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We have a wide range of carpets in our collections. Even fanciful and colorful children's carpets in various shapes and colors, which can turn any children's room into a cozy playroom.
In the course of time, veneration of the arts by the West has repeatedly shifted the focus of carpet making to the limits of craftsmanship - i.e. to the home, the female, of lower value. Carpets in which we are participating show a self-confident aesthetics and are works of artwork independent of their historic contexts, ethnic significance or scarcity.
Just as in Australia native arts, Tibetan carpets, whether from nomads or peasants, are inspired by the spirit, using story-telling characters of magical and deadly meaning. Prior to this era of massive scale manufacturing and children enslavement, there was a female apotrophic and shamanic webstream. This great civilization, commonly known as "the nomadic horsemen of Central Asia", no longer survives, and with its downfall millennia of intriguing female sacred wisdom are lost.
There are some hints - the links to different Turkish and indigenous civilizations for example - but what directly talks to us are the carpets themselves, since stories that have been wrote and constructed usually have a "Western masculine impartial academic" filtering and therefore do not speak of what the artist Chris Alexander described as "a premonition of 21st centuries art".
Historically, our homes consisted of a corridor with separated rooms with a certain purpose. Also the settled people of Central Asia set up the cuisine and the women's shelters section by section next to the more important master rooms. It is comparable to traditionally rooted nomads and peasants like the Jurte, where the cuisine is the core, where the female is the center, not devaluated, but uplifted.