Turkey's trade with Europe remained brisk until well into the eighteenth century. At one time, the frontiers of the Turkish Empire were only a few miles outside Vienna. Even in the early nineteenth century, Oriental rugs were always described as "Turkey", just as in the more recent past they have collectively been known as "Persian."

Geographical names, whether those of the place of production or of trade centers, have been associated with Anatolian carpets to any considerable degree only since the last century, chiefly with certain types of prayer rug such as Ghiordes, Kula, Ladik, Madjur, and some others.

Turkey's close though by no means always peaceful contact with the West meant that the supply  of the Oriental Rugs From Turkey  to Europe never ceased, especially as Smyrna and the district around also could produce very large pieces, thus continuing the tradition of Ushak.

The colors of the Smyrna carpet - still called "Turkey" in England are chiefly red, green, and blue. Since the pile is very long, the pattern usually appears somewhat blurred. There is a preference for medallions of all sizes, and for medallion systems, with the corner pieces sometimes joined like curtains.

Among other examples designed with an eye to the European market are the Oriental rugs made in the Sultan's Court workshops at Hereke in the nineteenth century. Apart from copies of seventeenth-century patterns, there are some exceptionally fine pieces entirely European in character. Hereke also produced knotted Silk Rugs.

But the principal Anatolian contribution is the small Oriental rug made by the independent craftsman working in his own home. The most important among these is the prayer rug. Its main feature, the prayer arch or mihrab, is borrowed from the mosque, but the character of its design varies from place to place.  Some mihrabs are supported by pillars, which may dissolve into floral stripes. The field of the mihrab is usually empty, though it sometimes contains flowers and flowering branches, or a lamp, a vessel, or a branch suspended from the arch. There is generally a cross panel above and below the mihrab, the whole being enclosed within a border frequently reminiscent of some of the Classic borders of the sixteenth century, though the patterns are usually broken up. Apart from the usual border arrangement - a wide principal border stripe and narrow guard stripes - there are multiple borders of narrow stripes. In the East these are called shobokli, a term derived from the Turkish word for pipestem; they may contain carnations, hyacinths, or tulips, often stylized beyond recognition.

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Ghiordes, the Gordium of Antiquity, has preserved the Classic tradition of the Anatolian prayer rug more faithfully than any other region. The mihrab, at first curved, later became steep and pointed. It is frequently supported by piers or pillars.  Scrolling stems with large flowers, or small branches, each with three fruits or flowers, fill the border, the spandrel, and the cross panel which is usually above the mihrab. In the Kis-Ghiordes, a rug given to or woven by young girls in the East as part of their dowry, a favorite design is a small central medallion with medallion quarters within a border of reciprocal triangles divided by a broad white band.

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