To demonstrate the differences of rugs due to variations of age and quality, we must carry out the detailed and comparative analysis.
Considerations of pattern, coloring, material, and workmanship, all these we have as standards of comparison, and it is from a study of these, together with certain general considerations, that we form our ultimate opinions with regard to age, merit, and value.
The old designs may be more or less faithfully copied, but the object of the modern weaver is to save labor, and this spirit is reflected in his pattern rendering. He changes his wools as seldom as possible, he leaves undecorated large spaces of plain color labor savers, as the Americans aptly term them and upon the same principle prefers a large coarse rendering to a small and fine one.
Elaboration, on the other hand, is the keynote of the pattern drawing of the older weavings, plain spaces are filled with small designs, time and trouble are matters apparently of no consideration. Central medallions are to be found at times in rugs of every age, but are an increasingly common feature amongst moderns.
Modern rugs, even those of excellent quality, are but too frequently aniline dyed, and these dyes not being ‘fast’ may be tested for by rubbing the surface with a damp cloth or handkerchief, when the colors will stain the handkerchief.
The experienced collector, however, will have no need of any such expedients, since he will not fail to recognize the distinctive shades and tones of these dyes, or to remark that slight blurring of the edges of the design which tells of the ‘running’ of neighboring colors.
Old rugs are without exception vegetable dyed, and not a little of their beauty is due to the benevolent action of time, which greatly enhances the merits of these fine old dyes and produces a richness and mellowness of coloring not to be obtained in any other way.
Certain shades, such as the old Persian blue now a lost art rose-pink, wine-red, and old ivory, are tones not to be found in modern productions, even when these are vegetable dyed.
For the warp threads of the modern rugs, coarse brown wool may take the place of creamy white, or -cotton may be found where once wool only was employed. Much of the superiority of the older fabric consists in the superiority of the materials used, and the lustrous sheen and rich mellow appearance of surface which characterize these pieces can only be produced by time and wear upon a pile of fine quality.
Attempts are made by chemical washing to imitate the effects of age, but the results, though at times by no means unbeautiful, are quite inadequate, and fall so far short of the Veal thing’ that they should deceive none but the tyro.
Here we find the same tale of degeneration. In the older pieces it is rare to find any evidences of trashy workmanship or faulty technique, and the backs of these specimens, with their hard woven, level surface and even rows of knots, present an appearance hardly less characteristic and instructive than their faces.
So well are these old rugs woven that they will wear literally down to the knot, and so excellent is the construction of their foundation that it will persist undamaged when in places the knots themselves have completely disappeared.
When comparing specimens of similar type, we may with advantage make a comparison between the ‘number of knots to the square inch’ which each displays; the greater number of knots denoting in this case the better weave. We shall, however, take this occasion of warning our readers against the fallacy involved between the merits of rugs of different types, since each type will display of necessity a different weaving technique, and the ‘number of knots to the inch’ will be as much dependent upon the technique employed as upon the quality of the weaving.
As a general principle it may be fairly stated that the modern rug is never in every detail, and frequently in none, the equal of the older specimen; a fact which is hardly surprising when we consider the different conditions under which each was woven. The one, a labor of love and the product of individual inspiration; the other, a task undertaken for hire, at best the soulless copy of the genius of another, and the product of a commercial system whose motto ‘tempus fugit’ deals so frequently alas the death-blow to high ideal and conscientious workmanship.
Rugs that are nondescript, and cannot after careful examination be consigned to any recognized type, should always be regarded with suspicion; since the old pieces are for the most part remarkably consistent to type, and seldom depart from the traditions of their district of manufacture, with regard to pattern, technique of weave, and choice of materials. Regarding the latter, we have already mentioned the fact that in moderns the use of cotton for the warp threads may supplant the use of wool, but we must caution our readers against necessarily regarding the presence of a cotton warp as an evidence of modernity, since this is actually a type characteristic of many of the finest old rugs especially when town woven since the old-time weavers not unnaturally preferred the materials most conveniently to hand, cotton for the Town Dweller, wool for the Shepherd Nomad.
Owing to varying circumstances one rug may be subjected in a year to the same amount of wear that another will receive in fifty, and we must remember this when we are inclined to over-emphasize the value of ‘condition as a guide to age. The making of new rugs into old has been for many years a trade of the East, as well as the West, and production of the required ‘condition’ is always a matter of comparative simplicity.
One fact, however, it may serve us well to remember, and that is, that old rugs are invariably limp and flexible, retaining no vestige of their original stiffness. It is true that because a rug possesses this quality we cannot therefore know for certain that it is a genuine antique, but, at least, we can say that unless it possesses it, it is certainly not an old piece.
Apropos of condition, intending purchasers should always be careful to examine their pieces by having them held up to the light, when frequently numerous rents and mends will be made apparent in specimens that appear without blemish as they lie upon the floor.
Old rugs show individual touches, slight variations in coloring and pattern drawing which will not be found in modern pieces, since these are merely commercial products and approximate but too closely to the machine-made article.
Frequently the old-time weaver, greatly fearing the ‘Evil Eye’ strove to avert it from his precious work, breaking the absolute symmetry of his all too perfect pattern by the introduction of some small adventitious design, thrown in apparently haphazard and producing a most characteristic and personal touch.
The value of a rug is dependent chiefly on three main factors, namely, upon its Type, upon its Age, and upon its Quality, and in accurately gauging these factors we have accomplished by far the larger and more onerous portion of the task of rug valuation, a problem which will at times tax to the full all the skill and knowledge acquired by careful study.
When we have successfully identified and properly classified our specimen, its value is nothing more nor less than its current price in the sale room and auction mart, an item of knowledge most easily to be acquired by an excursion into these domains or through the medium of priced catalogues.
It is an item of knowledge requiring constant revision, the old rugs are becoming scarce, and dealers now fully realize that the supply is limited; prices have trebled within the last ten years, and may be expected to advance to considerably higher levels, since the demand for these pieces is increasing.
With regard to this subject we cannot too strongly urge upon our readers that they must learn to know the rugs themselves before they can really learn to know their values; nor can we overemphasize the fact that in achieving the ability to correctly identify and classify specimens they will have acquired the chief essential of successful and accurate rug valuation.
How to Choose the Right Carpet?
The carpet, first of all, must fit perfectly into the context of furniture that we have chosen or already have available. The design of the environment will be designed to enhance colors, maintaining the same nuances or playing with combinations. The taste will be an important factor but, in addition to the price, we will have to consider the value of our carpet and the ability to complete the idea of furniture that we have thought of. The rug complements and completes our project.
A rug is the perfect ally to give importance to a sofa, to an armchair, to an entire room. With the right carpet the circle of an idea of furnishing that finds fulfillment and meaning closes.
The rug is not disposable and, beyond the considerations on the amount we have available, it is useful to take into account that our rug will stay in our room when we will receive guests, relatives, friends, people dear to us. And it will stay there for a very long time.
It is therefore advisable to pay the utmost attention to the quality level as a criterion of choice for our carpet. We can however balance the amount we have available with a quality product, designed and created for our needs.
Where to Buy a Carpet?
There are many shops selling carpets. On the other hand, carpets can be found very easily even in large-scale distribution, mass-produced, of questionable quality and of little value. Perhaps at a low cost that nevertheless follows the little values of shopping center carpets. In this way, buying in supermarkets, one refuses to have a quality product.
The Iranian Art company has decided to focus on online sales precisely to satisfy people’s needs without the slightest inconvenience by delivering the goods directly to the customer’s home, saving considerable time.
The Iranian Art company offers the possibility of saving 50% of the list price on many types of Persian rugs. A unique opportunity that allows you to save a nice nest egg without giving up the variety in the choice, the different options, the combinations, the different sizes, the colors.
Why Buy Online, What Guarantees Are There?
Buying online is the most convenient because you don’t have to do a lot of miles to go around the shops, which in the matter of valuable rugs are perhaps very far away. If you buy online, you can compare colors, shapes and sizes directly from home. Evaluations can be done with one eye on our computer and another on our room. Live, thinking of that rug in front of that precise sofa that we see live. The opportunity offered by persiantopcarpet.com is the response to the new needs of customers.
A very low shipping cost for excellent service. Buying online is a very valid option because it allows us not to spend a euro on petrol, not to move from home and choose directly from our computer.
In recent years, purchases on the web have become increasingly secure. But in some cases people still do not trust completely. The Iranian Art company knows this and for this reason has decided to offer the right of withdrawal from the purchase without any economic penalty. Another element of mistrust in the purchase via internet is the advance payment for the fear of not receiving what was ordered or, in any case, of not being at all satisfied with the conformity of the product. With our site you can also pay cash on delivery, directly to the courier who delivers the goods to you. All in complete tranquility and safety.
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