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'''Bulgarian Carpet''' or '''Bulgarian Rug''' is one of the balkan rugs that woven in Bulgaria.<br>
'''Bulgarian Carpet''' or '''Bulgarian Rug''' is one of the western rugs that woven in Bulgaria.<br>
A country of southeast Europe. Bulgaria was a source of nineteenth-century rugs made in imitation of the Gördes prayer rug. Bulgaria is a minor source of contemporary pile rugs with floral designs based on Persian models. These rugs are woven in Kotel and Panagiurishte. Bulgarian kilims are sometimes referred to as "Thracian". The slit-weave tapestry structure is most common. Red is dominant and colors are stronger than those of Turkish kilims. Nineteen-thcentury sources of kilims include these towns: Berekovica, Chiprovtsy, Gabrovo, Kotel, Samokov, S¸arköy, Sliven, Sumen, Teteven, and Zaribrod. There are some antique kilims with Bulgarian inscriptions. West Bulgarian kilims are finely woven and employ curvilinear wefts. East Bulgarian kilims are more coarsely woven, with darker colors than those from the west, and they are more like Anatolian kilims. Contemporary kilims are woven in Chiprovtsi.<ref>Stone, 2013, 54</ref>
A country of southeast Europe. Bulgaria was a source of nineteenth-century rugs made in imitation of the Gördes prayer rug. Bulgaria is a minor source of contemporary pile rugs with floral designs based on Persian models. These rugs are woven in Kotel and Panagiurishte. Bulgarian kilims are sometimes referred to as "Thracian". The slit-weave tapestry structure is most common. Red is dominant and colors are stronger than those of Turkish kilims. Nineteen-thcentury sources of kilims include these towns: Berekovica, Chiprovtsy, Gabrovo, Kotel, Samokov, S¸arköy, Sliven, Sumen, Teteven, and Zaribrod. There are some antique kilims with Bulgarian inscriptions. West Bulgarian kilims are finely woven and employ curvilinear wefts. East Bulgarian kilims are more coarsely woven, with darker colors than those from the west, and they are more like Anatolian kilims. Contemporary kilims are woven in Chiprovtsi.<ref>Stone, 2013, 54</ref>