracted many tourists and fans of mountaineering, ski and water-sports. The Zarrineh River, 302 km long, is one of the longest rivers of this province.

Chiprovtsi kilim The carpet weaving industry played a key role in the revival of Chiprovtsi in the 1720s after the devastation of the failed 1688 Chiprovtsi Uprising against Ottoman rule. The western traveller Ami Boué, who visited Chiprovtsi in 1836–1838, reported that "mainly young girls, under shelters or in corridors, engage in carpet weaving. They earn only five francs a month and the payment was even lower before". By 1868, the annual production of carpets in Chiprovtsi had surpassed 14,000 square metres.

Shiraz has had major Jewish and Christian communities. The crafts of Shiraz consist of inlaid mosaic work of triangular design; silver-ware; pile carpet-weaving and weaving of kilim, called gilim and jajim in the villages and among the tribes. In Shiraz industries such as cement production, sugar, fertilizers, textile products, wood products, metalwork, and rugs dominate. Shirāz also has a major oil refinery and is a major center for Iran's electronic industries: 53% of Iran's electronic investment has been centered in Shiraz.

In the Japanese fairy tale "My Lord Bag of Rice", the warrior Fujiwara no Hidesato slays a giant centipede, Ōmukade, to help a dragon princess. Scorpion motif is often woven into Turkish kilim flatweave carpets, for protection from their sting (2 examples). Spiders have been depicted in stories, mythologies and the arts of many cultures for centuries. They have symbolized patience due to their hunting technique of setting webs and waiting for prey, as well as mischief and malice due to their venomous bites.

It comes various colours, the brighter and rich colours are for small children to young ladies. The gray and dark colours are for elderly women. The oldest piece of kilim which we have any knowledge was obtained by the archaeological explorer Aurel Stein; a fragment from an ancient settlement near Hotan, which was buried by sand drifts about the fourth century CE. The weave is almost identical with that of modern kilims. Hotanese pile carpets are still highly prized and form an important export.

The god Ninkilim, inscribed dnin-PEŠ2, is a widely referenced Mesopotamian deity from Sumerian to later Babylonian periods whose minions include wildlife in general and vermin in particular. His name, Nin-kilim, means "Lord Rodent," where rodent, pronounced šikku but rendered nin-ka6, is a homograph. He is described in the Sumerian language as a.za.lu.lu “lord of teeming creatures”, and in Akkadian as Bēl-nammašti “lord of wild animals” and features in much of the incantation texts against field pests, such as the Zu-buru-dabbeda.

The tent is a black horsehair tent. Inside the tent, there are trousseau bags, felts and kilims on the floor, wall pillows, a lamp, a partridge cage, a hızman, a gun and a gunpowder case. In front of the tent a leather foot-wear (çarık), a wooden water cup, a stone mortar, a churn, and a spoon case. On the left side of the tent a nomad girl with a butter churn, a hand grinder and on the wall a kilim with a ram horn motif.

To adherents of other faiths in the region, the nazar is an attractive decoration A variety of motifs to ward off the evil eye are commonly woven into tribal kilim rugs. Such motifs include a cross (Turkish: Haç) to divide the evil eye into four, a hook (Turkish: Çengel) to destroy the evil eye, or a human eye (Turkish: Göz) to avert the evil gaze. The shape of a lucky amulet (Turkish: Muska; often, a triangular package containing a sacred verse) is often woven into kilims for the same reason.

The Spirit of Ancient Peru: Treasures from the Museo Arqueológico Rafael Larco Herrera. New York: Thames and Hudson, 1997. The scorpion appeared as the astrological sign Scorpio, in the twelve signs of the Zodiac, created by Babylonian astronomers during the Chaldean period, around 600 BC. In South Africa and South Asia, the scorpion is a significant animal culturally, appearing as a motif in art, especially in Islamic art in the Middle East. A scorpion motif is often woven into Turkish kilim flatweave carpets, for protection from their sting.

These may often, as in textile art, be repeated many times in a pattern. Important examples in Western art include acanthus, egg and dart,Lucy T. Shoe, Profiles of Greek Mouldings 1936, supplemented by Shoe, "Greek Mouldings of Kos and Rhodes", Hesperia 19.4 (October - December 1950:338-369 and illustrations) and various types of scrollwork. Elibelinde kilim motifs, symbolising fertility Many designs in Islamic culture are motifs, including those of the sun, moon, animals such as horses and lions, flowers, and landscapes. Motifs can have emotional effects and be used for propaganda.

Turkish (roller beam) loom and weavers (1908). Turkish (symmetric) knot Persian (asymmetric) knot, open to the right Kilim end and fringes A variety of tools are needed in the construction of a handmade rug. A loom, a horizontal or upright framework, is needed to mount the vertical warps into which the pile nodes are knotted, and one or more shoots of horizontal wefts are woven ("shot") in after each row of knots in order to further stabilize the fabric. Wefts can be either undyed or dyed, mostly in red and blue.

Kütahya kilim (detail), circa 1875 Kütahya Province () is a province in the Aegean region of Turkey. It is 11,875 km in size, and the population is 571,554 (2014).Turkish Statistical Institute, spreadsheet document – Population of province/district centers and towns/villages and population growth rate by provinces In 1990, Kütahya had a population of 578,000. The neighboring provinces are Bursa to the northwest, Bilecik to the northeast, Eskişehir to the east, Afyon to the southeast, Usak to the south, Manisa to the southwest and Balıkesir to the west.

Geometric patterns occur in a variety of forms in Islamic art and architecture including kilim carpets, Persian girih and Moroccan zellige tilework, muqarnas decorative vaulting, jali pierced stone screens, ceramics, leather, stained glass, woodwork, and metalwork. Interest in Islamic geometric patterns is increasing in the West, both among craftsmen and artists including M. C. Escher in the twentieth century, and among mathematicians and physicists including Peter J. Lu and Paul Steinhardt who controversially claimed in 2007 that tilings at the Darb-e Imam shrine in Isfahan could generate quasi-periodic patterns like Penrose tilings.

The Kurds: A Contemporary Overview, Philip G. Kreyenbroek, Stefan Sperl, Routledge, (1992), , p.201 According to the 1926 census, 73% of its population was Kurdish and 26% was Azeri. In 1930 it was abolished and most remaining Kurds were progressively recategorized as Azerbaijani.Black Garden: Armenia and Azerbaijan Through Peace and War, Thomas De Waal, NYU Press, , p.133 In the 1930s, a traditional Kurdish puppet theatre kilim arasi in Aghjakand and a Kurdish Pedagogical College in Lachin still functioned. Soviet authorities deported most of the Kurdish population of Azerbaijan and Armenia to Kazakhstan in 1937, and Kurds of Georgia in 1944.

The acme of carpet weaving art in Arasbaran is manifested in verni,K K Goswam, Advances in Carpet Manufacture, 2008, Woodhead Publishing in Textiles, p. 148 which was originated in Nagorno-Karabakh. Verni is a carpet-like kilim with a delicate and fine warp and weft, which is woven without a previous sketch, thanks to the creative talents of nomadic women and girls. Verni weavers employ the image of birds and animals (deer, rooster, cat, snake, birds, gazelle, sheep, camel, wolf and eagle) in simple geometrical shapes, imitating the earthenware patterns that were popular in prehistoric times.

The Schools are divided into four main branches: Kuba-Shirvan, Ganja-Kazakh carpet-weaving school, The Baku carpet school, Karabakh school of carpet weaving. Carpet weaving is a family tradition in Azerbaijan which is transferred verbally and with practicing and also associated with the daily life and customs of its people. A variety of carpet and rug types are made in Azerbaijan such as silk, wool, gold and silver threads, pile and pileless carpets, as well as, kilim, sumakh, zili, verni, mafrashi and khurjun. In 2010, traditional art of Azerbaijani carpet weaving was added to the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO.

Pile woven as well as flat woven carpets (Kilim, Soumak, Cicim, Zili) have attracted collectors' and scientists' interest. Following a decline which began in the second half of the nineteenth century, initiatives like the DOBAG Carpet Initiative in 1982, or the Turkish Cultural Foundation in 2000, started to revive the traditional art of Turkish carpet weaving by using hand-spun, naturally-dyed wool and traditional designs. The Turkish carpet is distinct from carpets of other provenience in that it makes more pronounced use of primary colours. Western Anatolian carpets prefer red and blue colours, whereas Central Anatolian use more red and yellow, with sharp contrasts set in white.

The portrait represents him with his commission from the Doge in front of him on a kilim which was a gift from Abbas I in exchange for the offer of scientific instruments. The portrait, currently in the Ashmolean Museum hung in the rooms of Galileo while he wrote both the Dialogue Concerning the Two Chief World Systems of 1632 and the Two New Sciences of 1638. It is in these works that Galileo immortalised his friend: Sagredo is one of the characters in these works. The Dialogue is even set in a Sagredo palace, although in reality Sagredo left the family palace in 1611.

In kilim flatwoven carpets, motifs such as the hands-on-hips elibelinde are woven in to the design to express the hopes and concerns of the weavers: the elibelinde symbolises the female principle and fertility, including the desire for children. Pennsylvania Dutch motif known as a hex sign Pennsylvania Dutch hex signs are a familiar type of motif in the eastern portions of the United States. Their circular and symmetric design, and their use of brightly colored patterns from nature, such as stars, compass roses, doves, hearts, tulips, leaves, and feathers have made them quite popular. In some parts of Pennsylvania Dutch country, it is common to see these designs decorating barns and covered bridges.

Although Ninkilim is feminine in the great god-list, and the Sumerian Farmer's Almanac - (which entreats the farmer to pray to Ninkilim, goddess of field mice, so that she will keep her sharp-toothed little subjects away from the growing grain), the field-pest incantations know him as masculine, as do other texts of the later periods. The 8th year of Iddin-Dagān celebrates his selection “by means of the omens (of) the high-priestess of Nin-kilim.” He was one of the patron deities, with the goddess Bēlit-ilī, of the city of Diniktum. Ningilin was conflated at an early date with Ningirima, a god of magic who was commonly invoked for protection against snakes.

Carpet weaving still plays a major part in the economy of modern Iran. Modern production is characterized by the revival of traditional dyeing with natural dyes, the reintroduction of traditional tribal patterns, but also by the invention of modern and innovative designs, woven in the centuries-old technique. Hand-woven Persian carpets and rugs were regarded as objects of high artistic and utilitarian value and prestige from the first time they were mentioned by ancient Greek writers, until today. Although the term "Persian carpet" most often refers to pile-woven textiles, flat-woven carpets and rugs like Kilim, Soumak, and embroidered fabrics like Suzani are part of the rich and manifold tradition of Persian weaving.

People of Baybay City are mostly Boholano-speaking and Cebuano-speaking Leyteños with some influences from the Waray-Waray language. Baybayanon is the language spoken by inhabitants of the original settlements of Baybay City before mass migration of Cebuanos and Boholanos into the area and widely recognized as predating the surrounding Cebuano communities. It is a more representative language reference name than the so- called "Utodnon" or "Waya-Waya" since it does not refer to a single barangay, but spoken in five barangays, namely Guadalupe (Utod), Gabas, Kilim, Patag and Pangasugan. It is a living language given an ISO 639-3 language code bvy and has an approximate 10,000 speakers (2009 J. Lobel).

Sehna Kilim with boteh design, first half of 19th century thumb The boteh (), or buta () is an almond or pine cone-shaped motif in ornament with a sharp- curved upper end. Though probably of Persian origin, it is very common in India, Azerbaijan, Turkey and other countries of the Near East. Via Kashmir shawls it spread to Europe, where patterns using it are known as paisleys, as Paisley, Renfrewshire in Scotland was a major centre making them. In Asian ornament the boteh motifs are typically placed in orderly rows, though especially in India they may appear in a pattern in a variety of sizes, colours, and orientations, which is also characteristic of European paisley patterns.

Modern production is characterized by the revival of traditional dyeing with natural dyes, the reintroduction of traditional tribal patterns, but also by the invention of modern and innovative designs, woven in the centuries-old technique. Hand-woven Persian carpets and rugs have been regarded as objects of high artistic and utilitarian value and prestige since the first time they were mentioned by ancient Greek writers. Although the term "Persian carpet" most often refers to pile-woven textiles, flat-woven carpets and rugs like Kilim, Soumak, and embroidered tissues like Suzani are part of the rich and manifold tradition of Persian carpet weaving. In 2010, the "traditional skills of carpet weaving" in Fars Province and Kashan were inscribed to the UNESCO Intangible Cultural Heritage Lists.

The engraver Albrecht Dürer made many references to mathematics in his work Melencolia I. In modern times, the graphic artist M. C. Escher made intensive use of tessellation and hyperbolic geometry, with the help of the mathematician H. S. M. Coxeter, while the De Stijl movement led by Theo van Doesburg and Piet Mondrian explicitly embraced geometrical forms. Mathematics has inspired textile arts such as quilting, knitting, cross-stitch, crochet, embroidery, weaving, Turkish and other carpet-making, as well as kilim. In Islamic art, symmetries are evident in forms as varied as Persian girih and Moroccan zellige tilework, Mughal jali pierced stone screens, and widespread muqarnas vaulting. Mathematics has directly influenced art with conceptual tools such as linear perspective, the analysis of symmetry, and mathematical objects such as polyhedra and the Möbius strip.

The geometric designs in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques (with which they are often combined), to form intricate and complex patterns, including a wide variety of tessellations. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century. Geometric patterns occur in a variety of forms in Islamic art and architecture including kilim carpets, Persian girih and Moroccan/Algerian zellige tilework, muqarnas decorative vaulting, jali pierced stone screens, ceramics, leather, stained glass, woodwork, and metalwork.

Known as nazar ( or ), this talisman is most frequently seen in Turkey, found in or on houses and vehicles or worn as beads Detail of a 19th- century Anatolian kilim, with rows of crosses (Turkish: Haç) and scattered S-shaped hooks (Turkish: Çengel), both to ward off the evil eye A blue or green eye can also be found on some forms of the hamsa hand, an apotropaic hand-shaped talisman against the evil eye found in West Asia. The word hamsa, also spelled khamsa and hamesh, means "five" referring to the fingers of the hand. In Jewish culture, the hamsa is called the Hand of Miriam; in some Muslim cultures, the Hand of Fatima. Though condemned as superstition by doctrinaire Muslims, it is almost exclusively among Muslims in the Near East and Mediterranean that the belief in envious looks containing destructive power or the talismanic power of a nazar to defend against them.

Girih geometric pattern at the Darb-e Imam, Isfahan The geometric designs in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques, with which they are often combined, to form intricate and complex patterns, including a wide variety of tessellations. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century. Bowl decorated with Kufic calligraphy, 10th century Geometric patterns occur in a variety of forms in Islamic art and architecture including kilim carpets, Persian girih and Moroccan zellige tilework, muqarnas decorative vaulting, jali pierced stone screens, ceramics, leather, stained glass, woodwork, and metalwork.