DESIGNS AND SYMBOLS
HOWEVER well woven, however resplendent in rich modulations of colour,
Oriental rugs would quickly lose their fascination if in patterns and
designs there were not at least some partial expression of the simple
lives of the people, of their religious feelings, and of that veiled
mysticism which pervades the thought of every Eastern race.
In all nomadic rugs as well as in many others are innumerable reminders
of common life. It may be only crude outlines of the goat or camel, or
realistically drawn rose and lily; but even these are suggestive of
associations.
Religion, too, exercised on the character of rugs an important
influence, which is expressed in the symbolism of both designs and
colour. Without a doubt, some of these well-known designs have been
transmitted from the earliest times, and were once associated with
different forms of idolatry. Thus, among the old Babylonians the sun and
moon, which are sometimes seen in the old pieces, represented particular
deities; and very many of the oldest Chinese rugs that remain also
contain symbols of their deities. In the early religion of Iran, which
over 1000 years B.C. was reduced to a system by Zoroaster, the elements
were worshipped, so that designs representing these elements would
likewise represent the divine forces they personified. This ancient fire
worship of the Parsees, which even to-day has a few devotees in parts of
Persia, and the kindred sun worship have added much to the symbolism of
Oriental rugs. Buddhism also has contributed its share; and with the
spread of Mohammedanism appeared a Saracenic influence that is
frequently recognised. Even the two great sects of Mohammedan followers,
the Shiites and Sunnites, have had distinct effects in the use of
designs, as the former employed animal figures and the latter prohibited
them.
[Illustration: PLATE 10. SARABEND RUG]
There was, moreover, a symbolism that in a manner expressed the vague
philosophic teachings of the ancient races. It was but natural that the
early weaver engaged in tedious sedentary work, often requiring many
months of constant application to complete, should endeavour to express
therein not only artistic taste, but also the spirit of his innermost
thoughts. So as he wove he sometimes left the result, though poorly
defined and little understood to-day, of that struggle to interpret the
great mysteries of the visible and unseen universe, from which arose the
crude beginnings of philosophy.[10]
The patterns, however, of many Oriental rugs are chiefly decorative.
Even a casual examination shows that in all of them the coloured knots
of the surface represent a border surrounding a central field. The
former serves much the same function to the latter as a frame to a
picture; yet its office is in no wise subordinate. Nor is there any part
of the pattern more useful in determining the place of its origin. For
this reason it is well to clearly define the special names which in this
work are applied to its different parts. The lineal divisions are
designated “Stripes,” though they are frequently spoken of as separate
borders. At or near the centre of the border is the main stripe, which
is generally accompanied by a much narrower pair, one on each side,
known as “Guard stripes.” Very narrow stripes are sometimes called
“Ribbon stripes,” and those of only one or two knots in width are called
“Lines.” The latter are of solid colour or have the simplest geometric
device. The decoration of the ribbon stripes is also necessarily simple;
but in the main stripe of artistic rugs the patterns are often
exceedingly elaborate, of exquisite colours, and co-ordinate in
character with those of the field.
The fields display even greater diversity of pattern than the borders.
Frequently they are covered with a heterogeneous mass of detached and
unrelated figures, as in many of the nomadic rugs; or, on the other
hand, are entirely covered with repetitive patterns, as in the
Turkomans; or with intricate and correlated designs, as in the diaper
and floral patterns of so many of the Persian and Indian rugs. Others
consist of a background of solid colour on which appear isolated formal
designs, as in some of the Khorassans, or medallions on which are
represented smaller figures, as in some of the old Sehnas and Feraghans.
Occasionally the medallions are so large as to extend to the sides and
ends of the fields, and thus separate the corners into nearly triangular
shaped sections, such as are characteristic of a number of Persian and
one or two Caucasian rugs. In a few of the latter, also, the fields are
covered with large geometric figures suggesting the medallions. It is
only within comparatively modern times that weavers have used solid
colours for large portions of the fields. The intent no doubt was a
saving in labour and pains, but the effect is frequently most
gratifying; as when, for instance, the space beneath the arch of Asia
Minor prayer rugs is of a uniform red, blue, or cream, relieved only by
a gracefully suspended lamp, the tree of life, or some other emblem of
immortality.
[Illustration: PLATE C.—PRAYER ARCHES OF PERSIAN, CAUCASIAN, AND CENTRAL
ASIATIC RUGS
No. 1, Antique silk. No. 2, Kermanshah. No. 3, Khorassan. No. 4, Sarouk.
No. 5, Persian, XVI Century. No. 6, Kashan. No. 7, Feraghan. No. 8,
Shiraz. No. 9, Daghestan, Kabistan, Shirvan, Chichi, Kazak, Karabagh.
No. 10, Kazak. No. 11, Shirvan. No. 12, Karabagh (not usual). No. 13,
Beluchistan. No. 14, Bokhara, Tekke. No. 15, Khiva. No. 16, Beshire.]
The patterns of prayer rugs are not only pleasing, but have a peculiar
importance, as weavers of certain sections of the country adhere so
strictly to time-honoured traditions that the shape of the arch, or
mihrab, which is the principal feature, often denotes the class, as well
as the group, to which they belong. Some of these arches are illustrated
in Plates C and D (Pages 61 and 63), from which it will be seen that in
Persian rugs they are formed by gracefully curving lines, but that in
rugs of other groups, with the exception of a very few old Ghiordes
pieces, they are geometric. The peculiarities of the arches of the
several classes, also, are observable; as those of the Beluchistans,
which are rectilinear and relatively high, and those of the Bokharas,
which are tent-shaped, flat, and small. In the Caucasian group they have
a marked resemblance to one another and also to those of the Turkoman
rugs, but are larger than the latter. Again, the arch of almost all Asia
Minor rugs rises higher than those of any others, excepting the Persian,
and extends from one side of the field to the other. In many of them a
panel is placed above the spandrel, and occasionally a second panel is
placed beneath the field. Above the niche of some Asia Minor and
Caucasian prayer rugs is woven a small rhomboidal figure, where the
suppliant plants the pebble or bit of earth that he has brought from
Mecca; and at the sides of a few arches are crude figures, where are
placed the hands during the act of worship. More than one arch is the
exception; but now and then are seen two and even four, one above the
other, or several parallel to one another. These and other special
features associated with prayer rugs will be considered more fully in
subsequent chapters.
The smaller designs that appear in rugs and compose the general pattern
are distinguished as geometric and floral ornamentation. The former is
adopted in those countries where the population is principally nomadic;
and the latter is the accepted style in countries where exist numerous
towns and cities in which the arts have been cultivated and where a
large percentage of the population have enjoyed an advanced state of
society. Thus in Caucasia, Turkestan, Afghanistan, and Beluchistan
geometric designs are characteristic of the rugs; but in China, India,
Persia, and part of Asia Minor floral designs prevail. Sir George
Birdwood, an eminent authority on Oriental rugs, has made the statement
that the geometric designs are found among the lower Turanian and the
floral among the higher Aryan. But it seems most probable that the
adoption of the geometric or floral style of ornamentation is due not so
much to racial distinctions as to the state to which the textile art had
advanced among the different peoples and to the waves of influence that
at times spread over the countries. Thus the early rugs of Asia Minor
had patterns that were more geometric than those of later times, and
during the period when the Mongols ruled in Persia geometric patterns
were more frequently employed in the rugs of that country than
subsequently.
[Illustration: PLATE D.—PRAYER ARCHES OF ASIA MINOR RUGS
Nos. 1, 2, 3, 4, Ghiordes. Nos. 5, 6, 7, Kulah. No. 8, Ladik. Nos. 9,
10, Bergamo. Nos. 11, 12, Melez. No. 13, Kir-shehr, Mudjar. Nos. 14,
15, Konieh. No. 16, Anatolian.]
In all rugs, however, some trace of the floral design appears. Even in
the Turkoman weavings, the pattern of which is strictly geometric, some
vestige of the tree of life is manifest. In the fields of Caucasian
rugs, in which are represented squares, octagons, triangles, diagonals,
lozenges, stars, etc., the weavers have depicted designs that are almost
as geometric as those of the Turkoman rugs by which they have been
influenced; but, on the other hand, large numbers of the border designs
are distinctly floral. In the rugs of China and Asia Minor are found
both geometric and floral ornamentation, the latter predominating in
pieces woven during the last two centuries, and the former in those of
earlier date. Among the woven fabrics of India and Persia, however,
few traces of the geometric pattern remain; but vines, leaves, and
flowers form the favourite theme for decoration.
The floral patterns are the result of many centuries of growth, that
reached its highest development in the Persian carpets of the XVI and
XVII Centuries; and since then till the present time they have continued
as the most characteristic features of the rugs of that country and
India. They represent the highest technique of the weaver. In the
borders are generally represented vines from which are pendant rosettes,
palmettes, or flowers; and in the fields, particularly those of the fine
antique rugs, are a profusion of floral forms realistically portrayed.
On long, gracefully twining and intertwining stems is often the rose,
pink, violet, lotus, crocus, narcissus, or daisy. But if the rug is more
modern, in its field of uniform colour may be represented a central
medallion covered with delicate tracings enriched by bright-coloured
conventionalised flowers.
In the general pattern of all rugs are interwoven particular designs or
motives that give them a distinctive character and render the greatest
assistance in distinguishing the groups and classes. Thus the serrated
leaf and wine cup (Plate I, Fig. 1, opp. Page 226) is found only in
Caucasian and old Armenian rugs; and the design represented in Plate H,
Fig. 10 (opp. Page 194), suggestive of some Chinese character, is found
almost exclusively in Kulahs. Not only are all designs important as aids
in classification, but they have a special interest, as it is maintained
by writers of the highest authority that when employed by the earliest
weavers each had a symbolic meaning. To be sure, the origin of many has
been lost in the remote past and is unknown even to those who now employ
them; but others still represent definite ideas, as they did centuries
ago, and portray to some extent the thought of the weaver. They
therefore deserve the most careful study.
[Illustration: PLATE 11. CARPET FROM NORTHWESTERN PERSIA
Loaned by C. F. Williams, Esq., to the Metropolitan Museum of Art, New
York]
Few of these designs have been transmitted from a more remote past or
have been more universally employed than has been the figure [Symbol: S]
or [Symbol: horizontal S]. It appears in each of the groups of Oriental
rugs excepting the Chinese; and two of the forms it assumes are
exceedingly like the arms of the swastika and parts of the fret as
occasionally seen in Chinese designs. In Indian rugs it is rarely found
except in the borders, which may have been copied from those of other
countries. It is very commonly seen in the Beluchistans, Tekkes, and
Beshires, of the Central Asiatic group; and in the rugs of the Persian
group that show nomadic influences. There is probably not a single class
of the Caucasian group, nor any of the Asia Minor group, with the
exception of the old Ghiordes, in which it is not sometimes represented.
It may be seen near the corner of the Asia Minor “Dragon and Phœnix”
carpet of the XIV Century, illustrated in Plate 20 (opp. Page 88); and
appears in some of the old Armenian carpets, which are believed to be
even older. That it was associated with sun worship and regarded as an
emblem of light and the deity is the accepted belief. It is possible,
however, that it was intended by some weavers to represent the serpent,
which among many different races is emblematic of superhuman knowledge.
Probably no other design has been more universally employed than the
swastika, which appears in the textile fabrics of North American
Indians, on the Maya ruins of Yucatan, among the monuments of the Nile,
and on the temples of India. Widely as is its distribution, its most
usual form of intersecting right angles is found in each of these
countries. It is not improbable that it originated in China, where it is
a most common decorative motive, and was almost invariably represented
in the borders and in many of the medallions of rugs woven before the
beginning of the XVIII Century. It is also very frequently seen in the
rugs of Samarkand, and occasionally in those of Caucasia. It seldom
appears in the rugs of Persia, Asia Minor, or Turkestan. The
universality of the design indicates its great antiquity, yet its
primitive symbolic meaning of abundance, fertility, and prosperity has
never been lost. Some of its different forms are shown in Plate O, Figs.
5-a, 5-b, 5-c, 5-d, 5-e, and 5-f (Page 291).
The reciprocal trefoil (Plate F, Fig. 17, opp. Page 158) is a very usual
design in Caucasian and Persian rugs; it is often found in some of the
rugs of India and in Beluchistans, but is very rarely seen in other
classes of the Central Asiatic or in the Chinese and Asia Minor groups.
Its origin is uncertain, but since it appears in the “Polish Carpets”
and other antique Persian carpets of strictly floral pattern, where its
drawing is more elaborate than in modern rugs, it is not improbable that
it is the conventionalised form of the lily or a spray bearing three
leaves, and that it has the emblematic significance of the tree form.
Among all primitive races the sun, moon, and stars have been associated
with their religion, so that it is surprising that so few emblems of
them are recognised in rugs. In the theology of the Chaldees, from which
the earliest weavers must have received inspiration, the sun was
regarded as one of their principal deities and the moon as another. The
sun is generally represented by a plain circle, a circle with diameters
intersecting at right angles, or a circle with small ovals intersecting
at right angles; the moon is represented by the crescent. Of much more
frequent occurrence is the eight-pointed star, another inheritance of
those ancient times when all primitive races worshipped the heavenly
bodies. It represented the female principle of the Chaldean sun god; and
it is believed, too, that it represented the deity to the Medes,
ancestors of many of the present Persians. There is a tradition among
some Eastern races that King Solomon wore a ring of diamonds arranged in
the form of an eight-pointed star, and also a crown containing a large
star of which the eight points and centre were composed of precious
stones of different colour. A star now and then seen in rugs with
colours so arranged is known as “Mohammedan’s jewel design.” The
six-pointed star, a Jewish symbol for the “shield of David,” was adopted
as a talisman by some of the Moslems. All of these stars are chiefly
nomadic symbols, they rarely if ever are seen in the rugs of China or
India, they are only occasionally found in those of Persia, and are of
most frequent occurrence in the Caucasian pieces.
Another design is an octagonal-shaped disc (Plate O, Fig. 10, Page 291),
usually about two and a half inches in diameter, on the face of which
and extending the full width are figures somewhat like hour-glasses
placed at right angles to one another. It seems not improbable that it
is of the same origin as the large designs that appear in the field of
the Holbein rug of the XV Century, illustrated in Plate 21 (opp. Page
92). It is a very old motive, and is sometimes regarded as a dial
symbolising the diurnal motion of the earth. It is of very frequent
occurrence in nomadic rugs; and is found in Beluchistans, in nearly all
Caucasians, in some rugs from Asia Minor, and in only a very few from
Persia.
The zigzag line, known as the water motive, is found in many of the rugs
of China, India, Persia, Caucasia, and Asia Minor, as well as in the
Beluchistans and Beshires of the Central Asiatic group, though in some
instances it appears as little more than a serrated line. It is
represented in the narrow guard-stripes of some of the Western Asia
Minor carpets of the XV Century. According to Mr. John Mumford, “even in
the oldest Egyptian symbolism a zigzag line stood for water and by
implication for eternity; and a succession of these arranged to
represent the sea has long been a recognised carpet design in India,
China, and Persia.”
[Illustration: _COLOUR PLATE III—MOSUL RUG_
_Long before the commercial instinct had been felt among the weavers of
the Orient, one or more of them dwelling in the Mesopotamian valley tied
the knots of this old Mosul. The central field is of camel’s hair that
shades from a rich dark chestnut at one end to lighter tones at the
other, and is enlivened by bright flowers representing those found on
the river’s banks. This variation of ground colour, the small geometric
designs at the extreme ends of the fields, the eight-pointed stars of
the main stripe of the border, and some of the drawing are nomadic
characteristics. The dainty vine and flower of the narrow guard stripes,
on the other hand, show Persian influence. This piece represents a type
of which few now remain._
_Property of the Author_]
One of the most common designs is what has been called the “latch-hook.”
When there is a long succession of latch-hooks with the straight ends
resting on a line and the hooked ends inclined in the same direction, as
in Plate K, Fig. 20 (opp. Page 230), they are called “running
latch-hooks.” Since they appear in the Dragon and Phœnix rug (opp.
Page 88), that was probably woven about the end of the XIV Century, they
are evidently a very old design, which not improbably was derived from
the Chinese fret. The hook is of different shapes, and is sometimes
perpendicular, sometimes inclined. Its particular function is to shade
or subdue the harsh effect of a sudden transition from one colour to
another that is entirely different. As such a device is unnecessary in
artistic rugs of intricate designs, it is rarely seen in any Indian or
Persian piece, excepting the modern Shiraz that frequently adopts
geometric patterns; but it is found in all the rugs of Caucasia, Central
Asia, and in most of those of Asia Minor. It is in fact as universal as
the reciprocal trefoil.
In rugs of geometric patterns are occasionally found both Greek and
Roman crosses. The latter are represented in most of the Soumak rugs,
and appear profusely in old Asia Minor or Armenian rugs, in which they
were probably woven with the intent to convey a religious significance;
but in many instances crosses are not used symbolically.
The design of a comb (Plate O, Fig. 11, Page 291) is a Mohammedan emblem
suggestive of cleanliness, yet it is not improbable that it is sometimes
intended to represent the instrument employed in pressing the threads of
weft closely against the knots. It is found mostly in Caucasian rugs,
and rarely in those of other groups.
In a large number of the finest carpets woven in Persia three or four
centuries ago was represented what is known as the Chinese cloud-band
(Plate O, Fig. 7). It appeared in Persia about the middle of the XV
Century, and was conspicuous in the carpets of Herat, Tabriz, and Gilan,
as well as in many of the “Polish Carpets.” Later it was introduced into
Asia Minor, but was never represented in any of the strictly nomadic
weavings. It appears in only a very few of the modern rugs, and these
are mostly Persian. Nor is it recognised in its usual form in any of
the Chinese rugs that now exist; though without a doubt it originated
with the Chinese, since their early mythology placed the abode of the
Supreme Ruler in the Constellation of Ursa Major, of which the stars of
the Big Dipper were represented in early art as enveloped in a band of
clouds; but in more conventionalised ornamentation the stars are omitted
and the band remains. As a motive, then, it is symbolic of heaven and
the deity.
In almost all rugs are found expressions of vegetable life, as a twig,
vine, flower, or tree. Sometimes they are most naturalistic, again they
are partly conventionalised, or so disguised, as in nomadic rugs of
geometric designs, that only by study and comparison of many forms in a
series can their origin be established. This universal adoption of
floral form was due to something more than an aesthetic love for the
beautiful, since in every country of the East some part of the tree or
plant was emblematic. Moreover, a tree form known as the Tree of Life
had a religious significance among many races. The Jews were told that
in the Garden of Eden grew the “Tree of Knowledge of Good and Evil;” and
in the Book of Revelation the Apostle John speaks of “The Tree of Life
which bore twelve manner of fruits and yielded her fruit every month,
and the leaves of the tree were for the healing of the nations.” From
this passage may have been borrowed the belief of the Mohammedans in the
Tree of Life which grew in Paradise, and spread its branches that true
believers might rest beneath them and enjoy its fruits and the
companionship of beautiful houri. In the ancient lore of China is the
Taoist tradition of the Tree of Life, growing by the Sea of Jade, that
confers immortality on the fortunate who may gather and eat its fruits;
also the tradition of the mountain top where grows the sacred tree on
which the elect may climb and mount to heaven. Even among the ancient
Chaldees was a story of a tree that grew to heaven and sheltered the
earth. In different countries the Tree of Life is represented by
different kinds; in Yarkand of Eastern Turkestan it takes the form of a
cedar; in Persia it is generally the cypress. Wherever employed it is
symbolic of knowledge, resurrection, immortality.
[Illustration: PLATE 12. CARPET FROM NORTHWESTERN PERSIA
Loaned by C. F. Williams, Esq., to the Metropolitan Museum of Art, New
York]
No other form of vegetable life was so universally employed in Oriental
symbolism as the lotus flower (Plate O, Figs. 16-a, b, and c), since the
Egyptian, Assyrian, Indian, Chinese, and Persian alike did it reverence.
It was, perhaps, first employed emblematically in the valley of the
Nile, but later it was held in high esteem by the inhabitants of India
where the floating blossom is regarded as an emblem of the world. It was
inseparately associated with Buddha, and its religious significance must
have extended with the spread of Buddhism. Professor Goodyear regards a
large number of designs that apparently are not related in form as
derived from it through a long series of evolutions. During the highest
development of the textile art in Persia it appears most realistically
drawn in a large number of the carpets, especially the so-called
Ispahans, or Herats, and the so-called Polish. It is also most
artistically represented in the fabrics of India, and is a favourite
design for Chinese weavers. But in other modern rugs it is seldom used
as a motive, and is so conventionalised as often to escape notice.
If the lotus was the first flower to be represented in early woven
fabrics, as seems not improbable, several others have met with greater
favour among modern weavers. Of these the rose, which is cultivated
extensively in the gardens of the East, appears in a large number of the
rugs of Persia and Asia Minor. Moreover, a pattern frequently seen in
many old Persian rugs is an all-over pattern of small bushes with
flowering roses. Almost equally popular is the lily, which is
characteristic of many of the rugs of India and of a few of Western Asia
Minor. The “Euphrates flower,” which grows by the river banks of the
Mesopotamian valley, is also occasionally found as an all-over pattern
in some of the rugs of Western Iran and Southern Caucasia. Less
frequently seen and still less frequently recognised, as they are
generally woven in small figures, are the daisy, anemone, crocus,
narcissus, pink, and violet. All are depicted chiefly on account of
their associations and beauty, and whatever emblematic meaning they are
intended to convey is generally no more than that of their colours.
There are, however, in a few old Persian carpets designs of sunflowers,
which were accepted by the Zoroastrians and the earlier sun and fire
worshippers as symbols of the sun and emblems of light.
Of the fruits of the earth none is more highly esteemed than the
pomegranate, which was sculptured in temples of Mesopotamia and
embroidered on the robes of Assyrian and Jewish priests. In the days of
King Solomon it was cultivated in Palestine, where the Israelites, like
modern Persians, made a sherbet by mixing its juice with sugar and
spices. At the time of Homer it was cultivated in Phrygia. Now it grows
wild over vast tracts of Syria, Persia, and Asia Minor. Yet it rarely
appears conspicuously in any woven fabrics excepting the Ladik prayer
rugs, in which it is invariably seen. Since the weavers of these,
whether Christian or Moslem, would probably be familiar with many of the
old Jewish and Assyrian rites, it is not unlikely that it refers
emblematically to its religious associations rather than symbolises, as
has been suggested, the idea of fruitfulness as expressed in the Turkish
wedding custom where the bride throws a pomegranate at her feet that the
scattered seed may fore-tell the number of her children.
In almost every rug of Persia, India, and Asia Minor there is in some
part of the border a vine with pendant leaves, flowers, rosettes, or
palmettes; and even in many Caucasian rugs of geometric pattern the vine
with its appendages is seen in conventionalised form. In a few of the
more sumptuous carpets, where the drawing is elaborate, delicate
tendrils bearing flowers or the more formal designs of the Herati border
take the place of the vine, from which they were evolved. In such
borders the designs generally convey no symbolic meaning, but the
simpler vine encircling the field without beginning or end represents
symbolically the continuity of purpose and permanency.
One of the most interesting designs (Plate O, Fig. 6, Page 291) is known
as the Cone, Palm, Mango, Almond, River Loop, and Pear. By some it is
believed to represent no more than the closed palm of the hand, since
there is an old tradition in Persia that a weaver once asked his little
son to devise for him a new design, whereupon the boy thrust his hand
into a pot of dye, then placed it sidewise upon a piece of white linen,
on which became impressed the “palm” design formed by the hand and
incurving small finger. By some it is regarded as a cluster of old
Iranian crown jewels. To others, who point to the well-known pattern of
the Kashmir weaving, it denotes the bend of the river Jhelum above
Srinagar in the valley of Kashmir; and to Sir George Birdwood it
symbolises the flame sacred to ancient fire worshippers. In this work it
will be called the Pear, the name now generally applied to it. In the
course of the many centuries that have elapsed since its origin, and in
its migration through India, Persia, Turkestan, Caucasia, and Asia
Minor, it has adopted more strange shapes than any other device. In the
rugs of Sarabend it is represented in its best-known form of simple
curving lines, in the Bakus its identity is almost lost on account of
its geometric appearance, and in the fabrics of India it is often very
ornate. Though its origin is hidden in the mists of the past, when its
antiquity is considered, and also the devotion of the early races to the
glowing orb of the sun and to terrestrial fires, it is not surprising
that it has been regarded as a relic of the Zoroastrian faith of old
Iran, symbolising the eternal flames before which the Parsees
worshipped.
[Illustration: PLATE 13. COMPARTMENT CARPET IN THE METROPOLITAN MUSEUM
OF ART, NEW YORK]
If the floral designs are more beautiful, others are more truly
symbolic, and when appearing in rugs of barbaric patterns they are more
interesting. Of these the creeping things are represented by the
serpent, scorpion, turtle, crab, and tarantula. Among a few races of
Asia the serpent, which is found in a few old Persian carpets, has been
regarded as emblematic of immortality, but has been more frequently
considered as the symbol of knowledge. The scorpion, also, was supposed
to represent the idea of knowledge. It does not often appear in woven
design, but is sometimes drawn with careful precision in Caucasian
fabrics. The turtle or tortoise stands for constancy. What is called the
“turtle border” (Plate E, Fig. 3, opp. Page 156), which was probably
derived from interlacing arabesques, occurs most frequently in Feraghans
and also in some other Persian rugs, as Muskabads, Sarabends, Serapis,
and even the Sehnas. The tarantula and crab designs are found
exclusively in borders of Caucasian rugs. As their resemblance to the
animals they are supposed to represent is remote, it is most probable
that they are simply the conventionalised forms of the star and
palmette.
Among the designs seen in Chinese rugs are several not found in any
others. Of these the dragon, originally intended as a symbol of the
infinite, denotes imperial power; the stork, long life; the duck,
conjugal felicity; the bat, happiness; and the butterfly, a spirit.
These designs will be noticed in the chapter on Chinese rugs.
With few exceptions the only modern rugs in which birds are represented
are the Persian. The drawing as a rule is far from natural; but in the
fine old carpets it is often so accurate as to show unmistakably the
order to which they belong. Several of them were used symbolically, as
the bird of paradise, suggestive of felicity; the peacock, symbol of
fire; the eagle, emblem of power. The attitude, to be sure, in which
they appear, affects in a measure their symbolic meaning; as an eagle in
flight denotes good fortune, but one in the act of descending denotes
ill luck.
As the Mohammedan religion interdicts portraying birds and beasts as
well as human forms, they are rarely seen in any rug of Western Asia
Minor, which is inhabited by the Sunnites, the strict conformists to the
law of the Koran; but in Mohammedan countries lying farther to the east,
where the Shiites or nonconformists live, animal designs are very
common. In modern rugs of Persia and Caucasia, dogs, goats, and camels
are the most popular animal subjects, but the drawing is often so poor
that the identity is in doubt. In the old carpets, on the other hand,
animals and human beings were most realistically drawn, and were
intended to represent symbolically the weaver’s thought. In fact, those
masterpieces of Persian art known as the “Hunting Carpets” would lose
much of their interest if their many forms of animal life were without
symbolic meaning. In them the lion is a symbol of victory, power, the
sun, and the day; the antelope and unicorn are symbols of restfulness
and the moon. The lion destroying an antelope would mean, then, the
victory of day over night, or of a powerful over a weak foe. Leopards
and hounds likewise symbolise success and fame. There are also
mythological creatures, as the phœnix, emblematic of life and
resurrection, and the winged _djinni_ or Persian spirits, that often
adorn the fields and borders of some of the elaborate antique carpets of
Iran.
Not only the forms of vegetable and animal life and their relative
attitudes to one another were intended to convey a symbolic meaning, but
among almost all ancient races colours had a special significance. To
the Moslems no colour was more sacred than the green, which, though
difficult to produce in beautiful tones, they have placed in the fields
of many of their prayer rugs. To them, also, blue was the emblem of
eternity, and in the spandrels above the arches it was the symbol of the
sky. Though to the Hindoo it denotes ill luck, it was the chosen colour
of the Persians, as well as one of the imperial colours of the Chinese.
Among all nations yellow, another imperial colour of China, and red are
suggestive of joy and happiness. Such colours, when used in conjunction
with other emblems, expressed not only beauty, but also different shades
of thought.
[Illustration: PLATE 14. PERSIAN ANIMAL CARPET IN THE METROPOLITAN
MUSEUM OF ART, NEW YORK]
These are but a few of the many motives that are employed by the weaver.
Some of them represent objects intimately associated with his daily
life. Some of them reflect his thoughts and emotions. Others are the
still unsolved hieroglyphics of his craft. When, then, we examine some
old worn rug, we may see only an exquisite pattern resplendent in the
deep rich colours of an art now lost; but if to an aesthetic taste be
added an interest in a symbolism that expresses something of the thought
and life of the weaver, we may find in the study of the various designs
another charm that increases with the discovery of any previously hidden
meaning.