Historical depth: From the steppes of Central Asia to Anatolia
The roots of Turkish carpet weaving trace back to the nomadic communities that struggled to survive in the harsh climate of Central Asia.
The earliest textiles were practical solutions, designed to organize life inside the tent and meet basic shelter needs. The most magnificent evidence of this journey is the Pazyryk Carpet, unearthed from the ice in the Pazyryk burial mounds of the Altai Mountains. Dating to the 5th century BCE, this masterpiece measures 1.89 by 2 meters and contains an astonishing 36,000 Gördes knots per 10 square centimeters, a level of mastery that would challenge even today’s technology. The mounted figures, deer, and griffins woven into the carpet reveal how sophisticated Turkic art already was in that era.
By the 13th century, under the Seljuks, weaving reached its peak in Anatolia. The Seljuk carpets discovered in Konya’s Alaeddin Mosque, with their bold kufic-inscribed bands and geometric compositions, are among the most monumental examples of the period. During the Ottoman era, particularly in the 16th and 17th centuries, this art entered its golden age. The geometric-patterned carpets, later labeled “Holbein carpets” in European painting, appeared frequently in the canvases of Renaissance artists as refined decorative elements. In the 19th century, the Hereke workshop, founded by Sultan Abdülmecid, produced some of the world’s finest silk carpets, blending this tradition with the splendor of the imperial court.
Today, this ancient craft remains vibrantly alive in historic centers such as Konya, Kayseri, Uşak, Bergama, and Milas. As in the past, the true custodians of this art are still women weavers, who embed their emotions and lived experience into every knot. No longer merely floor coverings, Turkish carpets have become powerful carriers of cultural identity and collective memory through their symbolic language. In modern interiors, they are valued both as functional objects and as works of art, yet preserving them requires careful attention, protection from direct sunlight, regular airing, and professional cleaning. With this care, the motifs of Anatolia’s millennia-old tradition continue to endure as living aesthetic heritage in the contemporary world.
Technical differences: Carpets, kilims, and weaving types
Traditional Turkish textiles are divided into two main technical groups: pile weavings (carpets) and flat weavings (kilims). A carpet is produced using a knotting technique and has a raised pile surface, while a kilim is woven with a plain weave technique and looks about the same on both its front and back. Other textiles produced with the kilim technique diverge among themselves.
Pile weavings
A carpet is a textile produced using a knotting technique and characterized by a raised, tufted surface. Its structure consists of warp threads, weft threads, and knot yarns.
Gördes (Turkish) knot:
This is the most fundamental structural feature that makes Turkish carpets unique worldwide. Also known as the “double wrap” or “double knot,” this technique loops each knot around two warp threads at once. The method gives the carpet exceptional durability and strength. At the same time, it allows the surface motifs to appear sharper, clearer, and more angular. The fact that this same knot was used in the Pazyryk Carpet, the oldest known example in history, shows just how deeply rooted the technique truly is.
Flat weavings
Although all flat textiles other than carpets are generally called kilim, they are technically divided into subgroups. These weavings are thinner than carpets and thicker than fabric.
Kilim: The basic weaving technique is called “plain weave”. Because the weft threads pass more densely over the warps, the warp threads remain hidden and the colored weft threads form the surface. Its defining feature is that the front and back of the textile look identical. Kilims are usually woven from wool, goat hair, or cotton.
Sumak: In addition to the ground weave, sumak is created by wrapping colored motif threads around the warp threads to form loops. It is highly durable because, after each row of wrapping, a ground weft thread can be added, or the entire piece can be completed solely with sumak threads.
Cicim: While the base weave continues in its normal course, additional threads of different colors are laid onto the surface almost as if stitched by hand, like embroidery worked directly into the fabric. During weaving, the ends of these motif threads are left at the back of the textile, and when a pattern is to be formed, they are brought to the front and worked again. For this reason, small embroidered-looking kilims are often called cicim in everyday language.
Zili: Zilli differs from other flat weavings by using a three-thread system. The colored weft threads that form the surface patterns make deliberate jumps and intersect the warp at the same points. These intersections create characteristic diagonal lines within the motifs, giving the textile distinctive visual depth.
Thanks to this technical diversity, traditional Turkish weaving has provided both practical durability for everyday use and a rich artistic language woven with symbolic meanings.
Regional differences: The geography of colors and patterns
Every corner of Anatolia reflects its own landscape, vegetation, and cultural memory onto the loom like a distinct character. From the density of a carpet’s knots to the raw materials used in its dyes, each detail quietly speaks of the way life is lived in that region.
The pinnacle of palaces and its grandeur: Hereke
Hereke is recognized not only in Anatolia but also worldwide as one of the most prestigious weaving centers, representing the tradition of “palace carpet” making. Woven with the Gördes knot, also known as the double knot, these silk masterpieces can contain millions of knots per square meter. Featuring curved lines inspired by nature, such as the ‘Flowers of the Seven Mountains’, their patterns carry the refined elegance of palace aesthetics.
Source of inspiration for European painting: Uşak
From the 16th century onward, Uşak carpets became indispensable to European aristocrats and painters such as Holbein and Lotto. Divided into two main types, medallion and star, these monumental textiles revolve around the idea of eternity. Dominated by red and yellow, their imposing presence conveys strength and continuity.
Language of geometry and faith: Konya (Ladik)
With the imprint of the Seljuk capital Konya, weavings from this region are especially known for Ladik carpets. In this region, where geometric order and stylized plant motifs predominate, “seccade” rugs (prayer rugs) featuring mihrab designs reflect the weaver’s spiritual world and discipline.
The warmth of earth and pastel tones: Milas
Milas carpets feature the softest tones of natural root dyes, including brick red, tobacco yellow, and leaf green. In their classic examples known as “Ada Milas,” broad borders and simple geometric motifs at the center reveal the calm, dignified spirit of the Aegean.
The bold and vibrant spirit of Yörük culture: Bergama
Bergama weavings represent the purest expression of the nomadic Yörük culture. The stark contrast between deep red and navy plays across the surface like a statement of resistance. In subregions such as Kozak and Yağcıbedir, the knots are denser, and the patterns are drawn from ancient talismans that have remained unchanged for centuries.
Where art meets patience: Kayseri (Bünyan and Yahyalı)
Kayseri weavings reflect two distinct spirits; Bünyan carpets usually combine cotton warps with wool pile and present a refined, urban aesthetic through delicate floral patterns, while Yahyalı carpets, made entirely of wool and marked by geometric medallions, represent the peak of a more local and mystical village weaving tradition.
The center of embroidery and elegance: Sivas
Sivas carpets are renowned for their exceptionally fine workmanship and dense floral compositions, developed especially in the 19th century through the collaborative labor of Armenian and Turkish masters. The so-called Sivas Zilli weavings, on the other hand, offer some of the most complex and aesthetically striking examples of flat-weave technique, so refined that they can almost be displayed on walls like paintings.
The voice of migration and rugged geography: The kilims of Hakkari and Van
In this rugged geography of Eastern Anatolia, kilim culture prevails over carpet culture. Here, protective motifs such as the wolf’s mouth, scorpion, and ram’s horn appear in their sharpest, most striking forms. The use of natural wool tones like deep brown, black, and off-white, reflects the region’s direct and uncompromising bond with nature.
The city of the mihrab and light: Gördes and Kula
These two centers of Western Anatolia gifted the world with what is known in the literature as the “Gördes knot.” In particular, “Gördes prayer rugs” transform weaving into an aesthetic of devotion through their stepped mihrab designs, reminiscent of mosque architecture, and their lantern motifs. Kula carpets, meanwhile, are recognized for their softer pastel tones and their interpretations of the “tree of life.”
The blue and crimson heritage of the Mediterranean: Antalya (Döşemealtı)
A legacy of the nomadic Yoruks in the Taurus Mountains, Döşemealtı rugs feature the deepest shades of indigo blue and madder red. Patterns known as Halelli or Toplu weave the seasonal rhythm of highland life directly into each knot.
The alphabet of motifs: A secret in every stitch
Every line and curve in Anatolian weavings is in fact not a random ornament chosen for decoration; it is a quiet expression of thousands of years of accumulated knowledge, lived experience, and faith. Within this ancient tradition, the smallest unit that carries meaning on its own is called a motif, while the meaningful whole formed by motifs coming together is called a pattern. When a weaver sits at the loom, they are not simply tying threads together; through these motifs, they turn their social standing, their dreams, beliefs, and even the expectations they have not yet found words for into a language of communication.
The theme of “Femininity, Fertility, and the Cycle of Life” sits at the heart of Anatolia’s motif universe. Let us take a closer look at this theme through the lens of the sources.
The purest expression of femininity: Eli belinde
When we encounter a woman standing with her hands on her hips in Anatolian weavings, we are actually witnessing a legacy of femininity and motherhood that reaches back thousands of years. This figure represents not only biological motherhood or fertility, but also good fortune, abundance, destiny, and the joy that life brings.
The origins of this motif reach deep into the earliest chapters of human history, to the cult of the “mother goddess,” when female fertility was considered sacred. In periods when the biological role of men in reproduction was not yet fully understood, life was believed to spring solely from the woman. Beginning in Mesopotamia around 7000 to 8000 BCE and continuing in Anatolian settlements such as Çatalhöyük, this belief system elevated mother goddesses, known by names such as Aphrodite, Cybele, Artemis, or Ishtar, as the sole source of fertility and growth. Today, the Eli Belinde motif woven into our carpets stands as living evidence of this ancient cultural heritage, carried forward on the loom.
A universal cycle: Fertility
Fertility, one of the richest and most multi-layered symbol groups found on the weaving looms of Anatolia, reveals not only a hope for abundance but also how the people of Anatolia perceive the world and the cosmos. In the hands of the weaver, these motifs cease to be mere ornamentation and become quiet prayers stitched for endless happiness, good fortune, and the continuity of life.
We can unfold this universal cycle and the many faces of fertility as follows:
The taste of spirit and life: Symbols of eternal happiness and myth
The first group of the fertility motif depicts the human desire to maintain one’s existence in the world with joy and peace.
– Nature’s Abundance: Plants with many seeds or plentiful fruit, such as pomegranates, grapes, figs, melons, and mulberries, along with trees and leaves, symbolize the flavors of life and the endless search for serenity. The pomegranate, in particular, is considered the most characteristic symbol of both abundance and the diversity of life.
– Trees and Leaves: While flowers and leaves symbolize good luck and plenty, the Tree of Life is the most monumental symbol in this group. By connecting the underworld with its roots, the earth with its trunk, and the heavens with its branches, the Tree of Life represents a universe in constant evolution and change.
– The Heritage of Nature: These motifs reflect the deep respect nomadic Turks held for nature and the “land consciousness” that endured even after transitioning to a settled life.
– The Structure of the Universe: Elements such as water, rocks, and mountains do not symbolize a static universe; on the contrary, they represent a structure in constant motion.
– Su Yolu (Waterflow): The Su Yolu motif signifies more than just drinking water; it represents life itself, physical and spiritual renewal, purity, and wisdom. The flow of water is a narrative fixed by the weaver’s fingers, showing the continuity of life and that every ending is, in fact, a new beginning.
– The Power of Animals: Figures such as deer, bulls, and fish represent the blessings and strength offered by nature, while mythological beings like the Dragon carry deeper meaning. The Dragon is seen as the being that turns the wheel of the sky to make time flow and flies above the clouds to bring rain, thereby linking it directly to the land’s fertility and the prosperity of livestock.
– Koçboynuzu (Ram’s Horn): Representing masculinity, heroism, power, and productivity, this motif is usually found at the center or along the borders of Anatolian weavings.
– Eagles and Birds: In Anatolian symbolism, a bird can represent love, the soul of the deceased, or the anticipation of news. The Eagle motif, specifically, symbolizes power, might, and being “devletli”, possessing great fortune.
Human, child and the cycle of life: A portrait of longing and pure energy
The human and child figures that come to life on Anatolian looms appear as reflections of the most intimate emotions and deeply rooted mythological narratives woven into the threads. These motifs represent not only the weaver’s craftsmanship but also her state of mind, her longing, and her ancient beliefs about the existence of the universe.
In light of the sources, we can unfold this profound symbolism as follows:
The mirror of longing and emotion: The human motif
The human figure in weavings often serves as a silent language, revealing the weaver’s inner world and social position at that moment. When we encounter a human silhouette on a carpet, it is generally understood as the outward expression of a deep longing held in the heart.
– Gurbet (absence from home) and the desire for reunion: These figures sometimes symbolize a loved one far away in foreign lands, whose return is awaited, and at other times a close acquaintance longed for with impatience.
– Creative mind and diligence: The human motif is not merely an expression of longing; it is woven into textiles as a symbol of humanity’s productive power, industriousness, and “creative intellect”.
– Stylized spirits: Nomads, in particular, transfer objects from nature into their weavings by stylizing them, reflecting the purity of their simple lives. These figures are considered continuations of beliefs rooted in Shamanic culture, such as the cycle of birth and death in Anatolia and the transmigration of the soul.
The call of Ak Ana: Child motif
The child motif, one of the most common and meaningful uses of the human figure, draws inspiration from the heart of Turkish mythology and the epics of creation.
– Mythological roots: Its mythological roots trace back to the tale of Ak Ana, the goddess of waters and seas, described as a woman made of eternal light. In Turkish mythology, Ak Ana inspires the creator Ülgen to bring humanity into being, telling him simply to create. Weavers give this call for fertility and existence tangible form, knot by knot, through the image of the child.
– Pure life energy: In Anatolian textiles, as in many cultures, the child embodies pure life energy, innocence, and abundance.
– Expectation of the future: In some weavings this motif is used to express the weaver’s desire to have a child, or more specifically her hope for a son.
Beyond this, the child symbolizes the continuity of a lineage and the bridge between a family’s past and its future. At the loom, the weaver is therefore not only voicing a personal desire but also greeting Ak Ana’s universal inspiration to create and the sacred, unbroken cycle of life. In this sense, the child motif becomes one of the most precious symbols, carrying Anatolia’s clear spiritual character and its intimate bond with nature onto the surface of the carpet.
Ultimately, every human figure in a carpet tells a story, and every child motif announces a new beginning and an undying hope that has adorned Anatolian homes for thousands of years.
Symbol of purity and good news: Ewer (“İbrik”)
At first glance, the ewer motif may seem nothing more than a reflection of an everyday household object, yet within Anatolian symbolism it carries far more refined meanings. Because of its direct association with water, it evokes purity and cleanliness, much as water sustains life.
Its most striking hidden meaning, however, points to pregnancy. Through the image of an ewer, the weaver quietly announces the arrival of a new life or expresses her hope for it. Just as water symbolizes bodily and spiritual renewal, the ewer is also regarded as a sign of virtue and wisdom.
Protection from evil: The evil eye and talismans
– Eye and nazar amulet: Eye figures woven with blue threads are used to counteract the effects of malicious gazes. The triangle is considered the simplest form of the eye.
– Scorpion: Representing evil intent and malevolent spirits, this motif is woven into the outer borders of textiles to protect against real scorpions, which posed a genuine threat.
– Burdock: Because its thorns are believed to repel the evil eye, this motif is used as a protective charm and symbolizes fruitfulness.
– Wolf’s mouth and wolf’s footprint: These motifs symbolize optimism and protection. Because wolves are thought to see in the dark, they are associated with light and the sun.
Social messages and devotion
– Earring and hair tie: For young, unmarried girls, the earring motif is an indirect way of expressing their wish to marry to their family. The hair tie symbolizes immortality and the desire to remain forever with the beloved.
– Hobble (“bukağı”): Although it is originally a rope used to prevent horses from straying, in textiles it symbolizes family unity, love, and loyalty.
– Chest (“sandık”): This motif refers to the dowry chest of girls of marriageable age and indicates that they are ready for marriage.
Carpet care and preservation
Owning a valuable Turkish carpet is like owning a living work of art, and mindful care is essential to its longevity.
– Regular cleaning: The carpet should be gently vacuumed several times a week to remove dust.
– Sunlight and ventilation: To prevent natural dyes from fading, carpets should be kept out of direct sunlight and aired regularly so the fibers can breathe.
– Changing direction: To prevent uneven wear and compression from furniture, it is important to occasionally rotate or reposition the carpet.
– Professional care: At least once or twice a year, professional cleaning is recommended to ensure thorough cleaning without damaging the texture or colors.
– Stain treatment: When a stain occurs, avoid chemical detergents; instead, use natural cleaning methods or gentle blotting without delay.
Today, the Turkish carpet is not merely valued as an antique; it is being reborn in contemporary interior design through the “vintage” and “patchwork” movements. Old carpets are shaved down and overdyed, allowing traditional motifs to meet modern minimalism in an unexpected, vibrant dialogue.
From the harsh winds of Central Asia to the fertile lands of Anatolia, this journey tells the story of the Turkish people’s sense of beauty, their patience, and the mark they have left on the world. For us, a carpet is not just something to step on; it is a vessel of memory that preserves and carries centuries of culture. Every worn corner on its surface is the quiet evidence of a life once lived.
