Techniques of Rug
A motif is created by adding a third yarn to the warp and weft yarns which is wrapped around the warp yarns in several configurations depend upon whether the intent is to weave Cicim, Zili, or Sumak. In Cicim, the motifs are usually scattered or in series, with no organic relationship between any two motifs, and the basic ground weave (warp and weft) shows through so that the Cicim motifs appear to be embroidered. In Zili the entire surface of the ground weave is normally covered with the design yarns and vertical lines, somewhat like cords, protrude to give Zili its distinctive appearance. In Sumak, the entire surface is also normally covered with the design yarns. All three techniques may be employed together in one flatweave if desired. Each of the 4 basic types of flat-weave also has a number of sub-groups with variations in technique (23 total). There are two principal types of knots that are used in rug weaving. The first one is called double knot, Turkish knot, or Gordes knot and naturally given a firmer weave yielding to a stronger and more durable carpet. The second one is known as the single knot, Persian knot, or Sennah knot.
The Turkish knot is standard of yarn encircling two warp threads, with the loose ends raw tightly between the two warps. The Persian knot is a strand of yarn that encircles one-warp threads and winds loosely around the other warp. One loose end pulled through the two warps, while the other end goes to the outside of the paired warps.
Rugs and the various flatwaves are made from five basic materials; sheep wool, goat hair, cotton, floss silk, and silk. The quality of wool varies according to the climate, the breed of sheep, and the time of year of the shearing. Wool from sheep that live in warm and arid regions is normally dry and brittle, and since it breaks so easily, it ends up being short and feels lifeless. Good quality wool comes from healthy and well-fed sheep found in cold regions or at high elevations with good grazing lands and lots of water. In the colder regions, sheep grow a full fleece to keep warm and their bodies store fat which then translates to a high lanolin content within the fibre which reaches lengths of 10 cm. and more. The wool so obtained feels silky smooth and yet springy.
Wool from the higher elevations (cooler also) and from the spring shearing is considered to be the highest quality. Wool is hand-spun by using primitive utensils called kirmen (drop spindle) and by spinning wheels. Women usually spin the wool during idle moments and the street while spinning. In hand-spun wool, the original length of the fibre stays the same through the spinning process - a fibre tahat measured 7 cm. before spinning will still measure the same after spinning. Wool can also industrially spun, but the hard twisting of the fibres by the spinning machines tends to break some of the fibres. Although the broken bits and shorter fibres can be made to adhere together through the use of oils during the spinning process, the fiber will have lost some of its strength, which, in turn, will shorten the life spun of the rugs to be woven. In rug and kilim weaving, cotton is used mostly for the warp threads, as well as for the wefts. Compared to wool, cotton is generally considered to be a more resident fibre and it is less elastic. So, tighter knots can be tied on cotton warps as opposed to wool. If very tight knot is tied to a wool warp, the fibre will break much more frequently than if the warps were of cotton. Consequently, woolen pile rugs with high knotting density counts will normally have cotton warps, for example, in Hereke, Ladik, and Kaiser Bunyan carpets.
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