The most seasoned known cases of Shag Rugs were revealed amid an uncovering of illustrious graves, dating from the fifth to the third century BC at Pazyryk in the Altai Mountains of southern Siberia. The finds incorporate different articles of felt with appliqué designs and a sublime cover with a woolen heap, tied with the symmetrical, or Turkish, tie (in the Hermitage). The cover, conceivably of Persian inception, measures 6 × 6.5 feet. The focal field has a checkerboard plan with a botanical star design in each square. Of the two wide outskirts, the internal one demonstrates a frieze of elk, the external one a frieze of horsemen.
The Shag Rugs were not really the main or even the most critical strategy for cover making. Felt rugs were utilized for quite a while in Central and East Asia, as demonstrated by glorious first century-AD examples from Noin Ula in northern Mongolia (first century BC to first century AD; in the Hermitage) or those in the Shōsō Repository (Japanese Imperial storage facility) in Nara close Ōsaka (before the eighth century). The exorbitant carpets with figure themes and gold said by Greek and Arab scholars may have been woven or weaved and were most likely displayed on the divider and on the floor.
Afterward, numerous mats of better weave, more sensitive examples, and wealthier shading—generally geometric and potentially from Asia Minor—showed up in Europe. They were delineated by Flemish painters, for example, Hans Memling, Jan van Eyck, and Petrus Christus, with such ability that the different bunches are now and then obvious. A large number of these plans are rehashed in the Bergama area of Asia Minor and the southern Caucasus today, which muddles dating work.
In the thirteenth, fourteenth, and fifteenth hundreds of years, Asia Minor and the Caucasus delivered coarse, clearly Shag Rugs with stars, polygons, and frequently examples of adapted Kūfic composing. An exceptional gathering with straightforward, exceedingly conventionalized creature frames was likewise woven; the most critical of these floor coverings are spoken to by seven pieces of solid, rehashing geometric examples in intense hues—red, yellow, and blue—found in the mosque. They presumably date from the thirteenth century. In the State Museum of Berlin and in the National Museum of Fine Arts at Stockholm are two crude floor coverings, one, an exceedingly conventionalized mythical beast and-phoenix battle, the other, adapted winged creatures in a tree. Both of these floor coverings are most likely mid fifteenth century Anatolian.
Little is thought about Persian cover making before the fifteenth century, when the craftsmanship was at that point moving toward a pinnacle. The Mongol attack of the thirteenth century had discouraged Persia’s aesthetic life, just mostly reestablished by the renaissance under the Mongol Il-Khan administration (1256– 1353). In spite of the fact that the victories of Timur (kicked the bucket 1405) were in many regards awful to Persia, he supported craftsmans and saved them to chip away at his extraordinary royal residences in Samarkand.