Posts Tagged ‘turkish. silk’

More than a school in Nairobi’s slums

May 18, 2010

How we all together create our better future

In my blog “The Ecademy-Connection” I wrote about the way to the beautiful co-operation with Artkids.

Tamara Voorn’s and Hans Anneveld’s Artkids launched together with Roger Molera’s “Wings of Mercy” the Kenyan Project.

Oilpainting after a drawing of a Child: Village

The aim of this project is to help Kenyan childs living in the slums of Nairobi to understand that they for theirselves by having fun and joy are able to change their living circumstances and to build their better future through their creativity:

The drawings of the childs inspire Tamara Voorn to the wonderful oil paintings of the Kenyan Project. From the  profit of each sold painting goes a part into the shool project of Roger Molera’s “Wings of Mercy” who uses the money to purchase school utensils for the childs or to pay the teachers.

“Wings of Mercy” writes on their website:

“The people we are working with do not want handouts or quick fixes. They do not want to be charity cases and pitied. They have goals and dreams and aspirations for their children and just need some help in getting started. A small amount of money can enable someone to start their own business and therefore provide the means to move out of poeverty and towards better health.”

Together we want to build a whole school:

While “Wings of Mercy” co-ordinates and leads the project, the childs participate with their drawings, Artkids turns them into oil paintings, Hereke Carpets turns them into genuine Herek silken Carpets. Artkids as well as Hereke Carpets give a part of the profit into the Nariobi Slums School project.

Kenyan pupils of the Kenyan Project

You, our customer, receive an unique artwork, what you will enjoy for your whole life and which will be enjoyed even by your grandchilds and in this way you have helped childs in Nairobi very direct to get a good education, what helps them to come out of the Slums. The childs have not the feeling to get an handout, they feel being respected and estimated – and they learn that they with their creativity and beauty made this possible.

"Farmer's woman" - the original drawing of a child in Nairobi

The oil painting "Farmer's woman" after the drawing

What do you think, for these childs could be impossible in their life after this experience in their childhood?

genuine Hereke silken rug after an oil painting: Still Life

For your understanding: By purchasing one Hereke silken Carpet after a drawing of Artkids’ Kenyan Gallery you have financed a school desk for the childs, who created the drawings. In this way, we all together: The Childs in Nairobi, “Wings of Mercy” in Nairobi, Kenya, Artkids in Netherlands, Hereke Carpets in Germany and you, our international customers, together build a school in Nairobi.

I deeply believe that we all together achieve it.

Our co-operation, which leads to the better future for Nairobi's childs

We need you, our customer, to reach the goal to build a school in Nairobi’s slums.

Pupils in a school in Nairobi's slums

I’m very proud and grateful that “Wings of Mercy” and Artkids allow me – and you – to participate in this way to create our all better future.

Because Artkids is involved in many other projects to help childs, from all other Hereke silken Carpets knotted after Artkids’ paintings goes a part of the profit in one of these projects.


Christian Motivs on Turkish Hereke Carpets?

March 25, 2010

It seems to be surprisingly to find Christian Motifs on some of the carpet artworks handknotted in a Muslim country like Turkey, where 98 % of the population are Muslims.

Hereke silken Carpet - "The Last Supper"

Hereke silken Carpet - "The Last Supper"

That could be an accomodation to the West tourists, to fulfill their expectations, but is that the only possible explanation, mainly because you will not find any Christian motif on a Persian carpet, for example?

Going back in history for about 2,000 years, we find out another possible reason for the Christian motifs in Turkish silk carpets. They could be also an obeisance towards the history and development of the Christianity in Anatolia, because we get to know that Anatolia is a craddle of Christianity and the Bible.

After Jesus’ crucifixion his adherer emigrated to Asia Minor and settled down in cities like Ephesos, Hierapolis and the region of Cappadocia.

Santed Paulus, for example, preached in Perge Derbe, Lystra, Psidian Antioch, Ephesos and Konya. The New Testament contains the Ephesian Letter, which Apostle Paulus wrote to the Christians in Ephesos: The first Eppistle of the Johannes Apocalypse (Apk 2, 1-7) to the seven communities in Asia Minor (Apk 1, 11).

Also Sainted Petrus settled in Asia Minor, in Antioch, and launched the first Christian Church in a hole.

Fresco "Paulus Grotte" (hole of Paulus) in Ephesos

Fresco "Paulus Grotte" (hole of Paulus) in Ephesos

(Source of the picutre)

Another legend tells that the Virgin Mary settled with the circle of women arround Jesus and the Apostle Johannes in an house near Ephesos and instructed a lot of people in skills for healing and the teaches of Jesus till her own ascencion.

Even today Turkish people visit the gravel of Maria and leave papers with their wishes on the walls.

Sarkophag of Maria Magdalena in Ephesos

Sarkophag of Maria Magdalena in Ephesos

Source of the picture

It is counted that there also took place the dialog of the early Christian philosoph and church father Justinus with the Jew Tryphon around 157, which stands formal in the tradition of the Platonic Dialogs.

Till the Late Classic Period Ephesos was a prominent city as a place of pilgrimage as well as bishop’s see. Ephesos was the capital of the profane diocese Asiana.

Further in Nicea (today Iznik) in the Turkish Marmara Region, between Bursa and Istanbul (in this time Constantinople and former Byzanz) took place the first Ecumenical Council in 325, which was convined by the Roman Emperior Konstantin I. In 431 in Ephesos was held the 3rd Ecumenical Council, which was convined by the Emperior Theodosium II, which also is named the “Council from Ephesos”. In 449 here also took place the so-called “Robber Synode”, which already could be seen as the first beginning of the separation of the both churches – the Roman-Catholic and the Eastern Orthodox churches.

Up to date Istanbul is the domicil of the religious head of the Orthodox churches, which with its 25 million adherer is the third biggest Christian confraternety of the world.

Bartholomäus I, relegious head of the Orthodox Christians

Bartholomäus I, relegious head of the Orthodox Christians

Source of the picture

Knowing all these historical sequences and further consider that the Seldjuks only in 1071 took the dominance over Anatolia after the battle of Manzikert (the Seldjuks converted in 970 to the Islam), that Jesus for the Muslims is the last prophet before Mohammed, the Christian Motifs on the silk carpets from Hereke are not as incomprehensible like before, but we should understand them as a reminiscence to the own great history, what up to date contains important parts of the Christian one.

Hereke silken Carpet -  "The Last Supper", Detail

Hereke silken Carpet - "The Last Supper", Detail

Luxury and Elegance – only by child’s hand?

July 3, 2009

Often I read or hear from our customers: “It’s true that such fine carpets, like your genuine Hereke silk Carpets can be created only by gently child’s hand?”

This question shows the risen sensibilty for that theme, but on the other hand also the lack of knowledge about the various techniques to produce an hand knotted carpet.

Oriental carpets are basically hand knotted with the symmetric (double, Turkish, Gordian) knot or the asymmetrical (simple, Persian, Senneh) knot.

The symmetric double Turkish knot is famous due to its stability. Carpets, which are hand knotted by these knots, therefore achieve their proverbial durability.

Turkish double (Gordian) knot(copyright: Dania Calderin, all rights reserved)

The asymetric simple Persian knot is for the manufacture of carpets more time and material saving. But the knot thread is not so closely linked to the warp thread.

Persian Single (Senneh) Knot (copyright: Dania Calderin, all rights reserved)

Djufti KnotFinally the Djufti knot is a modification of the asymmetric knot, but even simpler and faster to knot. Here the knot will be entwined arround only two, sometime three or even more warp threads.

This Dufti knot is used by childs foremost in India and Pakistan to knot carpets with a slow density of rarely more than 50.000 knots per m² (5 knots per cm²). These carpets are knotted seldom with more than two or three different colours – and without fail never of silk and even less completely of silk. The density of Persian carpets is counted with the help of a complicated method. (Unfortunately I found this information only in German)

No child in the world has the patience, the sleight of hand and calm, to knot a genuine Hereke silken Carpet with the double Turkish Knot, which has a knot density of at least 1,000,000 knots per m², that are 100 knots per cm² – and with up to 36 different colours.

Hereke Silk Carpet_Mihrab_Nazar Boncuk

This Hereke silken Carpet shows with its Mihrab the detail and colour rich hand knotting art of the master knotter in Hereke. (picture copyright: – all rights reserved)

This work is so arduous that it is not allowed to no one of the Turkish master knotter – and only the best of them may knot a pure silk Hereke – to knot more than 30 minutes at once. Then they have to make break, to assure the high quality and perfection of the knotting and display of the patterns.

No child is able to afford that work. Who tells such stories, endamages (aware or unknowingly) the reputation of the art of hand knotting – and with it the reputation, the high craftmanship, the endurance and effort of the masters of hand knotting art, who mostly are women.

The Turkish Carpet

June 26, 2009

Hier finden Sie die deutsche Version

An historical abstract

Although the Turkish carpets originate from one of the classical countries of origin of the hand knotting art of carpets, they almost are not noticed in Europe.

This article likes to pay attention to the charming, uncommon carpets from Anatolia and to look into the subject, why it plays only an underpart in the awareness of (not only) the European, but it does not making the claim to be complete.

Scarcely anybody recalls that the European got to know not only coffee, cocoa and chocolate, but also the Oriental carpet by the kingship of the Ottoman Empire, which ranged almost to Vienna.

During his journey to the Far East, which the Venetian Marco Polo started in 1271, he visited the Anatolian towns Como (Konya), Caesarea (Kaysery) and Sebastala (Sivas). Here he got to know the old Turkish carpets, which let him speak about the “best carpets of the world”. These Anatolian carpets established the international reputation of the Oriental carpets.

The oldest carpet being still in our possession is the famous, almost 2,400 years old Pazyryk carpet, which already was knotted with the double Turkish knot and wich is shown in the Hermitage Museum in St. Petersbourgh.

The Pazyryk Carpet - DetailA detail of the famous Pazyryk carpet which once owned a Scythian Prince (Picture Source: Wikipedia)

The next fragment of a carpet in the possession of humankind are dated back to the 11th until the 13th century. They were found in mosques of Konya, Beysehir, but also in Turkestan, Mesepotamia and in the Egyptian-Coptic area. They all are knotted with the double Turkish knot and they have to be counted to Anatolia due to their colours and patterns. They were produced in the time of the Seljukian’s kingship. The Seldjuk were a Turkmen tribe of the Oghuz, which during the 9th century settled in the East of the Aral Sea (today Kazakhstan and Uzbekistan). From the 11th until the 13th century they enlarged their kingship across Persia to Anatolia. The carpets of this time show such a high mastership and artistry that we have assume that this art was cultivated long before the Seldjuks, although no one of the carpets outlasted the time to tell us about that.

From the beginning of the 13th century the Ottomans assumed little by little the control over Anatolia and enlarged their kingship step by step over three continents.

Now Anatolian carpets were produced in Royal Manufactures for the Sultan’s and high nobility’s exclusive use. These finest carpets were also used as gifts to establish or rebuild relationships (not only) to European states, to form or to renew alliances, to award kings, princes and members of the high nobility. In this way the European noble houses acquired the Oriental carpets for the first time, which in this time used to be solely Turkish carpets.

By traders in Florence and Genoa these carpets found their way into further European noble houses as outstanding examples of harmony in colours and ornaments. In a little while it was the good style to own at least one Turkish carpet, if not a whole collection. The princes loved to display their carpets on paintings of the 14th until 16th century. The depictions on paintings of Holbein the Younger, Lotto, Hans Memling, Van Eyck, etc. are well known The carpets shown on the pictures of these artists are definitely identified as Anatolian carpets due to their patterns and colours – and the paintings still today serve as a role to classify antique Anatolian carpets of this time.

"The Ambassadors", Holbein 1533

“The Ambassadors” (Holbein, 1533) (Picture Source: Wikipedia)

"The Ambassadors" Holbein 1533_Detail

Detail of the carpet on the table, used like a table-close of the picture “The Ambassadors”, (Holbein, 1533),
(Picture Source: Wikipedia)

After the lost of the Battle of Vienna in 1683 the Turks left behind not only their tents, but also a lot of their wonderful carpets. Thus there were in this time such a lot of Turkish carpets in Europe that also the bourgeois was allowed to own them – if they could pay for them. Due to this occurrence increased the demand on Turkish carpets in Europe. In this time the Turkish carpet used to be the embodiment of the Oriental carpets.

That remained unchanged until the 19th century.

Before we go in the decline of the importance of the Turkish carpet in Europe (and therewith in the world), I will briefly introduce the differences between the even today prevalent Persian (and therewith Pakistani and Indian) Oriental carpets and the Turkish carpets, which renaissance in Europe we may experience latterly.

The Persian carpet differs from the Turkish carpet not only in the almost use of the looser and simpler Persian single (Senneh) knot

Persian Single (Senneh) Knot

The Persian single (Senneh) knot. Copyright: Dania Calderin (all rights reserved)

in contrast to the very durable double Turkish (Gordian) knot,

Turkish double (Gordian) knotThe double Turkish (Gordian) knot (copyright: Dania Calderin – all rights reserved)

but also in the patterns.

In opposite are the nearly strict, geometric and stylised patterns of the Sunni Turks, which are always mirrored along the symmetry axis. The Turks descend from the East Asiatic Turk people and they show their geometric patterns already on the Kilims of the nomadic tribes. Though these patterns due to their symmetry and warm colours appear never cold.

An exception are the Turkish palace carpets of the 19th century, which adopt the Persian patterns, because in this time dominated the “Persian Style” on the Ottoman Court. Due to the capture and kingship in Persia by the Ottomans from the 16th to the end of the 17th century, the Ottomans were in contact with these patterns, adapted parts of them, without loosing their Ottoman characteristic.

Thus the Turkish carpets obtained more gently curving and more naturalistic realisation of the patterns, but the Turkish peculiarity was retained not only by the colours. That’s very nice to see on the patterns of the Sultan Abdulmecid I., who from 1844 let knot the carpets for its palace in Hereke.

Hereke Silk Carpet_Medaillon with Birds of Paradise

Hereke Silk Carpet “Medallion with Birds of Paradise” (copyright of the picture: – all rights reserved)
This pattern once was designed for the palace of the Sultan Abdulmecid I.

In the meantime the British flood the European market with Persian carpets by a large scaled marketing strategy during the World Exhibitions in 1851 in London and in 1873 in Vienna. That led to an increasing demand for Persian carpets and the hitherto dominating Turkish carpets faded away from the awareness of the European. Due to the increasing demand for Persian carpets especially from the ambitious middle classes the English businessman Ziegler, who was of Swiss origin, had the idea to found industrialised carpet manufactures directly in Persia.

The vibe for demand of Persian carpets was more fuelled by the declined prices on the large scaled production. Therefore the wool in Persia was out and had to be imported from Great Britain. This procedure was possible, because in this time a British de facto protectorate about Persia was established (the British dominated the South of Persia during the time of the Ghadjar Dynasty from 1779 – 1924) and there were not any limitation and duties neither for export nor import. That was the beginning of the finally downfall of the Turkish carpets in Europe and the begin of the overbalance of the Persian carpets.

On the colonial dominating of Great Britain under others also about India and Pakistan, the patterns and methods of production were exported in this countries. In this way the Indian and Pakistan carpets came along to the Persian ones. All these carpets – and newly also those from China – are knotted with the single Persian knot and show Persian patterns, which dominated the taste of the European (and the world) for the last 150 years.

Today the Turkish carpet is the carpet of the true connoisseurs and art lovers – and we wish the Turkish carpet the attention in the awareness of the people of our world that it deserves due to its thousands of years of history.

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