almascarpet

- we export carpet machine made

almascarpet

- we export carpet machine made

السجاد الیدوی فی العراق

تحقیق: علاء حسین

البغدادیون القدامى یعشقون إقتناء السجاد الیدوی والذی کان فی السنوات الماضیة متوفرا ورخیصا وکذلک التحف والفضیات فنرى اغلب البیوت البغدادیة.. بل اغلب بیوتات العراق مزدانة بمجموعة من هذه التحف التی تحمل فی الوانها ونقوشها بهجة ودقة فی الصنع وحسا فنیا رائعا وامتلات البیوتات بشتى انواع السجاد الیدوی والمستورد من روسیا وایران وباکستان وترکیا وربما بسبب اسعار السجاد العالیة، خاصة الانواع الثمینة منه.. فقد ولدت مهنة الریافة فی شارع السمو أل اکبر مجمع للسجاد فی بغداد وفیه یوجد اغلب الروافین ومن خلال تجوالنا رأینا محالا کثیرة ملیئة بالسجاد ومن مختلف الاحجام والتقینا باحد اصحاب المحال، کان فی الأصل روافا..

  

 

السید (حمادة) کما یلقبونه فی السوق احد الروافین الذی هجر مهنة صباه وانشغل کلیا ببیع السجاد وشرائه قال:

ترکت مهنتی منذ عشر سنوات فقد اتعبتنی کثیرا ولم اجن منها سوى الم ظهری وضعف بصری.. صمت الرجل قلیلا واکمل کلامه بتأنٍ، مهنة الریافة مهدد بالزوال حالها حال مهنٍ اخرى لم تعد تزاول فی اسواق بغداد وازقتها، والسبب الرئیس قلة مردودها المادی، ضحک الرجل مازحا واکمل (نحن کالبعیر یحمل الذهب ویأکل العاقول) فترانا نتعامل بالسجاد الثمین الذی تصل اسعاره الى ملایین الدنانیر ولکننا لا نأکل منه سوى التراب المتساقط منه وبضعة آلآف من الدنانیر. صمت قلیلا وواصل کلامه قائلا:

عملنا بطیء جدا، لأن طبیعة العمل تتطلب التأنی وذلک کی یخرج العمل جیدا ومرضیا لاصحاب السجاد. فعیب بقیاس 15فی15سم فی سجادة کاشان او اصفهان او قم یستغرق انجازه 20 یوما وربما شهرا باکمله ومقابل هذا الشهر من العمل لا تتجاوز الاجرة (75دولارا)، علما بأن العیب نفسه وفی السجادة نفسها یکون سعر ریافته فی الدول المجاورة للعراق وفی اقل تقدیر 400 دولار لهذا فان اغلب اصحاب محال الریافة باعوا محالهم واتجهوا لمزاولة مهنٍ اخرى.. اضاف الرجل:

فی السنوات السابقة کانت مهنتنا تدر علینا ربحا وفیرا وکنا نطلب فی ریافة السجاد اسعارا عالیة وکانوا یعطوننا الاسعار لأنهم یقدرون تعبنا وصعوبة مهنتنا.

شارکنا السید مجید قائلا: احببت هذه المهنة صغیرا حیث وجدت عائلتی تمارسها.. وکانوا لا یترکون السجادة منذ الصباح وحتى مغیب الشمس بساعات.. والیوم انا فی حیرة من امری، افکر ان اترک هذه المهنة التی لا اجید غیرها ولکنها بالمقابل لم تعد تسد احتیاجات الحیاة المتزایدة، واعول على الایام القادمة علها تأتی بالخیر، فمهنتنا تعتمد بشکل اساس على السیاح الاجانب.. لقد کان شارع النهر وسوق الصفافیر وشارع السموأل ملیئا بالسیاح وکانت المحال تفتح من الساعات الاولى للصباح وتبقى حتى منتصف اللیل.. فهم یعرفون اسواقنا قبل ان یأتوا للعراق، فالسائح الاجنبی ینظر باحترام الى الحرف الیدویة فنراه حریصا على شراء السجاد والبسط القدیمة وخاصة اذا کان فیها اختلاف فی عملیة الحیاکة فانه یصر على شرائها وکذلک یحرص على اقتناء التحف بانواعها الفضیة والنحاسیة والخشبیة ویدفع فیها اسعارا مغریة بالنسبة لنا، اما الآن فاصبح تعاملنا داخلیا وعملیة البیع والشراء شحت.

*وماهی ادوات عملکم؟

- اهم شیء فی عملنا مهارة الرواف فی التعامل مع نوع السجادة وکما تعلم فان حرفتنا یدویة فلهذا لا نستعمل ایة ماکنة، فالاعتماد على اصابعنا وعلى مربع او مستطیل خشبی یسمى (الترکال) کذلک على الابرة والکشتبان فقط.

مهنة الریافة تزاول فی بغداد بشکل اوسع من مناطق العراق الاخرى کون اغلب التجار موجودین هنا وکون هذه الاسواق قدیمة جدا، وکذلک تزاول فی الموصل کما انها شائعة فی محافظة اربیل کون الکرد یمتهنون صناعة البسط والسجاد قدیما فالبساط الکردی من البسط المشهورة والمرغوبة فی عملیة البیع والشراء ذلک لأن الالوان المستخدمة فی صناعته الوان نباتیة.. والالوان النباتیة هی الوان طبیعیة والنقوش المرسومة علیها نقوش سهلة وبدائیة.. لهذا اعتبر السجاد الکردی وبکافة انواعه من اقدم انواع السجاد وتعد ریافة هذا النوع من اسهل انواع الریافة..

*ماهی مراحل عملکم؟

- قبل ان تبدأ مرحلة الریافة تسبقها مرحلة مهمة جدا، الا وهی غسل السجاد وجمیع الروافین لایزاولون عملهم قبل غسل السجادة وذلک لصعوبة ریافتها وهی متسخة. والغسیل هنا یختلف بشکل کامل عن غسیل البیوت..

فی منطقة صغیرة تسمى (الشریعة) وهی مکان قرب نهر دجلة یغسل فیها السجاد اشخاص اصحاب خبرة فی التعامل مع السجادة فهذا نوع من السجاد یغسل بماء  بارد ویفضل غسله صباحا حیث الجو لایزال باردا والسبب لأن هذا النوع من السجاد تکون الوانه غیر جیدة ولهذا تنحل وتخرج مع الماء وعندها تمتزج الالوان الفاتحة بالالوان الغامقة فتبدو السجادة بعد غسلها وقد تشابکت فیها الالوان وبات منظرها مشوها.. وهنالک انواع تغسل بالصابون الرقی ومن النوع الممتاز کون الصوف المستخدم فی حیاکتها من اجود انواع الصوف ویسمونه (کرک) ومعناه الصوف المستخرج من الاغنام الصغیرة العمر لأن صوفها لایزال ناعما..

وهناک انواع تغسل بالمساحیق العادیة..

السید حیدر ویعمل غسالا منذ نعومة اظافره، قال بلهجة واثقة:

قبل ان نغسل السجادة نعرضها للشمس لفترة تتراوح بین یوم الى ثلاثة ایام حتى تجف من الرطوبة التی بداخلها بشکل کامل ومن الافضل ان یفرش وجه السجادة على الارض حتى یتساقط التراب العالق بها. بعدها نکورها على وجهها ونضربها بعصا غلیظة، ضربا یختلف کذلک من سجادة لأخرى حسب نوعها وقدمها ومدى الضرر الذی لحقها.. حینها نرى اکواما من التراب تخرج منها ونغیر مکان ضربها الى مکان انظف الى ان نتأکد ان کمیة لا بأس بها من التراب خرجت منها. بعد هذه العملیة التی تستغرق اکثر من ساعة نفرش السجادة على وجهها ونسکب علیها الماء لفترة تتجاوز الساعتین وربما ثلاث او اربع ساعات حسب درجة اتساخها وهذه العملیة تجعل الأتربة العالقة بداخلها تتحلل وتنزل للاسفل.. بعدها نبدأ بغسل ظهر السجادة اولا بالصابون او مساحیق الغسیل عدة مرات مع استخدام کمیات کبیرة من الماء وعندما نتأکد بأن ظهرها اصبح نظیفا نقلبها على وجهها. حینها تبدأ اهم مرحلة الا وهی غسل صوف السجادة ونبدأ بالماء فقط والفرشاة وخشبة مستطیلة نضغط بها على السجادة وندفع الماء الى الخارج.. ثم نضع مساحیق الغسیل ونمارس نفس العملیة السابقة وندفع الماء خارج السجادة.. فنرى الماء الخارج منها ذا لون اسود ونبقى نضیف مساحیق الغسیل ونکرر العمل السابق الى ان یصبح الماء الخارج منها نظیفا عندها تکون قد اصبحت نظیفة. نبرم السجادة ونربطها من اطرافها ووسطها بحبل قوی. ونرمی بداخلها کمیات کبیرة من الماء وهی مبرومة کی ینزل ماتبقى من مساحیق التنظیف ثم نترکها على جهة لثلاث او اربع ساعات حتى ینضح الماء الذی بداخلها وتصبح اخف وزنا، بعدها ننقلها الى مکان مواجه للشمس وتفرش.. ونقلبها حتى تجف.

*وماهی اسعارکم؟

- لاتوجد اسعار ثابتة للسجاد ولکن کمعدل تتراوح مابین (5-50) الفا وفارق السعر هذا یتبع نوع ودرجة اتساخها.

*الا تعتقد ان 50 الفا کثیرة على غسل سجادة؟

- لا اعتقد، اننا نتعب کثیرا بها والسجاد الیدوی یختلف بشکل کامل عن المیکانیکی.

شکرنا السید حیدر ورجعنا الى مضیفنا السید حماده والذی قال ان هناک مئات الانواع من السجاد، جاءت اسماؤها من مدن او قرى او قومیات او شخصیات فنرى الکاشان والاصفهان والقم والفرحان والهرکة والقرباغ والسنا والکردی بکافة انواعه ووفق هذا الاختلاف والتنوع کذلک اختلفت ریافة السجاد.. فکل یراف حسب نوعه وطریقة عمله. وعلیه کان لزاما على الرواف ان یکون دقیقا وذکیا بطریقة تعامله مع المکان المراد اصلاحه.. واقصد ان یکون ذکیا، بمعنى لو ان عیبا فی مکان من السجادة وهذا المکان فیه خطأ بحیاکته، علیه ان لایصحح الخطأ بل العکس انما یروف المکان الذی فیه العیب بنفس الخطأ القدیم.

*وکیف تزاول عملیة الریافة؟

- بعد غسل السجادة تذهب الى الرواف الذی یحدد نوع الخیوط المستعملة لها ان کانت قطنیة او صوفیة والقطنیة هنا تستعمل فی عملیة (السدا) فقط اما الصوفیة فتستعمل فی الحیاکة واحیانا عملیة التلحیم وتسمى (اللحمة) فنوعیة الخیوط والاصواف تختلف من سجادة لاخرى فهناک انواع نستعمل لها خیوطا رفیعة وانواع اخرى تتحمل خیوطا اغلظ مثل الهریز والمشکاباد، وانواع اخرى تحاک بالوبر وهی انواع قلیلة وانواع اخرى مهمة یستعمل لها الحریر وهی دقیقة العمل وصعبة.

یبدأ الرواف بغرز خیوط السدا وتغرز بالابرة والکشتبان داخل السجادة وبشکل عمودی وحسب عدد العقد الموجودة فی المکان المراد ریافته. بعدها یوضع الترکال على مکان العیب الذی غرست به خیوط السدا وتدق السجادة بعد ان تسحب بشکل قوی وتبدأ مرحلة غرز خیوط (اللحمة) وهی خیوط یجب ان تکون بنفس الوان الخیوط الاصلیة الموجودة فی السجادة.. ویجب الانتباه الى عملیة تمریر خیوط اللحمةداخل خیوط السدا.. بحیث یکون التمریر او التعبیر بنفس دقة تعبیر السجادة. ان عملیة (السدا واللحمة) هی اهم مرحلة واصعبها. اذ ان أی خطأ بهذه المرحلة سیبقى الى نهایة عملیة الحیاکة وستبدو الحیاکة غیر جیدة وبعد الانتهاء من عملیة (التلحیم) تتکون لدینا شبکة من الخیوط عندها ننظف السجادة من الجزء التالف منها بواسطة المقص او (الکتر) وندق المکان المعاب على الترکال ونبدأ بحیاکته بالاصواف المستخرجة مسبقا.. وهذه الاصواف یجب ان تکون مشابهة لخیوط السجادة مئة بالمئة لأن أی اختلاف بای لون من الاصواف سیظهر اختلافا بین السجادة والمکان الذی تتم ریافته.

ان عملیة الحیاکة فنیة بطبعها وتعتمد على خبرة الرواف فالمکان المراد تصلیحه یجب ان یکون مکملا للنقص الحاصل فی السجادة لذا یجب تعیین مکان مشابه للعیب وعلى ضوئه یحاک الجزء التالف لیکون فی النتیجة جزءا لایتجزأ من السجادة، بعدها نقص الصوف الزائد ونسحبه بفرشاة حدیدیة مخصصة لهذا الغرض کی یصبح الصوف المحاک ناعما ویدق المکان بمدقة حدیدیة ویکوى. وعندها تنتهی مرحلة الریافة بشکل کامل

 http://www.almascarpet.com

رغم التقدم التکنولوجی فی صناعة و إنتاج السجاد بأشکال و ألوان و نماذج متنوعة و أسعار منخفضة إلا أن الجمیع باختلاف قدراتهم المالیة یتمنون اقتناء قطعة و لو صغیرة من السجاد الیدوی , حیث تضفی لمسة سحر على منازلهم و ترتقی بقیمة أثاثهم و هی فی ذات الوقت استثمار جید حیث تباع بأسعار تفوق کثیر السعر المشتراة به إذ تتضاعف أسعار السجاد الیدوی القدیم و النادر لتصل إلى أرقام خیالیة و تقام له مزادات علنیة یحضرها أثریاء العالم و المتخصصون .

یصنع السجاد الیدوی من الصوف الخالص أو القطن أو الحریر أو خلیط منهما و یحدد سعر السجادة الخامة و الحجم و دقة التصنیع و العرز و شکل التصمیم و کلما کان الرسم دقیقاً یحمل تفاصیل متعددة و کانت عقد السجادة أکثر ارتفعت قیمتها المادیة .

و تصمیم السجادة الشرقیة إما یحوی رسومات هندسیة معروفة کمربعات و مثلثات و معینات و هو أبسط أنواع التصمیم , و إما مزین بالنباتات و هو الأکثر طلباً و یتطلب حرفیة أعلى و معظم الأشکال بهذه السجاجید لشجر السرو و الرمان و اللوز و الجوز و الورود .

و موتیفات السجادة تقسم لثلاث أنواع هی : هی موتیفات الوسط , موتیفات الحدود و أطراف السجادة و موتیفات الزینة و الخاصة بتکملة تزین منطقة ما بین وسط السجادة و حدودها .

العقد الترکیة هی المستخدمة فی ترکیا و القوقاز , أما العقد العجمیة فتستخدم فی إیران ( الصورة أدناه توضح الفرق بین العقدتین )
ففی العقدة الترکیة یلف الغزل مرتین حول خیطی طول متجاورین و یخرج طرف الغزل من الخیطین . بینما فی العقدة العجمیة یلتف الخیط مرة حول الخیط الطولی .
یخرج طرفا الخیط من فوق العقدة الترکیة بینما فی العقدة العجمیة یخرج أحد الطرفین من فوق العقدة و الآخر من الجانب .http://www.almascarpet.com

 :عدد الزیارات

The History of Carpet

the subject, published by the respected trade magazine "CFR" with the encouragement of the then editor Harry Tysser. With the kind permission of Carpet Review we have incorporated information recorded by Mr Jacobs in the following summary.

"Carpets" by George Robinson, published by Textile Book Service in 1972 is also an excellent manual and has a broader scope including the mechanics of construction.

"Tufting" by Derek Ward, published by Textile Business Press (1969) is also an invaluable source, especially for the recent history of carpets.

BC

6000

Evidence of goats and sheep being sheared for wool and hair and then spun and woven.

1480

Egyptian fresco of handloom (discovered in 1953)

464

Pazyryk rug woven, (Discovered in ice filled tomb Outer Mongolia 1960). It has all the characteristics of a modern Persian or Anatolian with a pile and Ghiordes knot.

 

AD

1000

Marco Polo confirms rug making in Central Anatolia. From there the technique spread through the Caucasus, Turkomania, Persia, Meshed, Herat, Kabul, India and Kashmir. Traders took rugs to Samarkand, Bokhara, Tashkent, Sinkiang and Peking, the craft swept through Tunisia, Biskra, Bou Saada, Marakesh and Fez.

1537

Robert Rothe imports weavers from the East to make rug on his estate in Kilkenny

1540

Cardinal Wolsey imports Turkie rugs to England

1550

Carpet knotting exhibited by Richard Hickey

1570

Verulam carpet made for Elizabeth 1st

1580

Aubusson carpet centre set up in Beauvair

1586

Ardebil carpet made (now in Victoria Albert Museum, London) Made by Maksud the Keshani. (Robinson suggests 1586. Jacobs asserts 1540. One of a pair made for the Mosque of Ardebil. The other is in the Los Angeles Museum of Art)

1596

Pierre DuPont sets up weaving carpets in Palais Royal Paris (Jacobs suggests 1604) moves in 1620 to soap works "Savonerie"

1619

Inventory on Naworth Castle mentions Kidderminster Fote Cloths ) "Seven carpets of Kitterminster Stuff").

1655

Carpet factory built at Wilton

1685

Huguenot weavers flee France some settle in England and start weaving in Wilton. Wilton carpet weavers received Royal Charter in 1699.

1720

Earl of Pembroke persuades weavers from Savonnerie factory to work in Wilton and teach locals to make Brussels carpet. (Legend has it that the Duke smuggled the weavers out of France in wine barrels). The Duffossy family still live in Dorset.

1735

Pearsall & Broome set up in Kidderminster making reversible double (Kidder) cloth. The last "Kidder" loom was dismantled in 1936. In 1745 Broome brings weavers from Tournai to Kidderminster to compete with

1749

Dufossy developed method to cut loops of Brussels weave to make a nap. This became known as Wilton carpet.

1750

Peter Parisot sets up carpet weaving in Paddington with two Savonnerie weavers, under patronage of Duke of Cumberland. He moved to larger premises near the Golden Lion Inn in Fulham. In 1755 the factory was brought by Passavant who moved plant to Exeter. (The Golden Lion still exists and when I last visited the hostelry in 1979 there were a couple of topless dancers working the bar).

1755

Moore opened in Moorfield and Whitty opened in Axminster closing in 1835 and looms moved to Wilton. Original hand knotted looms still in operation at Wilton until 1957

1756 - 1759

Royal Society of Arts presented premiums for finest carpets. Won by Whitty three times and Passavant once.

1770 - 1790

Hand made carpet making flourished and attracted designers such as the Adam Brothers and Laverton.

1770

Brintons, previously cloth makers, started making carpets. The dynasty still exists and is the largest privately owned carpet company in the UK. (1997).

1790

Whitty makes carpet for Throne Room at Carlton House and Brighton Pavilion and supplied ط¢آ£1000 carpet to Sultan of Turkey. Coals to Newcastle. It became the fashion to match carpets to ceilings, a trend that is still followed by today's equivalent of Whitty's factory, Axminster Carpets of Devon. See Axminster Contract page - Number One Nob Hill, San Francisco).

1801

Jacquard invents method of presenting different coloured yarn to weaving face. Revolutionises patterned fabric making the system still in use. (1997)

1810

Decline in fine hand made carpets due to Napoleonic War and competition from machine made. More looms introduced in Kidderminster, Yorkshire and Scotland.

1824

Three ply fabric commenced in Kilmarnock.
In
America, hand knotted rugs and rag rugs made plus imports from England. In 1791 Sprague opens carpet factory in Philadelphia and 1825 mill opened in Massachusetts.

1750 - 1850

Industrial development in England. Population increase from 7 million to 18 million. End of cottage industries. Industrial revolution brought textile inventions by Hargreaves, Arkwright, Crompton. Cartwright and Watt's steam engine.

1803

Crossley Carpets start in Halifax (Crossley Carpets are still made under Carpets International brand by new owners Shaw Carpets of USA. Decendents of Crossley still make carpets in Yorkshire)

1832

Whytock invents method to print yarn and then weave it into flat fabric with design incorporated. Tapestry Carpet Loom. Start of Henry Widnell Stewart Ltd in Edinburgh later bought by stoddard - who still manufacture carpet. (See stoddard carpet on British Wool pages). Whytock leases Tapestry Carpet Loom rights to Crossley.

1837

James works with Quigley to perfect the Chenille Axminster loom. Chenille expanded to meet demand for large seamless patterned carpets at an economic price. Chenille eventually succumbed in 1968. It grew to a multi-million company over 150 years and were bought by Stoddard around 1970. Quigley took his share and disappeared in America around 1850.

1839

Erasmus Bigelow in America invents power loom to make double ingrain and sold it to Scottish and English manufacturers who installed steam power. In 1951 he introduced a steam powered Brussels loom at the Great Exhibition and demonstrated it at Hoobrook in Kidderminster (Near the site of today's Brockway Carpets, see Brockway pages), eventually Crossley purchased it.

1852

William Grosvenor built steam driven factory in Green Street, Kidderminster, where the company still occupies in a listed building.

1862

Alfred Stoddard, an American, took over the tapestry factory of Ronalds at Elderslie, near Glasgow, to make carpets. By 1867 he was selling 75% in America. Stoddard now owns and still make carpets on the original site.

1878

Spool Axminster, invented by Halcyon Skinner in America, introduced into England by Tomkinson and Adam in Kidderminster. (Both families still making carpets - 1997). Morris opened hand knotting factory Hammersmith. (Morris designs still produced on Wilton looms see Hand Made Carpets pages).

1880

William Gray of Ayr develops seamless Kidder carpets

1890

Brintons develop Gripper Axminster (also from Halcyon Skinner of Yonkers) with efficiency advantages over traditional Spool. Later the two techniques were combined in Spool-Gripper.

1896

Donegal hand made factory set up and still in operation. (1997)

1905

Brintons produce carpet from first power driven wide loom. 15 ft wide. (4.57m)

1927

David Crabtree, loom builders since 1853, start to export wide Gripper looms, three yards or three metres wide. 10 ft 6in introduced in 1932.

1930

Decline in Tapestry carpet in favour of huge increase in Gripper Axminster especially for "Seamless Squares".

1940 - 50

Tufted carpets developed in USA from candlewick weaving techniques.

1960

Chenille Axminster disappeared under avalanche of tufted carpet.

1950 - 1970

Tufted carpet limited to plan yarn effects but gradually printing white carpet improved.

1970 - 1995

Woven Carpet production declined by 70% but tufted production increased by 300% (UK).

1995

Fully patterned tufted carpets produced in England by Ryalux Carpets. Individual coloured yarns presented to substrate effectively for the first time. Patterned tufted carpet produced to rival woven (Gripper Axminster and Figured Wilton) carpets.

2000

Carpet choice has never been so diverse. Identifying the need to move with the changing demands of the consumer, the carpet manufacturers across the world offer a huge variety of diverse carpet ranges. 1000أ¢â‚¬â„¢s of textures, colours, designs and styles leave no stone unturned.

http://www.almascarpet.com

For further information call Tasibel. Tel: 020 7454 1230.

Man-Made Fibres

Popular since the early 1950's, great advances have been made in the performance of man-made carpet fibres.

Main benefits of man-made fibres.

Acrylic
Not as hard wearing as Nylon and less fire resistant than wool, Acrylic is a fibre with good bulk and resilience.

Polyamide (Nylon)
Many different brand names, such as Anso, Timbrelle. A tough fibre and with stain resistant treatments is less prone to soiling than earlier nylon carpets. More flammable and prone to static than wool. Nylon is often added to wool to increase resistance to wear especially in lower pile weights and densities.
For a selection of Polyamide carpets

Polyester
Used in luxury
Saxony styles, less resistant to flattening than some fibres but wears well.
For a selection of Polyester carpets

Polypropylene
Hard wearing and not as resilient as other fibres. It is very easy to clean but will scar if exposed to flame.
For a selection of Polypropylene carpets

Viscose
Not as resilient as many other fibres it is prone to flattening. But it is relatively inexpensive fibre and it brings fitted carpets within a wider reach.

Yarns

Carpets are only as good as the raw materials from which they are made and the expertise with which they are constructed.

All carpets are made with raw fibre and this is normally spun into a yarn which is then woven or tufted into a fabric that you see in the shops.

Spinning the yarn itself is a skilled job and one which has created its own specialist companies.

Stages in Yarn Spinning

1.       Raw wool is blended together in precise proportions according to the `character' and `handle' of the yarn required.

2.       The blend is scoured, pulled and teased (the technical term is `carded') until it is straighter, whiter and free of natural burrs and foreign bodies

3.       The fibre is systematically opened up and layered and then cross layered and eventually this web or bat is split into slubbings which are then pulled and twisted on a spinning frame which adds strength to the single strand of yarn.

4.       Two or more of these strands are then twisted together, or `doubled', and this results in a yarn with a high tensile strength capable of being woven or tufted by the latest high tech machinery with the maximum efficiency and at the lower production cost, thereby providing the optimum combination of quality raw materials, exceptional yarns and most economical prices.

Colour is introduced either at the raw fibre stage or when the yarn is spun into the thickness weight and length for the particular carpet.

  • + نوشته شده در  85/03/07ساعت 22:37  توسط علیرضا  |  نظر بدهید

    مقاله ۱

    A traditional rug weaver in Isfahan. See special page on Isfahani rugs

    The Persian rug is an essential part of Persian art and culture. Thus carpet-weaving is undoubtedly one of the most distinguished manifestations of Persian (Iranian) culture and art, and dates back to the Bronze Age.

    The earliest surviving corpus of Persian carpets comes from the Safavid dynasty (1501-1736) in the 16th century. However, painted depictions prove a longer history of production. There is much variety among classical Persian carpets of the 16th and 17th century. Common motifs include scrolling vine networks, arabesques, palmettes, cloud bands, medallions, and overlapping geometric compartments. This is because Islam, the dominant religion in that part of the world, forbids the depiction of humans or animals. Still, some show figures engaged either in the hunt or feasting scenes. The majority of these carpets are wool, but several silk examples produced in Kashan survive.

    History

    With the passage of time, the materials used in carpets, including wool and cotton, decay. Therefore archaeologists are not able to make any particularly useful discoveries during archaeological excavations, save for special circumstances.

    What has remained from early times as evidence of carpet-weaving is nothing more than a few pieces of worn-out rugs. And such fragments do not help very much in recognizing the carpet-weaving characteristics of pre-Seljuk period (13th and 14th centuries AD) in Persia.

    Among the oldest pieces discovered are those found in Eastern Turkestan, dating back to the third to fifth centuries AD, and also some of the hand-weavings of the Seljuks of Asia Minor on exhibit in Alaأکآ£أ‚آ¢أƒآ¢أ¢â‚¬إ،أ‚آ¬أƒآ¢أ¢â‚¬إ¾أ‚آ¢edin Mosque in Konya and Ashrafoghlu Mosque in Beyshehir, Turkey. These pieces attracted the attention of researchers earlier this century, and now they are kept in the Museum of Turkish and Islamic Art in Istanbul and the Mowlana Museum in Konya.

    In a unique archaeological excavation in 1949 however, the exceptional Pazyryk carpet was discovered among the ices of Pazyryk Valley, in Altai Mountains in Siberia. It was discovered in the grave of a Scythian prince by a group of Russian archaeologists under the supervision of Sergei Ivanovich Rudenko. Radiocarbon testing revealed that Pazyryk carpet was woven in the 5th century BC. This carpet is 1.83أکآ·أ‚آ£أƒآ¢أ¢â€ڑآ¬أ¢â‚¬آ‌2 meters and has 36 symmetrical knots per cmأکآ·أ‚آ¢أکآ¢أ‚آ². The advanced weaving technique used in the Pazyryk carpet indicates a long history of evolution and experience in this art. Most experts believe that the Pazyryk carpet is a late achievement of at least one thousand years of technique evolution and history.

    According to this theory the art of carpet-weaving in Persia (Iran) is at least 3500 years old.

    The Persian rug today

    Although carpet production has mostly become mechanized today, the traditional hand woven rugs are still widely found, and usually have higher prices than the machine woven counterparts.

    Many fine pieces of the Persian carpet are to be found in The Carpet Museum of Iran in Tehran.

    Anatolian & Persian Rugs

    It is also important to differentiate between Anatolian (Turkish) carpets and Persian Carpets. Persian carpets are single tied wheras Turkish / Anatolian carpets are double tied. This means that for every 'vertical strand' of thread in a carpet, an Anatolian carpet has two knots as opposed to the one knot in a Persian carpet. Ultimately, this process of 'double knotting' in traditional Anatolian carpets results in a more choppy and block like image in the finished product as each 'vertical strand' takes more space on the loom. On the other hand, Persian carpet weavers traditionally single knot their carpets: This results in a much finer image on the carpet in the end as only the minimum amount of space is given for each 'vertical strand'.

    It is this simple tradition of single knotting that has built the reputation of the Persian carpet as an object of luxury and desire throughout the globe to what it is today.

    Traditional Centers of carpet production in Iran (Persia)

     

    A rug depicting the famous mosque of Isfahan.

    The major classical centers of carpet production in Persia were in Tabriz (1500-1550), Kashan (1525-1650), Herat (1525-1650), and Kerman (1600-1650).

    The majority of carpets from Tabriz have a central medallion and quartered corner medallions superimposed over a field of scrolling vine ornament, sometimes punctuated with mounted hunters, single animals, or animal combat scenes. Perhaps the most well-known of the Tabriz works are the twin Ardabil carpets most likely made for the shrine at Ardabil (today in the collections of the Victoria and Albert Museum in London and the Los Angeles County Museum).

    Kashan is known for its silk carpet production. Most famously, for the three silk hunting carpet masterpieces depicting mounted hunters and animal prey (currently in the collections of the Vienna Museum of Applied Arts (aka the MAK), the Museum of Fine Arts, Boston, and the Stockholm Museum). The Kashan rugs are among the most valuable in existence. One carpet, for example, is known to have been sold in Germany for $20,000 in 1969.

    The Herat carpets, or ones of similar design created in Lahore and Agra, India, are the most numerous in Western collections. They are characterized by a red field with scrolling vine ornament and palmettes with dark green or blue borders.

    The seven classes of Kerman carpet were defined by May Beattie. She identified their unique structure and named it the "vase technique." Carpet types in this group include garden carpets (ornamented with formal gardens and water channels) and the ogival lattice carpets. A fine and well-known example of the later was purchased by the Victoria and Albert Museum under the guidance of William Morris. The influence of Persian carpets is readily apparent in his carpet designs.

    Carpet dealers have developed a classification for Persian carpets based on design, type of fabric, and weaving technique. The categories are named for cities and areas associated with each design:

    1. Maku
    2. Marand
    3. Tabriz
    4. Ahar
    5. Heris
    6. Meshkin Shahr
    7. Ardabil
    8. Saraband
    9. Sarab
    10. Mahabad
    11. Afshar
    12. Zanjar
    13. Bidjar
    14. Sanandaj
    15. Saraband
    16. Kermanshah
    17. Hariz
    18. Qazvin
    19. Hamedan
    20. Malayer
    21. Saroogh
    22. Farahan
    23. Qom
    24. Tehran
    25. Brujerd
    26. Arak
    27. Moshk Abad
    28. Mahalat
    29. Joshghan
    30. Kashan
    31. Semnan
    32. Shahre Kord
    33. Isfahan
    34. Ardestan
    35. Naeen
    36. Shahr Reza
    37. Mamasani
    38. Abadeh
    39. Yazd
    40. Shiraz
    41. Rafsanjan
    42. Kerman
    43. Mahan
    44. Ravar
    45. Gorgan
    46. Gonbad Ghaboos
    47. Nishaboor
    48. Torghabeh
    49. Mashad
    50. Kashmar
    51. Gonabad
    52. Ferdos
    53. Ghayen
    54. Dorokhsh
    55. Birjand
    56. Mud
    57. Zabol

    Source:http://www.almascarpet.com

    Animal Carpet, (Details) Anatolia, 15th century. Design shows a dragon and phoenix fighting; discovered in central Italy, Berlin, Museum fur Islamische Kunst.

     

    In the West, Persian carpets are perhaps the best known Islamic art form, highly valued in the West since they were first introduced by Italian merchants in the 14th century, they were sometimes used to wrap relics in church treasuries. The exact origin of carpet-weaving is unknown, carpet fragments dating back to the 5th century have been found in Central Asia. Westerners nomads produced textiles that were in daily use, such as: clothing, bags and in decorating the home. However, these textiles had a fairly short life-span and very few pieces have survived from the per-modern period. The fact that they were nomadic likely helped spread the practice. Persian manuscripts from the time of the Sassanid ruler Khusrau I illustrate carpet-weaving. As the Islamic world expanded, the art became common not only in Central Asia and Iran, but also in Asia Minor, the Caucasus, northern India, and Islamic Spain.

     

     

    In 1949, a Russian archaeological on an expedition to the Altai mountains in southern Siberia produced a royal burial mound that contained a preserved carpet in frozen chamber. Known as the Pazyryk carpet, it was used as a saddle cover for a horse interred in the burial mound. Beautifully designed, the rug dates from the 4th or 5th century B.C. and is the earliest-known surviving example of a hand-knotted carpet dating back to the Sassanian & early Islamic periods. Pazyryk carpet discovered together with a mummified horse, a four-wheeled cart, and other household articles. Made of very fine thread, it contains 36,000 Gordes "double knot" per 10 square centimeters, showing a mastery of craftsmanship unequalled in later times. Otherwise, any knowledge of carpets before the late 15th century is largely based on literary sources. Another splendid carpet mentioned in the source was the "Spring of Khusrau," a huge carpet, about 27 square meters (290 square feet), which covered the floor of the Sassanian palace at Ctesiphon when the Arabs conquered it in the year 637.

     

    Isolated carpet fragments of varying size and dating before the 12th century have been found in such extremely dry locations as the rubbish heaps of Old Cairo, but the oldest surviving group of carpets dates from the first half of the 14th century. They are known as UKonya" carpets because some 20 examples were discovered in 1903 in the Ala ai-Din Mosque at Konya in central Anatolia, where they had been hidden under successive layers of carpets laid on the floor of the prayer hall. These carpets are coarse, and knotted with symmetrical knots in a limited range of strong colors, such as medium and dark red, medium and dark blue, yellow, brown, and ivory. Scholars had initially attributed them to the patronage of the Seljuk sultans, who ruled Konya in the 12th and 13th centuries, but as some of the motifs used on the carpets derive from Chinese silks dating to the Yuan dynasty (1279-1368). the group is now assigned an early 14th-century date.

    Carpets were principally used in the Islamic world to cover the floors of mosques and houses, also occasionally used as wall decorations. They were usually made from sheep wool, goat or camel hair, or in later times, cotton and silk. Persian and Turkish carpets made up the bulk of Islamic carpets. The first half of the 16th century is considered the "Golden Age" of Persian carpets, when large carpets with rich colors and complex designs were produced out of factories in cities such as Isfahan.

    "Polonaise" carpet. Kashan, Iran, 1601, Residenz Munchen, East Asia Collection.

    THE TWO MOST TYPICAL TYPES OF KNOTS used in Oriental carpets are called Turkish (sometimes called a Ghiordes knot), and Persian (sometimes called a Senneh knot). These terms generally have nothing to do with a carpet's ethnic or geographic origin.

    Turkish Knot: the supplementary weft yarn passes over the two warp yarns, and emerges to form the pile coming between them. The Turkish knot is also sometimes called a Ghiordes' knot; it has a symmetrical structure.

    FIELD PATTERNS AND BORDER PATTERNS in all handmade Oriental pile carpets rely upon repeated sequences of knots. It is primarily in the choices of color, and in the repetition of selected designs (represented by specified sequences of knots that traditional border patter

    ns and field patterns are achieved.

    Persian Knot: the supplementary weft yarn passes behind one warp yarn, and the two ends emerge on either side of a warp yarn. The Persian knot is sometimes called a Senneh knot; it has an asymmetrical structure.

    Garden carpet, northwestern Persia, 18th century, Berlin Museum fur Islamische Kunst

     

    Ctesiphon The large round city , situated on the left bank of the Tigris, across the river from the Hellenistic city of Seleucia, has been identified as the great Parthian and Sassanian capital city of Tisfun, known to the Romans as Ctesiphon , the Al-Madain (the cities), of Arabic sources. Situated about 35 km south of the later city of Baghdad, in present-day Iraq, Ctesiphon was the first Sassanian foundation in this urban zone, named Veh-Ardashir, the beautiful (good) city of Ardashir, after its founder, the Sassanian king Ardashir I (AD 224-241).

     

    Sassanian , or Sasanid, last dynasty of native rulers to reign in Persia before the Arab conquest. The period of their dominion extended from c. AD 224, when the Parthians were overthrown and the capital, Ctesiphon , was taken, until c.640, when the country fell under the power of the Arabs. The last Sassanian king died a fugitive in 651, but he had been forced to yield Ctesiphon to the Arabs in 636. Under the Sassanid, who revived Achaemenid tradition, Zoroastrianism was reestablished as the state religion. The name of the dynasty was derived from Sassan, an ancestor of the founder of the dynasty, Ardashir I , who took and ruled Ctesiphon (224-40).

     

    Source:

    http://www.almascarpet.com

    • Quality carpet cushion can dramatically extend the life of a carpet by acting as a shock absorber whenever some walks on the carpet. The cushion absorbs most of the downward impact caused by walking on the carpet and then springs the carpet's pile back up after each step.
    • Carpet cushion adds comfort to any carpet and makes a carpet feel richer and more luxurious.
    • A separate cushion installed underneath a carpet improves a carpetأƒآ¢أ¢â€ڑآ¬أ¢â€‍آ¢s acoustical and insulating properties making the room warmer and quieter.
    • Cushion can also reduce fatigue caused by standing on a hard surface for extending periods of time.
    • A separate cushion below carpet helps hide uneveness in a subfloor.

    Mohawk Carpet Cushion is offered in a variety of thicknesses (1/4" - 9/16"), densities and in several different bonded and synthetic qualities. See your local Mohawk retailer for samples and which cushion is best for your specific needs.

    • Premium white bonded carpet cushion
    • Specially selected 100% virgin urethane
    • BHT Free
    • Allergy Free
    • CRI Green label for air quality assurance
    • Fatigue free comfort-plush feel underfoot
    • Revolutionary new manufacturing process - strong bond technology
    • Superior tensile strength and exceptional quality and consistency
    • Residential use - all traffic areas
    • Life of Home warranty
    • Environmentally friendly

    ** Heavenly features UTLRA FRESH DM50 FILM - inhibits odor-causing mold, mildew and fungus

     

    • Two-sided Moisture and Spill Guard
    • Kid and pet proof!
    • Luxurious comfort underfoot.
    • Value for the life of your home!
    • Easy clean up! Dust and spill can not penetrate.
    • Hypo-allergenic
    • Maximum insulation for temperature and sound.
    • Warranted for the life of your home. Even transferable to the next owner.*
    • Versatile to match any carpet style-for stairs and hallways too!
    • Engineered for cushion-not made from recycled materials.
    • Mold and mildew resistant!
    + نوشته شده در  85/03/07ساعت 22:43  توسط علیرضا  |  نظر بدهید

    all about carpet

    Once you have decided upon the carpet you like you are well advised to have it professionally fitted. Before this you should obtain an estimate of the cost.

    Estimates

    An estimate is more accurate when your carpet supplier visits the location to measure the room and to assess the situation and the time it would take to lay the carpet.

    The National Institute of Carpet and Floorlayers train all their members to exacting standards the highest of which is "Master Fitter".

    When you receive an estimate ensure that it includes:

    • Advice on appropriate underlay - including pads on stair treads and risers.
    • Extra work such as clearing the room, easing the doors, type of fixing accessories, door plates and stair nosings if required.
    • Removing carpet and underlay waste.

    Check which method of fixing is recommended by your supplier. Options include, tackless fitting, tacked down, rings and pins and stick down.

    Remember, the total cost of any job is what matters. Offers such as free underlay, free fitting and other inducements are sometimes negated by the cost per unit of the carpet.

    Some carpets are wasteful if fitted in some rooms due to the fixed widths that carpets are usually made. However, there are carpet ranges that are produced in several widths, which reduces the waste carpet, and at least one manufacturer, Ryalux Carpets, will supply exactly the width required with no waste, up to 5 metres wide.

    Fitting

    When your carpet has been fitted inspect it with the fitter and check for any loose edges and that it is stretched sufficiently.

    For the most intricate fitting jobs, especially matching design repeats and complicated border work, insist upon a fully qualified fitter

    Fibres & Yarns
    1. All carpet results from the conversion of raw fibre. With a few exceptions, this fibre is spun into yarn and this yarn is then made into carpet through one of three methods - weaving, tufting and bonding. More about yarn spinning.

      All carpet fibres have something special to offer, whether it is warmth, cleanability, hard wear, fire retardance or even price. Your carpet will perform longer and look better depending upon which fibre you select and how much is packed into the carpet.

      Fibres are sometimes blended together to give the optimum performance at the best possible price.

      There are two sources of carpet fibre - Natural and Man-Made.

    2.  
    3. Natural Fibres:

      1. Wool
      2. Silk
      3. Jute
      4. Coir
      5. Flax

      Man-made fibres:

      1. Nylon
      2. Polyester
      3. Polypropylene
      4. Acrylic
      5. Viscose
        (a vegetable based fibre)

      Natural Fibres - Wool

      Wool
      The oldest and most popular of the natural fibres. Exceptionally suited to carpets because it combines hard wear with lasting good looks. Wool does not support combustion and under normal conditions does not conduct static electricity.

      For a selection of British Wool Carpets.

      Discover more about British Wool.

      Silk

      Little used except in fine quality hand made rugs.

      Jute
      Used mainly in backing materials but occasionally in surface fibres for flat woven rugs.

      Coir
      Coconut husks contain a strong and flexible fibre. The husks are harvested and soaked for many months before being beaten, washed and dried. The pale yellow fibres are then spun into yarn which is finally woven into either flat weave carpeting or cut pile rugs and mats.
      For coir products call Tasibel. Tel: 020 7454 1230

      Flax
      Used occasionally in loop pile and flat weave rugs and carpets