Turkish style, Traditional rugs are best represented by the floor coverings from Uşak (Ushak) in western Anatolia, in which focal star emblems in gold, yellow, and dull blue lie on a field of rich red. Supposed Holbein floor coverings, like Caucasian rugs (see underneath), have polygons on a ground of dark red, dull green, or red and green; they regularly have green fringes and conventionalized joining Kūfic content. Such a cover is portrayed in a picture of Georg Gisze by the sixteenth-century German painter Hans Holbein the Younger—henceforth the name.
So also, a great looking floor covering an example of entwining yellow arabesques on a ground of dark red shows up so regularly in the canvases of the sixteenth-century Venetian craftsman Lorenzo Lotto that rugs bearing this theme are called Lotto rugs. Floor coverings with a quieted dark red ground of great power, designed with little emblems, hail, maybe, from Bergama. In the seventeenth century they formed into a sort known as Transylvanian, supposed in light of the fact that such a large number of them, especially supplication carpets, were found in Transylvanian places of worship. They are regardless absolutely Turkish, with rich, calm hues and durable plans. The lion’s share are commanded by a fine red, however, a couple have blurred to the shade of old material.
Eighteenth-and nineteenth century “low school” Traditional rugs from Asia Minor proceeded with the convention of mixing calm examples and sumptuous hues. Yürük “low school” carpets, made by itinerant Anatolian people groups, for example, the Kurds, have pulled in gatherers with their extensive variety of rich hues and utilization of straightforward examples, regularly geometric, composed in strong outlines that every now and again have a corner to corner as opposed to a vertical accentuation. In any case, the main manifestations were supplication floor coverings, more ample among the Turks than among the other unwavering.
The Traditional rugs weaving in the Caucasus stretches out back at any rate to medieval circumstances, as sections of hitched heap cover from the thirteenth and fourteenth hundreds of years have been revealed in a few buckle buildings in Georgia. Among the plans utilized were the avshan (geometrized calyx and stem), the harshang (crab), and an intense cross section outline with adapted creatures, including mythical serpents, in the interstices. Probably these rugs depended on Persian models, despite the fact that they are portrayed by intense, vivacious plans as opposed to customary Persian fineness of weave.
Western Azerbaijan and also the towns between T’bilisi in Georgia and Erivan (Yerevan) in Armenia created an all the more coarsely tied floor covering with a more drawn out heap. The striking geometric plans in solid essential hues give a considerable lot of these mats, known as Kazakhs in the exchange, an amazing energy. Floor coverings from the Karabagh locale, possessed by the two Armenians and Azerbaijanians, on occasion look like the Kazakhs in intensity and at different circumstances demonstrate a reiteration of geometric themes more suggestive of Shirvan mats.