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The Meaning of Kilim:

      Kilim, a word of Turkish origin, denotes a pileless textile of many uses produced by

one of several flatweaving techniques that have a common or closely related heritage and

 are practiced in the geographical area that includes parts of North Africa, the Balkans,

Turkey (Anatolia and Thrace), the Caucasus, Iran, Afghanistan, Pakistan, Central Asia

and China. Kilims are commonly known as Turkish rugs or Turkish carpets.

The Origins of Kilims:

        The lack of convincing evidence tying the origins of the generic kilim or Turkish rug, i.e.

flatweave, to a specific place and time leads to the conclusion that the technique itself was

 probably invented independently be various groups in several locations and at different times

 in the prehistoric era. However, it is widely believed that the kilim or Turkish Rug, as we

define it today, has its origins in the tribal flatweaves of Central Asia.
        The first kilim is estimated to emerge six-seven thousand years ago. It seems reasonable

 to suppose that the kilim evolved from purely utilitarian, non-decorative, non-symbolic

applications of weaving in some remote period of prehistory when the human spirit began

to express itself through various forms of arts and crafts. It also appears likely that the first

weaves were merely a technological advance over animal skins which were probably

already decorated with dyes or beads when weaving was discovered, so it is probable

that some patterns of color were incorporated into some of the early products of the

weaver's loom. But when and where did the technological and artistic strands come

 together to result in what we know today as a kilim remains unknown. As cultures

developed and civilizations emerged, these wool clothings began to tell the story and

the cultural behaviours and values of the people who made them. They were also used

 to tell stories and legends and were used as a way of communication. The essence of

a kilim is love, peace and understanding; as these are the virtues that make it possible

for civilizations to get along and understand each other.

Construction and the Materials Used:

        Wool is the primary material used to make kilims. Many kilims are made totally

 from wool where it is used for both warps and wefts, and wool is the primary weft

material used with cotton warps, which accounts for the great majority of all kilims.

This popularity of wool is due to its inherent qualities. It is supple, durable, handles

asily when spun or woven, readily takes on dyes and, most important, is in plentiful

 supply in kilim-making regions. There are certain breeds of sheep, like the merino,

whose fleece is especially sought-after for its special luster and length of fiber, but

actually it's the domestic fat-tailed sheep bred is favorable climatic and grazing

conditions that provides much of the excellent fleece used in Turkish rugs. Whatever

 the source, however, it behooves the kilim maker to use the best wool available to

 ensure high quality of a kilim if it is to be competitive in world markets. It is generally

 acknowledged by experts that good quality wool is used today in the production of

 kilims of repute, thus ensuring them long life - provided they are properly treated.

PARTS OF A KILIM

Wefts run across the width of the rug, over and under the warp strings and between

 rows of knots. Most often wefts are made of cotton, wool, or silk . Wefts help hold

 rows of knots in place and strengthen the structure of the rug.

Knots are tied by looping yarn around pairs of warps and cutting off the standing end.

 The ends of the "knot" become the pile or nap of the rug.

Edge bindings are made by wrapping several warps at the edge of the rug with yarn to

 reinforce this part of the rug.

End finishes hold knots and wefts from working off the rug's warp strings. Many rug

types have a flat-woven kilim selvedge at both ends.

Fringes are formed by gathering and knotting together bundles of warp strings at both

ends of the rug after the rug has been cut from the loom. The knots in these bundles

of warp strings keep pile knots and end finishes tight at the rug's ends.

DYEING:

The use of vegetables, barko, roots and other natural items to make dyes has been

 a well known art for many thousands of years. Madder root, indigo, St. John's wort,

onion, saffron, sumach, camomile, rhubarb, turmeric, sage, poppy, buckthorn, quince,

almond, walnut, chestnut and henna are just a few of the long list of natural dye sources,

 with madder and indigo perhaps the most commonly used. But what makes dyeing

with natural pigment sources approach the esoteric is the fact that in order to achieve

 a particular hue of color the elements of the "brew" must be just right or the resulting

shade will be "off" from what was intended. This means that at least three fundamental

 variables - the quality and amount of the dyeing agent, the quality and temperature of the

 water and the time allotted to soaking - must be correctly proportioned in a particular

application to the wool, a material with a set of variable properties of its own. To this

already complicated brew yet another ingredient is usually added, namely a fixative,

a bonding agent known as "mordant". It is applied to the wool before, often during,

 and occasionally after dyeing. Known as mordanting, this process has its ancient

roots in China and India, reportedly passing to Europe via Persia and Turkey.

Mordants include the metal compounds potassium aluminum sulphate (alum),

 copper sulphate, potassium dichromate (chrome), ferrous sulphate (copperas)

 and stannous chloride (tin); tannin and urine are also used. Below is a list of the

 major Anatolian dyes used to make kilims:

Woad Blue: From this plant dark or light blue tones are produced by the length

 of time which the plant is boiled. It is found along the edges of fields groving wild in

Central and Western Anatolia. Dyers Woad and some other plants are used to yield

 indigo which is the oldest and most important blue dye.

Madder Red: The roots of this plant are known as madder. It grows wild in

Central and Western Anatolia. A two year old plant will be about one and a half

meters heigth . "Rose madder" was a standart colour on the plattes of the old masters

of the Rennaissance and today, many expensive Itailan and English neckties are known

 as madder ties because of the rich deep toned red colour.

Ox-Eye Camomile Bright Yellow: During the spring, one finds this plant all

over Anatolia. It's large, golden yellow flowers a top long stems last throughout the

 summer. It grows along roadsides and in dry meadows. The flowers, fresh or dried,

used along with an alum mordant, produce a bright yellow.

Walnut Tree, Brown: The beatifull walnut tree can be found in the forested country

 of Eastern Turkey. It is a profusely branched tree which has a heigth of up to 25 meters

and bears peanut leaves. The fruit is covered with a thick green rind which along with the

 leaves, is often used by villagers for a green or blackish-brown dye. The walnut tree is

 native in Turkey and is absent only in the regions with several meters. Turkey producs

 15-20 percent of the world's wallnut crop. The effective colouring agent is the brown

dye, juglone, which adheres directly to wool fibers without a mordant (mordant means

a fixing agent). In ancient times the wallnut pods were used in medicine and for the dyeing

 of hair.

Buckthorne Deep Yellow: This plant grows only in Turkey on slopes with altitude up

to 3000 meters (9843 feet). Before the 20th. century, it was mainly cutivated in Central

Anatolia (Konya, Kirsehir, Sivas, Ankara and Kayseri). To day only wild shrubs grow

along roadsides, in fields and vineyards at Urgup, Corum and Kahramanmaras, which are

 areas of farmer cultivation. The unripe fruits, fresh or dried are used to create the dyes.

When an alum mordant is used, a deep yellow will result. This deep yellow from the

dried fruits is mainly used for dyeing silk. This colour dye is ofen used to obtain secondary

and tertiary colors.

Bast Hemp Brilliant Yellow: This dye is not used as ofen as other yellow dyes.

 This plant grows on the mountains of Central and Eastern Anatolia. The brilliant yellow

 colour is common in older flat weaves. The strong colour is often mistaken for a

 chemical dye and for this reason it's not popular in Western anatolia Workshops

where weavers cater to foreign market. In Eastern Anatolia, Lake Van area,

the kilims are produced for local consumers who perefer bright colours and are

less concerned about the distinctions between chemical and natural dyes.

Wild Camomile Yellow: During March, in Western and Southern Anatolia,

 this camomine plant will cover entire fields with fresh bolssoms. With alum mordant,

 a clear yellow dye will be obtained.

Tree-Leaved Sage Yellow: This herb can be found in most Mediteranean

 regions. It blooms on the dry hill sides from March up Until August. It is distintive

 its tall flowering spikes of mauve or pinkish two-lipped flowers. The leaves and stams, either fresh or dried, are sutible for dyeing. Plants are just one of many sources from which to obtain natural dyes.

 To obtain a natural dye the plant is boiled to extract the colour. Next, to ensure

the absorption of the colour in to the wool a second plant or natural salt is mixed

with the dye. This second plant or salt is known as the mordant.

The Difference Between Kilim and Carpet:

        The difference between a Turkish rug (kilim) and a regular carpet or pile

 rug is that whereas the design visible on the kilim is made by interweaving the

variously colored wefts and warps, thus creating what is known as a flatweave,

in a pile rug individual short strands of different color, usually of wool, are knotted

onto the warps and held together by pressing the wefts tightly against each other.

Glossary of Rug Terms:
ABRASH: A change in the color of a rug due to differences in the wool or dye batch.

The color change runs across the rug and is most likely to occur at the top.
BOTEH: A pear-shaped figure often used in oriental rug designs, characteristic

 of the paisley pattern. The botch may represent a leaf, bush or a pinecone.
CHAIN STITCH: A crochet stitch used in rug construction that consists of

successive loops to lock the final weft in place at the end of a rug.
DHURRIE: A flatwoven rug from India, usually made of cotton or wool.
ENDLESS KNOT: A buddhist emblem symbolizing long duration, often used

 with other symbols.
FIELD: The part of a rug's design surrounded by the border. The field may be

blank or contain medallions or an over-all pattern.
FRINGE: Warps extending from the ends of a rug which are treated in several

 ways to prevent the wefts and knots from unravelling.
GUL: A medallion either octagonal or angular in shape, used in Turkoman designs.

 It is often repeated to form an all-over pattern in the field.
JUFTI KNOT: A knot tied over four wraps instead of the usual two.
KILIM: A tapestry-like woven rug.

MEDALLION: The large enclosed portion of a design, usually in the center. Typical shapes are diamonds, octagons and hexagons.
PERSIAN KNOT: Looped around one thread with only a half-turn around the other thread.
PILE: The nap of the rug or the tufts remaining after the knotted yarns are clipped.
PLAIN WEAVE: The simplest interlacing of warp and weft.
PRAYER RUG: A rug with a representation of mosque or arched prayer area. Columns may be shown supporting the arch with a lamp hanging from the arch's apex.
SOUMAK: A flatweave rug made from a technique that produces a herringbone effect.
SEMI-ANTIQUE: Generally, rugs between 10 and 80 years old are considered semi-antique, rugs above 80 years are considered antique.
TAPESTRY WEAVE: Any variety of weaves where the pattern is created by ground wefts that do not run from end to end.
TURKISH KNOT: Tied around two adjacent warp threads.
WARP: Comprising the structure, parallel wrap yarns run the length of the rug and are interlaced with wefts.
WEFT: The yarns woven horizontally through the warps.
WEFT-FACED: A rug where the weft yarns are more closely spaced than the warps.

The Merriam-Webster entry reads:
Main Entry: ki·lim
Pronunciation: kE-'lEm
Function: noun
Etymology: Turkish, from Persian kilim
Date: 1881

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