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[Illustration: _COLOUR PLATE I_
_Section of the Holy Carpet of the Mosque of Ardebil, in the Royal
Victoria and Albert Museum, South Kensington, London. Described on Pages
83 and 84._]
SECTION OF THE HOLY CARPET OF THE MOSQUE AT ARDEBIL, Size: 34 ft. 6 in.
by 17 ft. 6 in.
TRANSLATION OF INSCRIPTION.
I have no refuge in the world other than thy threshold,
My head has no protection other than this porchway;
The work of the Slave of this Holy Place.
Maksoud of Kashan.
946 A. H. = 1540 A. D.
FORMERLY IN THE POSSESSION OF VINCENT ROBINSON & CO., LTD., 34 WIGMORE
STREET, LONDON, W.,
And Sold by them in 1892 to THE ROYAL VICTORIA AND ALBERT MUSEUM, SOUTH
KENSINGTON, LONDON.
ORIENTAL RUGS
ANTIQUE AND MODERN
BY
WALTER A. HAWLEY
_WITH ELEVEN FULL-PAGE PLATES IN COLOUR
EIGHTY HALF-TONE ENGRAVINGS
AND FOUR MAPS_
NEW YORK
DODD, MEAD AND COMPANY
1927
COPYRIGHT, 1913 BY JOHN LANE COMPANY
Printed in U. S. A.
PREFACE
SINCE the appearance, in 1900, of the excellent work of Mr. John
Kimberly Mumford on Oriental Rugs, the public interest in these fabrics
has so largely increased that the author feels warranted in offering
this monograph, which aims to treat the subject in a way that will not
only appeal to the general reader but be of value to the student.
In the chapter entitled “Rug Weaving Before the XVIII Century” is a
brief review of some of the notable achievements in this branch of art;
and in order that the public may as far as possible have access to the
masterpieces described, the carpets on exhibition in the Metropolitan
Museum of Art in New York have been given unusual prominence. The
chapters on “How to Distinguish Rugs” and on “Purchasing Rugs” should
prove serviceable to those who are collecting or are buying for use; and
the chapter on “Weaving” contains many details which have not previously
received from connoisseurs the consideration they deserve.
The descriptions of all but the least important classes of rugs in the
Persian, Asia Minor, Caucasian, and Central Asiatic groups include not
only a general statement of their most striking features, but also a
technical analysis that is termed “Type Characteristics.” It should be
understood, however, that these characteristics are not invariable, but
are remarkably constant. They may interest chiefly those who aim to
acquire expert information, yet they will doubtlessly prove valuable to
every owner of a rug as a means for its identification.
It would be difficult to acknowledge all the assistance received by the
author since he began the study of rugs; for sometimes a mere suggestion
has started a line of investigation resulting in interesting
discoveries. He has freely consulted well-known authorities, who are
quoted in the body of the work; and has received valuable suggestions
and assistance from Messrs. T. S. Hawley, of Santa Barbara, Cal., George
Harootunian and Frank Loftus, of Los Angeles, Cal.; George Stevenson,
of New York; G. Graf, of the Persische Teppiche Gesellschaft, of Tabriz;
and P. de Andrea & Co., of Constantinople. He gratefully acknowledges
the permission of Messrs. C. F. Williams, of Norristown, Penn., and
James F. Ballard, of St. Louis, Mo., to study their valuable
collections; and the permission of Dr. Wilhelm R. Valentiner, Curator of
Decorative Arts in the Metropolitan Museum in New York, to examine the
carpets of the museum and to take photographs of them. He also wishes
particularly to mention the kindness of the following collectors and
firms who have allowed their rugs to be used for illustrations: Miss
Emily Davis, of Buffalo, N. Y.; the Misses Palache, and Messrs. Nathan
Bentz and T. S. Hawley, of Santa Barbara, Cal.; Mr. R. Y. Struble, of
Fredericktown, Ohio; Mr. E. L. Pierce, of Syracuse, N.Y.; Mr. H. C.
Merritt, of Pasadena, Cal.; Mr. J. F. Ballard, of St. Louis, Mo.; Mr. C.
F. Williams, of Norristown, Penn.; Major L. B. Lawton, U.S.A., of Seneca
Falls, N.Y.; Messrs. Mihran & Co., of Los Angeles, Cal.; Messrs. B.
Altman & Co., Benguiat & Keresey, Wm. Baumgarten & Co., Jones &
Brindisi, Jos. Wild & Co., W. & J. Sloane, and the Tiffany Studios, of
New York City. He is also indebted to Vincent Robinson & Co., Ltd., of
London, for the use of the colour plate of the Royal Garden Carpet, now
owned by them, and to the Royal Victoria and Albert Museum, South
Kensington, London, for permission to obtain a colour plate of the Holy
Carpet of the Mosque of Ardebil.
WALTER A. HAWLEY.
NEW YORK, June, 1913.
CONTENTS
CHAPTER PAGE
I INTRODUCTION 15
II PHYSICAL FEATURES AND HISTORY OF RUG-PRODUCING
LANDS 20
III MATERIALS 30
IV DYEING 37
V WEAVING 44
VI DESIGNS AND SYMBOLS 58
VII RUG WEAVING BEFORE THE EIGHTEENTH CENTURY 74
VIII CLASSIFICATION OF MODERN RUGS 97
IX PERSIAN RUGS 102
X ASIA MINOR RUGS 163
XI CAUCASIAN RUGS 197
XII CENTRAL ASIATIC RUGS 233
XIII INDIAN RUGS 253
XIV CHINESE RUGS 263
XV KILIMS 276
XVI HOW TO DISTINGUISH RUGS 282
XVII PURCHASING RUGS 295
INDEX 309
ILLUSTRATIONS
COLOURED PLATES
PLATE
I The Holy Carpet of the Mosque of Ardebil _Frontispiece_
OPPOSITE PAGE
II Oushak Carpet 40
III Mosul Rug 66
IV Bergamo Rug 102
V Ghiordes Prayer Rug 130
VI Royal Persian Garden Carpet _Between pages 160 and 161_
VII Ladik Prayer Rug 190
VIII Soumak Rug 210
IX Samarkand Rug 240
X Kang-hi Rug 270
XI Keen-lung Rug 300
HALF-TONE ENGRAVINGS
Plate 1 Khorassan Rug 22
” 2 Meshed Rug 26
” 3 Kirman Rug 30
” 4 Shiraz Rug 34
” 5 Niris Rug 36
” 6 Feraghan Rug 42
” 7 Feraghan Rug 46
” 8 Hamadan Rug 52
” 9 Sarouk Rug 56
” 10 Sarabend Rug 58
” 11 Carpet from Northwestern Persia 64
” 12 Carpet from Northwestern Persia 68
” 13 Compartment Carpet 70
” 14 Persian Animal Carpet 72
” 15 Persian Animal Carpet 76
” 16 Persian Animal Carpet 78
” 17 So-called Polish or Polonaise Carpet 80
” 18 So-called Ispahan 84
” 19 Armenian Carpet 86
” 20 Asia Minor Dragon and Phœnix Carpet 88
” 21 Portrait of Georg Gyze by Hans Holbein 92
” 22 Oushak Carpet 94
” 23 Sehna Rug 98
Map of Persia 104
” 24 Bijar Rug 106
” 25 Kermanshah Rug 110
” 26 Kurdistan Rug with Mina Khani Pattern 114
” 27 Gorevan Rug 118
” 28 Bergamo Prayer Rug 122
” 29 Ghiordes Prayer Rug 126
” 30 Ghiordes Rug 132
” 31 Kulah Prayer Rug 136
” 32 Melez Prayer Rug 140
” 33 Melez Rug 144
” 34 Rhodian Rug 148
” 35 Konieh Prayer Rug 152
” 36 Kir-Shehr Prayer Rug 154
” E Primary Border-Stripes of Persian Rugs 156
” F Secondary Border-Stripes of Persian Rugs 158
Map of Asia Minor 164
” 37 Anatolian Prayer Rug 166
” 38 Mudjar Prayer Rug 168
” 39 Daghestan Prayer Rug 172
” 40 Kabistan Rug 176
” 41 Kuba Rug 180
” 42 Chichi Rug 184
” 43 Tcherkess Rug 188
” G Primary Border-Stripes of Asia Minor Rugs 192
” H Secondary Border-Stripes of Asia Minor Rugs 194
Map of Caucasia 198
” 44 Baku Rug 200
” 45 Shirvan Rug 202
” 46 Soumak Rug 204
” 47 Kazak Prayer Rug 208
” 48 Kazak Rug 212
” 49 Karabagh Prayer Rug 214
” 50 Gengha Prayer Rug 218
” 51 Royal Bokhara Rug 222
” 52 Princess Bokhara Rug 224
” I Primary Border-Stripes of Caucasian Rugs 226
” J Primary Border-Stripes of Caucasian Rugs 228
” K Secondary Border-Stripes of Caucasian Rugs 230
Map of Turkestan 234
” 53 Turkoman Rug with Katchli Pattern 236
” 54 Turkoman Rug with Pindé Pattern 238
” 55 Turkoman Rug of the Salor Tribes 244
” 56 Yomud Rug 248
” L Primary and Secondary Border-Stripes of Central
Asiatic Rugs 250
” 57 Beshire Prayer Rug 254
” 58 Beshire Rug 258
” 59 Afghan Rug 260
” 60 Beluchistan Prayer Rug 264
” 61 Turkoman Saddle-bags 268
” M Medallions in Chinese Rugs 272
” N Primary and Secondary Border-Stripes of
Chinese Rugs. 274
” 62 Srinagar Rug 278
” 63 XVIII Century Chinese Rug 282
” 64 Keen-lung Rug 286
” 65 Keen-lung Rug 292
” 66 Kurdish Prayer Kilim 296
BLACK AND WHITE ENGRAVINGS
Plate A An Upright Loom 45
” B Technicalities of Weaving 49
” C Prayer Arches of Persian, Caucasian, and Centra
Asiatic Rugs 61
” D Prayer Arches of Asia Minor Rugs 63
” O General Designs 291
CHARTS
Periods when Antique Carpets were made 96
Technicalities in the weave of Persian Rugs 161
Technicalities in the weave of Persian Rugs 162
Technicalities in the weave of Asia Minor Rugs 196
Technicalities in the weave of Caucasian Rugs 232
Technicalities in the weave of Central Asiatic Rugs 252
ORIENTAL RUGS
ANTIQUE AND MODERN
ORIENTAL RUGS
CHAPTER I
INTRODUCTION
IT is not altogether surprising that in a most materialistic age many of
a race distinguished more for its utilitarian than artistic
accomplishments should fail to see in Oriental carpets high artistic
expression; yet during the last twenty years choice specimens have been
sold for sums which not only are very large, but show a tendency to
increase with each succeeding year. In 1893 a woollen rug, known as the
Ardebil carpet and regarded, on account of its beautiful designs and
exquisite colours, as one of the finest products of Oriental art, was
purchased for the South Kensington Museum. Since it had a length of
thirty-four and a half feet with a breadth of seventeen and a half, the
price of £2500, which was the sum paid, was at the rate of twenty
dollars per square foot. At an auction sale in New York in 1910,[1] a
woollen rug five and a half feet long by three and three quarters wide
was sold for the sum of $10,200, or at the rate of four hundred and
ninety-one dollars per square foot; and a silk rug seven feet and two
inches long by six feet and four inches wide was sold for the sum of
$35,500, or at the rate of nine hundred and thirty dollars per square
foot. As it was the general opinion of connoisseurs that the prices paid
for these two rugs were low, and as it is well known that these rugs are
not more valuable than some others of equal size, it is not unreasonable
to assume that many of the best judges of Oriental rugs would declare
that at the present time the sum of five hundred dollars per square foot
is a fair price for some antique woollen rugs, and the sum of one
thousand dollars per square foot a fair price for some antique silk
rugs.
If these judges were asked on what they based their opinion of the value
of these old pieces, which are less serviceable for wear than new rugs
that can be bought of an American factory at twenty cents per square
foot, they might with reason reply that they are works of art, woven in
those days when Michelangelo, Titian, Rubens, and Rembrandt were busy in
their studios; that they are as scarce as the paintings of these
masters; and that they might justly be compared with them in beauty and
artistic execution. Though granting that the technique of weaving makes
it impossible to represent a design as perfectly as can be done with a
brush, they would claim that the drawing of dainty vines, scrolls, and
arabesques was often represented by lines that in abstract beauty of
form are unsurpassed, and that no artist had ever produced from his
palette colours which equalled in brilliant sheen and marvellously
changing hue those of the woven masterpieces.
Whoever is inclined to disagree with these judges and with those art
critics of Europe and America who assert that in an aesthetic sense the
people of the Orient are cultured to a standard beyond the comprehension
of the Western world, should remember that the taste for any kind of art
is based on convention and is largely a matter of cultivation. The
Occidental, who for generations has cultivated the taste for paintings
and statuary, looks to the painter and sculptor for the highest
expression of artistic genius; but the Oriental takes greater delight in
his marvellous creations of porcelain or woven fabrics. There is, too, a
marked difference in treatment. The Occidental demands that in art
“everything should be stated with the utmost fullness of a tedious
realism before he can grasp its meaning”[2] and fails to recognise the
more subtle beauty of various forms of Oriental art. The Oriental, on
the other hand, is far less realistic and is better satisfied if his
subject suggests abstract qualities that depend for their fullest
appreciation on those quickening experiences that at different times
have touched the soul of the observer. Moreover, as Buddhism, which
prevails in many of the countries of Asia, teaches that a universal
spirit is manifested in each form of nature, determining its character,
and a similar idea pervades other religions of the East, the highest aim
of Asiatic art is to express that inner spirit. It is largely this
difference in artistic cultivation that accounts for the difference in
taste. Whoever then would fully appreciate these rugs must view them
not only with an eye trained to see the beautiful harmonies of colour
and design, but with the artistic temperament of the Oriental.
By study and cultivation the European as well as the American is growing
to value more highly the products of Oriental art. When the old sea
captains carried on trade with Japan, they imported into Europe large
quantities of Imari ware, which the Japanese purposely decorated with
crude and vulgar colours to meet the less refined taste of the
Europeans, who regarded many of them as fine specimens of ceramic art
and studiously copied them in their factories. But so great has been the
change in artistic taste since then that now they are valued principally
as objects of curiosity. Likewise, many beautiful Japanese Makimonos, in
which a few strong lines gave but a hint of the essential thought,
formerly passed before the eyes of Europeans as the paintings of
semi-barbarians. But now we begin to see, as did Whistler, that they are
often the products of great genius and that they express thought and
feeling with marvellous power. There has been a similar growth in the
appreciation of Oriental rugs. Even within the last generation this
growth has been apparent, so that the few who wisely bought those old
worn pieces which thirty years ago hung at doors of little shops where
dark-faced foreigners invited acquaintance, are now the envy of the many
who, too late, have learned that to-day they can scarcely be bought at
any price.
The more we study the several fields of art in the Orient, the better we
realise the wonderful creative genius of its people and learn to value
the products of any one field. Japan has awakened the admiration of the
highest art critics for its bronzes, some of which exceed in size any
other castings in the world, and for its netsukés, which are the
smallest of carvings. Its blades of steel are superior to those of
Damascus and Toledo; and its lacquer, which is the most wonderful of its
artistic products, displays genius of a very high order. To China, a
country that we often regard as barbarous, we owe the invention of
silks, the printing press, and gunpowder; yet it is in porcelain, that
was manufactured even in those days when Caesar was marching with his
legions against the barbarous races of Central and Northern Europe, that
China has surpassed the world and set a standard that probably will
never again be reached. In the land where glide the Indus and the Ganges
stand temples, erected by the descendants of the house of Tamerlane,
before which the beholder, even if familiar with the wonders of St.
Peter’s, is lost in admiration of the intricate delicacy of detail, the
majesty of proportions, and the gorgeous splendour of colour with which
some of the spirit of the East is expressed in material form. When we
realise that in these different lines of artistic effort the genius of
Asia has rivalled and surpassed that of Europe and America, we become
the better prepared to believe that choice specimens of woven fabrics,
in weaving which every class of every country of Asia has been engaged
from time immemorial, are to be regarded as works of the highest art.
However pleasing the design or elaborate the detail, it is principally
in the colouring that these rugs claim our interest and admiration. The
colours which are derived from vegetable or animal dyes grow more mellow
and beautiful with passing years, and applied to wools of finest texture
acquire a lustre and softness which in the choicest specimens are like
the radiant throat of a humming bird, or tints at the close of an autumn
day. The different shades have different moods, expressing peace, joy,
pensiveness, sorrow, the deep meaning of which the Oriental mind with
its subtle and serious imagination has grasped as has none other.
Moreover, in all truly fine pieces there is perfect harmony of tone. It
is in this richness, suggestiveness, and harmony that the greatest
artistic value lies.
That all do not appreciate these qualities is not because they do not
exist; for the keen perception of colour, like the keen perception of
music, is a faculty granted to one person but denied to another. Even to
those who take delight in colour there are different degrees of
appreciation. “The fact is,” said John Ruskin, “we none of us enough
appreciate the nobleness and sacredness of colour.” But as the ear can
be cultivated to a higher taste for music, so can the eye be cultivated
to a higher taste for colour; and to fully appreciate the beauties of
Oriental rugs it is necessary to develop this faculty to its fullest
extent.
And yet it is not alone as works of art that Oriental rugs interest us.
They suggest something of the life and religious thought of the people
who made them. Some seem redolent with the fragrance of flowers, others
reflect the spirit of desert wastes and wind-swept steppes. So, too, in
the colours and designs of some appear the symbols of that mysticism
with which the minds of the followers of Zoroaster in their effort to
commune with the unseen forces of the universe were imbued; and though
the original meaning of many of these symbols has been forgotten, the
study of others leads to a better understanding of the life-thought of
the weavers.
Realising, then, that Asia has been the cradle from which has come the
highest expression of many forms of artistic achievement, and that the
Western mind is now assigning to its woven fabrics their proper place in
the galleries of art, we may begin the study of Oriental rugs with the
assurance that the further it is pursued the greater will be the
appreciation and delight. It will take us among strange and interesting
people, and over fields that were historic grounds before the walls of
Rome were built. It will lead beyond the dome of St. Sophia to the land
of the Arabian tales, where the splendour of former days is reflected in
tomb and mosque, and where, perhaps, when the Western world grows old,
there will rise again from crumbling ruins another nation that will
revive the poetic and artistic genius of the East with all the majesty
and creative power of the past.