Editing Kilim (section)

==Rugs and commerce==
[[File:Pirot kilim serbian rug.tif|thumb|A typical [[Pirot carpet|Pirot kilim]] from [[Serbia]]|upright]]
[[File:Awar Kilim.png|thumb|Late 19th century Awar kilim from the [[Caucasus]]. An unusually simple and bold design. |upright]]
Because kilims are often cheaper than pile rugs, beginning carpet collectors often start with them. Despite what many perceive as their secondary (or inferior) status to pile carpets, kilims have become increasingly collectible in themselves in recent years, with quality pieces now commanding high prices. What some sensed as inferiority was actually a different nature of rugs woven for indigenous use as opposed to rugs woven on a strictly commercial basis. Because kilims were not a major export commodity, there were no foreign market pressures changing the designs, as happened with pile carpets. Once collectors began to value authentic village weaving, kilims became popular. Three factors then combined to reduce the quality of the West's newly discovered kilims. The first was a development in industrial chemistry. An important element in the attractiveness of traditional rugs is ''abrash'', the dappled appearance resulting from variation in shade of each colour caused by hand-dyeing of the yarn. The synthetic ([[aniline]]-derived) dyes introduced late in the [[Victorian era]] abolished abrash, giving brilliant colours which however often faded with time. A second factor was the loss of the [[nomad]]ic way of life across Central Asia. Once people had settled, the tribal character of their weavings faded. A third factor was a direct consequence of the kilim's new-found marketability. As rugs began to be made for export and money rather than personal use, the local style and social significance of each type of carpet was lost. Patterns and colours were chosen to suit the market, rather than woven according to tradition and to suit the needs of the weaver's family and the weaver's own hopes and fears.<ref name=ThompsonEnd>{{cite book |last1=Thompson |first1=Jon |title=Carpets from the Tents, Cottages and Workshops of Asia |date=1988 |publisher=Barrie & Jenkins |isbn=0-7126-2501-1 |pages=62, 69–82, 84–97}}</ref>{{efn|Jon Thompson writes "In terms of carpet weaving we are observers of the very end of an ancient art form."<ref name=ThompsonEnd />}}

{{anchor|Anatolia}}

===Anatolian (Turkish)===
Perhaps the best known and most highly regarded, these kilims are traditionally distinguished by the areas, villages or cities in which they are produced, such as [[Konya]], [[Malatya]], [[Karapınar]] and Hotamis. Most Anatolian kilims are slit woven. Larger antique kilims were woven in two to three separate sections on small nomadic horizontal floor looms in three feet wide long strips, then carefully sewn together matching the patterns edges to create an ultimately wider rug. These pieces are still  produced in very limited quantities by nomadic tribes for their personal use and are commonly known as '''cicims'''.

*'''Cicim''' or '''Jijim''' or '''Jajim''' are kilims woven in narrow strips that are sewn together.<ref>{{cite book|author=Acar, B. B. |title=Kilim-Cicim, Zili-Sumak. Turkish Flatweaves |location=Istanbul |date=1983}}</ref>
*'''Zili''' is a rough supplementary-weft method used to decorate practical objects such as mats, sacks, cushions and tents.<ref>{{cite web |title=Weaving Techniques |url=https://www.kilim.com/kilim-wiki/weaving-techniques |publisher=Kilim.com |access-date=9 December 2018 |date=2018}}</ref>