Wall Art and marble flooring tiles Inlaid

Mosiac Inlay Art wall Panel

Peacock Feather in MOP
Mother Of pearl

Our white Macrana Marble Inlay are the result of an ancient and Mughal  tradition and the most updated technology. Our considerable experience in complex large scale projects such as palaces, villas, hotels, prestigious places of worship make us the perfect choice for projects requiring highly skilled execution. We combine the best of Indian macrana marble inlay craftmanship with the most sophisticated hand machineries, but it’s the human hand that makes the difference. Precision, accuracy and an excellent chromatic sensibility are essential for a perfect and unique result definitively far from an industrial product. We select for you only first choice material from a wide collection of marbles and natural stones coming from all parts of the world. our  Factory is with 900 square metres of factory space and 22 employees leader in Agra India and second worldwide in terms of productive capacity in this sector. This is our world, made of marble inlay emotions.

Wall Inlay as pietra Dura

Wall Tile inlaid In Stone

You Dream it,We Create It

Hand Knotted Carpets And Rugs in wooll and Silk

A carpet is a textile floor covering consisting of an upper layer of "pile" attached to a backing. The pile is generally either made from wool or a manmade fibre such as polypropylene, and usually consists of twisted tufts which are often heat-treated to maintain their structure.

Carpet type

 Woven

The carpet is produced on a loom quite similar to woven cloth. The pile can be plush or berber.

 Plush carpet is a cut pile and berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from pre-determined designs(although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process.

]Needlefelt

Knotted

 On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in Oriental rugs and carpets. Kashmir carpets are also hand-knotted.

[edit]Tufted

These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing comprising a woven hessian weave or a man made alternative to provide stability. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.

[edit]Others

A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim,soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain(aka double cloth, two-ply, triple cloth, or three-ply).

A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.

[edit]Embroidery

[edit]Unlike woven carpets, embroidery carpets are not formed on a loom.

  Their pattern is established by the application of stitches to a cloth (often linen) base. The tent stitch and the cross stitch are two of the most common
Embroidered carpets were traditionally made by royal and aristocratic women in the home, but there has been some commercial manufacture since steel needles were introduced (earlier needles were made of bone) and linen weaving improved in the 16th century. Mary StewartQueen of Scots is known to have been an avid embroiderer. 16th century designs usually involve scrolling vines and regional flowers (for example, the Bradford carpet).

 They often incorporate animal heraldry and the coat of arms of the maker. Production continued through the 19th century. Victorianembroidered carpet compositions include highly illusionistic, 3-dimensional flowers. Patterns for tiled carpets made of a number of squares, called Berlin wool work, were introduced in Germany in 1804, and became extremely popular in England in the 1830s. Embroidered carpets can also include other features such as a pattern of shapes, or they can even tell a story.

Production of knotted pile carpet

There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft.

The importance of carpets in the culture of Turkmenistan is such thatthe national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).Contemporary centers of carpet production are: Kashmir (India /Pakistan ), Bhadohi^[4], Tabriz ( Iran ), Afghanistan, Azerbaijan,Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.

Kashmir (India) has World Famous Handknotted carpets. These are usually of Silk and some woolen carpets are also woven.

Child labour has often been used in Asia. The Rugmark labelling scheme used throughout Europeand North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.

Wool and wool-blends

Wool has excellent durability, can be dyed easily and is fairly abundant. When blended with synthetic fibres such as nylon the durability of wool is increased. Blended wool yarns are extensively used in production of modern carpet, with the most common blend being 80% wool to 20% synthetic fibre, giving rise to the term "80/20". Wool is relatively expensive and consequently a small portion of the market.


Carpet binding

Carpet binding is a term used for any material being applied to the edge of a carpet to make a rug. Carpet binding is usually cotton or nylon, but also comes in many other materials, such as leather. Natural binding, in other words, binding not made from synthetic material is frequently used with bamboo, grass, and wool rugs, but is often used with carpet made from other materials

Persian and Armenian carpets

Art historian Hravard Hakobyan notes that "Artsakh carpets occupy a special place in the history of Armenian carpet-making."^[12] Common themes and patterns found on Armenian carpets were the depiction of dragons and eagles. They were diverse in style, rich in color and ornamental motifs, and were even separated in categories depending on what sort of animals were depicted on them, such as artsvagorgs(eagle-carpets), vishapagorgs (dragon-carpets) and otsagorgs (serpent-carpets).The rug mentioned in the Kaptavan inscriptions is composed of three arches, "covered with vegatative ornaments", and bears an artistic resemblance to the illuminated manuscripts produced in Artsakh.

The art of carpet weaving was in addition intimately connected to the making of curtains as evidenced in a passage by Kirakos Gandzaketsi, a 13th century Armenian historian from Artsakh, who praised Arzu-Khatun, the wife of regional prince Vakhtang Khachenatsi, and her daughters for their expertise and skill in weaving.

Armenian carpets were also renowned by foreigners who traveled to Artsakh; the Arab geographer and historian Al-Masudi noted that, among other works of art, he had never seen such carpets elsewhere in his life.

Main article: Persian carpet

The Persian carpet is a part of Persian (Iranian) art and culture. Carpet-weaving in Persia dates back to the Bronze Age.

The earliest surviving corpus of Persian carpets come from the Safavid dynasty (1501–1736) in the 16th century. However, painted depictions prove a longer history of production. There is much variety among classical Persian carpets of the 16th and 17th century. Common motifs include scrolling vine networks, arabesques, palmettes, cloud bands, medallions, and overlapping geometric compartments rather than animals and humans^{[citation needed]}. This is because Islam, the dominant religion in that part of the world, forbids their depiction^{[citation needed]}. Still, some show figures engaged either in the hunt or feasting scenes. The majority of these carpets are wool, but several silk examples produced in Kashan survive.

Iranian carpets are the finest in the world and their designs are copied by weavers from other countries as well. Iran is also the world's largest producer and exporter of handmade carpets, producing three quarters of the world's total output and having a share of 30% of world's export markets. Iran is also the maker of the largest handmade carpet in history, measuring 60,546 square feet.

Turkish carpets

Main article: Turkish carpet

Carpets, whether knotted or flat woven (kilim) are among the best known art forms produced by the Turks. They have protected themselves from the extremes of the cold weather by covering the floors, and sometimes walls and doorways, with carpets. These are handmade, of wool or sometimes cotton, with occasional additions of silk. Even technological advances which enable factory-made carpets has not stopped the production of rug weaving at cottage-industry level. Although synthetic dyes have been in use for the last 150 years, hand made carpets are still considered far superior to industrial carpeting.

Turkish carpets in the 15th and 16th centuries are best known through European paintings. For example, in the works of Lotto (15th century Italian painter) and Holbein (16th century Germanpainter), Turkish carpets are seen under the feet of the Virgin Mary, or in secular paintings, on tables. In the 17th century, when the Netherlands became a powerful mercantile country, Turkish carpets graced many Dutch homes. The Dutch painter Vermeer represented Turkish carpets predominantly^{[citation needed]}to indicate the high economic and social status of the persons in his paintings. Turkey carpets, as they were known, were too valuable to be put on floors, except under the feet of the Holy Mother and royalty^{[citation needed]}.

The Turkish carpets have exuberant colors, motifs, and patterns. Because traditionally women have woven the carpets, this is one art form that is rarely appreciated as being the work of a known or a specific artist.


Oriental carpets in Europe

Oriental carpets began to appear in Europe after the Crusades in the 11th century. Until the mid-18th century they were mostly used on walls and tables. Except in royal or ecclesiastical settings they were considered too precious to cover the floor. Starting in the 13th century Oriental carpets begin to appear in paintings (notably from Italy, Flanders, England, France, and the Netherlands). Carpets of Indo-Persian design were introduced to Europe via the Dutch, British, and French East India Companies of the 17th and 18th century.^[29]

Spanish carpets

Although isolated instances of carpet production pre-date the Muslim invasion of Spain, the Hispano-Moresque examples are the earliest significant body of European-made carpets. Documentary evidence shows production beginning in Spain as early as the 10th century AD. The earliest extant Spanish carpet, the so-called Synagogue carpet, is a unique survival dated to the 14th century. The earliest group of Hispano-Moresque carpets, Admiral carpets (also known as armorial carpets), has an all-over geometric, repeat pattern punctuated by blazons of noble, Christian Spanish families. The variety of this design was analyzed most thoroughly by May Beattie. Many of the 15th-century, Spanish carpets rely heavily on designs originally developed on the Anatolian Peninsula. Carpet production continued after theReconquest of Spain and eventual expulsion of the Muslim population in the 15th century. 16th-century Renaissance Spanish carpet design is a derivative of silk textile design. Two of the most popular motifs are wreaths and pomegranates.^[30]

]French carpets

Main article: Savonnerie

In 1608 Henry IV initiated the French production of "Turkish style" carpets under the direction of Pierre Dupont. This production was soon moved to the Savonnerie factory in Chaillot just west of Paris. The earliest, well-known group produced by the Savonnerie, then under the direction of Simon Lourdet, are the carpets that were produced in the early years of Louis XIV's reign. They are densely ornamented with flowers, sometimes in vases or baskets, against dark blue or brown grounds in deep borders. The designs are based on Netherlandish and Flemish textiles and paintings. The most famous Savonnerie carpets are the series made for the Grande Galerie and the Galerie d'Apollon in the Palais du Louvre between c. 1665-1685. These 105 masterpieces, made under the artistic direction of Charles Le Brun, were never installed, as Louis XIV moved the court to Versailles in 1688. Their design combines rich acanthus leaves, architectural framing, and mythological scenes (inspired by Cesare Ripa's Iconologie) with emblems of Louis XIV's royal power.

Pierre-Josse Perrot is the best-known of the mid-eighteenth-century carpet designers. His many surviving works and drawings display graceful rococo s-scrolls, central rosettes, shells, acanthus leaves, and floral swags. The Savonnerie manufactory was moved to the Gobelinsin Paris in 1826.

The Beauvais manufactory, better known for their tapestry, also made knotted pile carpets from 1780 to 1792. Carpet production in small, privately owned workshops in the town of Aubusson began in 1743. Carpets produced in France employ the symmetrical knot.

Inlay Art And Taj Mahal

Inlay is a decorative technique of inserting pieces of contrasting, often coloured materials into depressions in a base object to form patterns or pictures that normally are flush with the matrix.^[1] In a wood matrix, inlays commonly use wood veneers, but other materials like shells, mother-of-pearl, horn or ivory may also be used. Pietre dure, or coloured stones inlaid in white or black marbles, and inlays of precious metals in a base metal matrix are other forms of inlay. Master craftsmen who make custom knives continue a tradition of ancient techniques of inlaying precious metals; additionally, many new techniques which use contemporary tools have also been developed and utilized as well by artisans.

Inlay in wood furniture differs from marquetry, a similar technique that largely replaced it in high-style European furniture during the 17th century,^[2] in that marquetry is an assembly of veneers applied over the entire surface of an object, whereas inlay consists of small pieces inserted on the bed of cut spaces in the base material, of which most remains visible.

Inlay is commonly used in production of decorative furniture, where pieces of coloured wood or metal are inserted into the surface of the carcass. Lutherie inlays are frequently used as decoration and marking onmusical instruments, particularly the smaller strings.

Inlay Art Taj MahalPietra dura or pietre dure (see below), called parchin kari in South Asia, is a term for the technique of using cut and fitted, highly-polished colored stones to create images. It is considered a decorative art.Pietra dura or pietre dure (see below), called parchin kari in South Asia, is a term for the technique of using cut and fitted, highly-polished colored stones to create images. It is considered a decorative art. The stonework, after the work is assembled loosely, is glued stone-by-stone to a substrate after having previously been "sliced and cut in different shape sections; and then assembled together so precisely that the contact between each section was practically invisible".^[1] Stability was achieved by grooving the undersides of the stones so that they interlocked, rather like a jigsaw puzzle, with everything held tautly in place by an encircling 'frame'. Many different colored stones, particularly marbles, were used, along with semiprecious, and even precious stones. It first appeared in Rome in the 16th century, reaching its full maturity in Florence. Pietra dura items are generally crafted on green, white or black marble base stones. Typically the resulting panel is completely flat, but some examples where the image is in low reliefwere made, taking the work more into the area of hardstone carving.
The stonework, after the work is assembled loosely, is glued stone-by-stone to a substrate after having previously been "sliced and cut in different shape sections; and then assembled together so precisely that the contact between each section was practically invisible".^[1] Stability was achieved by grooving the undersides of the stones so that they interlocked, rather like a jigsaw puzzle, with everything held tautly in place by an encircling 'frame'. Many different colored stones, particularly marbles, were used, along with semiprecious, and even precious stones. It first appeared in Rome in the 16th century, reaching its full maturity in Florence. Pietra dura items are generally crafted on green, white or black marble base stones. Typically the resulting panel is completely flat, but some examples where the image is in low reliefwere made, taking the work more into the area of hardstone carving.

Calligraphy In Agra Taj Mahal
in Black Onyx

Calligraphy (from Greek κάλλος kallos "beauty" + γραφή graphẽ "writing") is a type of visual art. It is often called the art of fancy lettering (Mediavilla 1996: 17). A contemporary definition of calligraphic practice is "the art of giving form to signs in an expressive, harmonious and skillful manner" (Mediavilla 1996: 18). The story of writing is one of aesthetic evolution framed within the technical skills, transmission speed(s) and material limitations of a person, time and place (Diringer 1968: 441). A style of writing is described as a script, hand or alphabet (Fraser and Kwiatkowski 2006; Johnston 1909: Plate 6).

Modern calligraphy ranges from functional hand-lettered inscriptions and designs to fine-art pieces where the abstract expression of the handwritten mark may or may not compromise the legibility of the letters (Mediavilla 1996). Classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may create all of these; characters are historically disciplined yet fluid and spontaneous, improvised at the moment of writing (Pott 2006 and 2005; Zapf 2007 and 2006).

Calligraphy continues to flourish in the forms of wedding and event invitations, font design/typography, original hand-lettered logo design,religious art, announcements/graphic design/commissioned calligraphic art, cut stone inscriptions and memorial documents. It is also used for props and moving images for film and television, testimonials, birth and death certificates, maps, and other works involving writing (see for example Letter Arts Review; Propfe 2005; Geddes and Dion 2004). Some of the finest works of modern calligraphy are charters and letters patent issued by monarchs and officers of state in various countries.