Every carpet, with its patterns, resembles a collection of messages, beliefs and symbols. They are declarations of wish, on which all expectations are enshrined. Every pattern that is woven into a carpet is a picture of a feeling, a desire or a wish. So far as that every carpet represents a living history from the early ages to the present in which women have patiently and untiringly written their joys and sorrows in amazing codes and magic letters which are to be read line by line. They contain voices of birds, voices of children, gently blowing spring winds, flowers, leaves, branches, figures, whims, wishes and rebukes. An expectation of rain is symbolized by a cloud, and an expectation of news by a bird with four wings and two heads, but the language of these symbols has not been fully decoded to our day.
As well as being one of the most indispensable interior decoration goods, carpet has long been a precious gift item, migrating on the routes of conquest and trade, carrying its patterns from one place to another, and this magic work of craft has finally traveled through the ages to our times with its colors, symbol-language and with all its beauty, becoming a subject of "flying carpet" tales.
Like the epic of Elburz Mountain (a mythical mountain believed to surround the world binding the horizon on all sides-translator), the location of the holy fire which burnt the heart of Prometheus and which is also frequently mentioned in the Tales of 1001 Nights, life stones and holy narratives have been written using colors and language of violets, roses, hyacinths and spring flowers. "The socalled water of life which made people immortal was also hidden somewhere behind those mountains. People looked for it in vain; it was not found. Therefore, human beings failed to achieve immortality. The mythical bird of Phoenix also built its nest behind these mountains... There were also giants and dragons which embraced the universe. This old fairy tale was even woven into colorful Caucasian carpets depicting a fight between an eagle and a snake. This theme was also adapted to prayer rugs and even woven into socks and headscarves in the hands of women and girls."
The weaver hangs the colored knotting threads wound into small balls together with the carpet design, drawn on a quadratic board, somewhere within reach. The type of quadratic heet used depends on the type of the carpet and the density of its knots. A quarter of the carpet in a symmetric model with a center pattern, and a half of the niche design is drawn on 1/2 quadratic sheet. Each knot on the carpet corresponds to one square on the quadratic sheet and its color is designated by the paint covering the respective square.
Sitting on a small tool, the weaver begins weaving the carpet from the bottom upwards. As the weaving progresses, the carpet is shifted behind the loom. Upon completion of o row of knots, the weaver passes the horizontal thread called weft through the warp threads (below and above) across the width of the carpet, and firmly presses on the knots with the shed stick. The ends of knots, which have been cut roughly with a knife at the time of each knotting, are then trimmed with a special pair of scissors to make them even with the face (pile) of the carpet.
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