made a decade ago that the old Persian rugs would rapidly disappear from
the market. Nor is it better exemplified than in the case of those woven
before the middle of the last century in Sehna, capital of Ardelan, for
to-day it is exceedingly difficult to obtain any of them. Nevertheless,
there are still many looms among the four or five thousand families of
the city, where true to early traditions are woven modern fabrics that
maintain the same floral Persian patterns, the same colour, the same
general character of weave; but they lack the fine technique of the
older pieces. It is, indeed, surprising that these modern pieces so
closely resemble the old in all save quality, when it is considered that
Sehna is distant only fifty miles from the western border of Persia;
that it is surrounded by Kurdish tribes who for generations have woven
rugs with nomadic features; and that it is not far distant from other
important rug centres.
To one familiar with the leading characteristics it is possible at once
to distinguish these rugs. Their nap is exceedingly short, and the weave
is so distinctive that with eyes closed an expert will generally
recognise them after rubbing the hand across the front and back. Their
patterns, also, conform to well-established types, yet have sufficient
variety to be always interesting. They may be conveniently divided into
two groups: one represents the entire field covered with floral designs,
and the other represents a field of uniform colour with a medallion at
the centre, or with two or more concentric medallions. The former, which
is undoubtedly the older group, has generally a small diaper pattern of
the Herati design or floral figures daintily drawn. To obviate too great
monotony, a number of the old pieces have the leaves and flowers so
adjusted that the ground conveys the effect of lattice work, or less
often have small trees of cypress regularly placed amid the other floral
designs. Again, the field may be covered with large pear designs placed
in rows. Of modern pieces the most beautiful pattern, as a rule,
consists of a field of rich, uniform colour, as ivory or red, containing
at its centre a single medallion of contrasting ground colour, which is
generally dark blue or even black. The four corners of the field have
serrated edges and are covered with floral designs similar to those of
the medallion. The borders, which are invariably narrow, usually consist
of three stripes, but sometimes of only two. With very few exceptions
they are floral, and in the main one, that has a ground colour of yellow
or red, are represented designs which are also similar to those of the
medallion. Some of the old Sehnas had borders that were less floral than
more modern pieces, and the turtle design so common to Feraghans was
often used. Isolated and adventitious designs, such as are seen in all
nomadic rugs, are never found in these pieces, nor are the floriated
scrolls that are peculiar to Sarouks, Kashans, and Kermanshahs.
As is seldom the case with modern rugs, occasionally both linen and
silk are used for the warp, and silk for overcasting, but generally the
warp is cotton and the overcasting is of wool. The city of Sehna has
given its name to the kind of knot with which almost all the rugs of
China and Turkestan as well as many of the rugs of India and Persia are
tied; yet strange as it may seem, its own weavers have been inconsistent
in its use. To be sure, most of its rugs have the Sehna knot, but a
surprisingly large proportion of both recent and comparatively old
pieces have the Ghiordes knot. Only a few other rugs ever adopt the same
style of weaving; for a thread of weft passes between two rows of knots
but once, so that at the back only alternate threads of white cotton
warp appear between these knots and thus give to the weave a checkered
appearance or quincunx effect. Moreover, the yarn of the knots is not
drawn tightly against the warp, so that in whatever direction the hand
is rubbed the surface feels like a file. Very few other rugs are so
closely woven, as four hundred knots to the square inch are not
uncommon; and in very old pieces nearly double that number are now and
then met with. Since both warp and weft are of fine threads and the nap
is very short, these rugs are exceedingly thin and, accordingly, are not
well adapted for floor use.
Some old saddle-bags are still to be found, rich in their fields of deep
blues and floral forms of brighter tones, but unfortunately they are
somewhat marred by the long slit in the centre made to fit the saddle.
_Type Characteristics._ _Colours_, principally dark blue, red, and
ivory, with lesser quantities of green, light blue, and yellow. _Knot_,
Sehna, often Ghiordes. Knots to inch horizontally eleven to twenty;
perpendicularly, twelve to twenty-four. The rows of knots are closely
pressed down, but the yarn of knots is not drawn tight against the warp.
_Warp_, generally cotton, occasionally linen, rarely silk. Each of the
two threads encircled by a knot is equally prominent at back. _Weft_,
generally cotton, occasionally wool or linen, rarely silk. A single
thread of small diameter crosses only once between every two rows of
knots, so that the white spots of transverse warp exposed at back have a
quincunx appearance. _Pile_, wool clipped very short. _Border_, three
stripes. _Sides_, a tightly wound double overcasting. _Lower end_, a
short web, or web and warp loops, or web and short warp fringe. _Upper
end_, short web and fringe. _Texture_, very firm. _Weave_ at back is of
fine grain but very rough. _Length_, three to seven feet. _Width_, two
thirds to three quarters length.
BIJARS.—One hundred miles beyond Hamadan, on the road to Tabriz, is the
city of Bijar, capital of the district of Gehrous. It is surrounded by
barren mountains that rise out of high table-lands, where for miles
scarcely a habitation or bush breaks the monotony, and where not even a
blade of grass or flower brightens the cracked and sun-parched earth,
except for a short season of the year. As is the case throughout nearly
all Persia, the spirit of desolation has crept into the city; the
grapevine climbs over ruined walls; the shade of poplars and willows
falls alike on decaying palace and crumbling houses. Yet there still
remain caravansaries, schools, and mosques, as well as a population of
five thousand people. Without doubt the importance of the city is partly
due to the regiment of soldiers that the governor maintains to keep in
subjection the bands of robbers and fierce Kurds who, in large numbers,
live throughout the surrounding country. Nor are they the only tribes of
fierce foreign blood dwelling in this region; for it is stated that
during the invasions of the Timurids, a body of Turkomans from the
fortress town of old Saraks, where the corners of Persia and Afghanistan
meet Turkestan, followed the conqueror westward and settled here. After
them is named a small river that flows a short distance to the north and
finally empties into Lake Urumiah; and it is not unusual to apply the
name Saraks to the rugs woven about Bijar, though they have none of the
Turkoman characteristics.
By adopting some of the best qualities of both Persian and Kurdish rugs,
the Bijar weavers have produced pieces of unusual merit. The foundation
is generally of wool; but unlike almost all other rugs with nomadic
features one thread of warp to each knot is doubled beneath the other in
the process of weaving, so that it is almost or entirely concealed.
Bijars are accordingly pieces of great firmness and durability.
Moreover, their threads of warp and weft are of coarse diameter, so that
they are invariably thick even when the nap is not long. They are also
distinctive in the effective massing of bright and strong colours.
Perhaps the association with ranges of treeless hills, with salt wastes,
with vast plains where rainless months leave the grass parched and the
flowers withered, has deadened the Persian love for the brilliant,
joyous colours so acutely cherished in other parts of Asia; but by the
weavers of Bijar it is not unusual to discard many of the Persian
colours, which, however rich, are subdued and sombre, and adopt the
brighter hues seen in some of the rugs of Asia Minor. Yet, as is not
always the case with the latter, there is no sense of outraged taste;
and though crimson reds, deep blues, or tawny camel’s hair be brought in
relief against a field of strongly contrasting colour, the effect,
except in modern pieces of poor dyes, is never displeasing.
[Illustration: PLATE 31. KULAH PRAYER RUG]
In the pattern much latitude is exercised, but only in the oldest pieces
are found the gracefully flowing lines suggestive of the highest Persian
art. In many pieces a central medallion and triangular-shaped corners,
separated by a field of plain or slightly shaded colour, is a favourite
pattern. But the defining lines are severe, and lack the delicate
drawing characteristic of Kermanshahs and Sarouks. Or the field may be
covered with a lattice-work pattern that contains small repetitive
forms, consisting of slender stems supporting one or more flowers.
Frequently a rug is covered with a medley of designs composed of
conventionalised flowers, crudely drawn trees, as well as birds,
animals, or human beings. The borders generally consist of an outer
edging of plain colour, and three stripes, on which are often
represented purely geometric forms, but more frequently the undulating
vine and pendent leaves, such as are common to most Persian rugs.
Fortunately many sterling pieces still remain that have none of the
earmarks of factory-made rugs, but are beautiful with their soft wool
and lustrous colours, as well as interesting with their blending of
Persian and Kurdish features.
_Type Characteristics._ _Colours_, principally red, also blue, ivory,
green, yellow, and chocolate. _Knot_, Ghiordes. Knots to inch
horizontally six to ten; perpendicularly, eight to twelve. The rows of
knots are pressed down, so that the warp is concealed at back and the
weft partly hidden. _Warp_, wool; one of the two threads encircled by a
knot is doubled under the other. _Weft_, wool, of medium or coarse
diameter, frequently dyed red. A thread of weft crosses twice between
every two rows of knots. _Pile_, of medium length, usually wool, but
frequently partly of camel’s hair. _Border_, of three stripes, often
with an outer edging. _Sides_, a double overcasting in red or purple.
_Lower end_, a web that is occasionally coloured or a narrow braided
selvage. _Upper end_, a web with loose warp fringe and sometimes a
braided selvage. The webbing is occasionally turned back and hemmed.
_Texture_, very firm. _Weave_ at back is of coarse grain. _Length_, six
to sixteen feet. _Width_, one quarter to three fifths length.
KERMANSHAHS.—On an ancient highway between Bagdad and Teheran is the
city of Kermanshah. As it is situated near the frontiers of northwestern
Persia, facing the Turkish provinces, and is surrounded by mountains
where once wandered bands of homeless marauding Kurds who recognised no
government, it was formerly a most important stronghold of defence. A
century ago Robert Kerr Porter, who visited the city, referred to the
luxurious gardens and orchards that surrounded it, and to the villages
of the vicinity in which were made “carpets of most beautiful colour and
fabric.” Within later years the moat has filled with rubbish, the
encircling walls have crumbled, and the deserted bazaars and
caravansaries show that its present population of about twelve thousand
is but a small part of what it has been. With its decline in political
importance followed a decline in industrial activities; yet for a long
time it remained a rug-producing centre of importance. In 1880 Sir
George Birdwood wrote that “the finest Oriental rugs of our time, which
at the Vienna Exhibition astonished all beholders, are those made in the
palace of the Governor of Kermanshah, in Kurdistan, and are only
disposed of as presents.”[25] And in 1890 a traveller[26] spoke of the
weaving as follows: “It is a process carried on in homes, hovels, and
tents by women and children.... The vegetable dyes used are soft and
artistic, especially a wonderful red and the various shades of indigo.
The dull, rich tints, even when new, are quite beautiful. The women
pursue their work chiefly in odds and ends of time, and in some cases
make it much of a pastime.”
From this city and the surrounding hills are still obtained large
quantities of rugs, which follow the same patterns that for years have
been characteristic of this district. Yet most of the modern Kermanshahs
are made elsewhere in the work-houses of exporting companies. So
noticeable is the resemblance in drawing and colouring of some of them
to the Kirmans of Southeastern Persia, that they are offered now and
then by dealers as real Kirmans, though they lack the fine technique and
artistic merit of the latter. They possess, however, the same wealth of
floral expression, for throughout border and field are sprays of flowers
on delicate vines and foliate stalks. Most of the pieces now seen
contain at the centre of the field a large medallion, which may have
serrated or lobed edges, be oval or of diamond shape, and with or
without pendants. The corners are defined by lines that do not always
conform to those of the medallion; and the borders have always several
stripes, of which the main one is usually but little wider than the
others. In all these different parts are floral and foliage motives that
find expression in sunflowers, roses, tulips, daisies, and many simpler
forms, supported by delicate branching sprays and vines.
There are, however, other patterns less frequently met with, as it is
not unusual to see elaborate pear designs, and sometimes the cypress or
the palm tree naturalistically drawn. Covering the field of a rare old
Kermanshah recently seen were thirty large panels, which like so many
small rugs contained central fields that were alternately coloured blue
and ivory. Surrounding each of these little fields, on which were
represented the arch of a temple and the tree of life, were borders
wherein were woven verses from the Koran, and at the intersections of
the borders were floral designs like roses. Encircling all the panels
was a wide border containing escutcheons in which were woven other
verses. Without doubt this rug was used for sacred purposes. In fact, a
larger proportion of Kermanshahs than almost any other Persian rugs have
prayer arches as well as verses from the Koran inscribed in some part of
them, but with very few exceptions they are recently woven and bear no
evidence of devotional usage.
The general colour scheme is distinctive, for the tones are much lighter
than those of most other Persian rugs. Frequently a field of ivory
surrounds the central medallion, though sometimes a light rose red is
used. Other colours are light blue, green, and buff, which are softened
by the floccy quality of the excellent and moderately short-clipped
wool. One feature common to almost all of them is the narrow edging of
pinkish red that surrounds the border. This edging, the foliate scrolls,
the soft light tones, and the rather coarse weaving, that leaves the
white or sometimes pinkish weft exposed at the back, are characteristics
by which these rugs may readily be distinguished. As they come in all
sizes from small mats to large carpets, and have tones that harmonise
with almost any surroundings, they are a most popular class with those
who care little for association and ignore the fact that they are
chemically washed.
_Type Characteristics._ _Colours_, principally light rose and ivory,
also blue, green, and buff. _Knot_, Sehna. Knots to inch horizontally
twelve to eighteen, perpendicularly eleven to eighteen. The rows of
knots are pressed down, so that the warp is concealed at back, but the
weft is conspicuous. _Warp_, cotton; one of the two threads encircled by
a knot is doubled under the other. _Weft_, cotton, of medium diameter,
sometimes dyed pink. A thread of weft crosses twice between every two
rows of knots. _Pile_, wool, soft and of medium length. _Border_,
frequently of three stripes of almost equal width, but sometimes many
stripes; also an outer edging that is generally red, but occasionally
blue. _Sides_, a double overcasting in same colour as edging. _Lower
end_, a narrow web and warp loops, or short warp fringe. _Upper end_, a
narrow web and short warp fringe. _Texture_, firm. _Weave_ at back is of
moderately coarse grain. _Usual length_, four to fourteen feet. _Usual
width_, three fifths to four fifths length.
WESTERN KURDISTANS.—Within the land lying between the Anti-Taurus and
Zagros mountains, where the Euphrates and Tigris rivers have their
sources, dwell a people almost as untamed as when in the dawn of history
they were designated the “Warriors;” or centuries later, under the name
“Carduchis,” opposed the retreat of Xenophon and his ten thousand
Greeks. Now they are known as “Kurds,” of whom large numbers, wild,
brave, and hospitable, live a nomadic life among table-lands partly
covered with sycamores and oaks, or follow their sheep over lofty
pine-crowned mountains, that for long months are enveloped in snow.
Doubtless the cheering influence of green hillsides and the rich
vegetation of innumerable valleys, where streams flow perennially, is in
a measure responsible for their more sprightly aspect when contrasted
with that of the Persians. They recognise no law but the will of their
chief, to whom they maintain strictest fealty. “There was up to a recent
period no more picturesque or interesting scene to be witnessed in the
East than the court of one of these great Kurdish chiefs, where, like
another Saladin, the bey ruled in patriarchial state, surrounded by his
clansmen with reverence and affection, and attended by a body-guard of
young Kurdish warriors, clad in chain armor, with flaunting silken
scarfs, and bearing javelin, lance, and sword, as in the time of the
Crusades.”[27]
[Illustration: PLATE 32. MELEZ PRAYER RUG]
Large numbers, also, are settled in Persia, where they cultivate the
soil of small tracts of land, or live in villages of stone houses. Many
of them are scattered around Lake Urumiah. Others have made their homes
in the district of Kermanshah, and not a few have wandered as far as
Khorassan. But wherever they may be, they are distinguished by their
appearance; for the men are bold and handsome, and the young women, whom
custom permits to appear unveiled in public, are beautiful as well as
graceful.
There is no racial distinction between the Kurds who live the pastoral
life and those who dwell in villages, or between the Kurds of Asiatic
Turkey and those of Persia; yet environment has produced a marked
difference in their textile fabrics. Those woven by the tribes that live
among the mountains that encircle Lake Van and extend to the north of
Diarbekr embody the wild characteristics of the weavers. They are strong
and coarse, with close weave, long nap, and bold patterns, that suggest
Caucasian influence devoid of artistic feeling. In some of them is a
large central diamond or lozenge surrounded by latch-hooks, as well as
floral forms so conventionalised as to be purely geometric; now and then
Arabic symbols and letters are scattered over the field. Moreover, the
colours lack the delicate shades of Persian rugs, but possess rich,
strong hues obtained from native dyes that applied to the excellent wool
give it a warm, lustrous appearance. Brown is very largely used. There
are also dark reds and blues brightened by dashes of white and yellow.
Only the Kazaks, Tcherkess, and one or two Asia Minor weaves are trimmed
with such long nap, which, together with the deep colours and long
shaggy fringe, give these pieces a semi-barbaric appearance possessed by
no other rugs. Sometimes they are confused with the Mosuls; but as a
rule the pile is longer, and they are more coarsely woven. In fact, the
yarn is so coarse that it is not unusual to see pieces with only thirty
or forty knots to the square inch. Like the Persian-Kurdish rugs, they
rarely come in large, almost square shapes, and are frequently decidedly
oblong. They may, however, easily be distinguished from them by their
cruder patterns, darker colours, coarser texture, and the fact that each
of the two threads of warp encircled by a knot is equally prominent at
the back.
_Type Characteristics._ _Colours_, principally brown, red, and blue,
with minor quantities of yellow, green, and white, and the natural
colour of the undyed wool. _Knot_, Ghiordes. Knots to inch horizontally
four to seven; perpendicularly, six to nine. A half knot, as it appears
at back, is as long as, or longer than, wide. The rows of knots are
closely pressed down. _Warp_, wool; each of the two threads encircled by
a knot is equally prominent at back. _Weft_, wool, of coarse diameter,
and often dyed a reddish colour. A thread of weft crosses twice between
every two rows of knots. _Pile_, wool, occasionally camel’s or goat’s
hair clipped long. _Border_, generally of three stripes. _Sides_, a
heavy double overcasting, usually in brown or black, occasionally in
several different colours. _Lower end_, a narrow web, through which runs
a coloured cord, and warp loops. _Upper end_, a narrow web, one or more
rows of knots and long, coarse warp fringe. _Texture_, very stout.
_Weave_ at back is of very coarse grain. _Length_, five to sixteen feet.
_Width_, two fifths to two thirds length.
PERSIAN KURDISTANS.—Nowhere is the influence of association among
weavers more evident than in the Kurdish rugs woven by the tribes
settled in the rich valleys of Northwestern Persia, as is apparent in
weave, colours, and pattern, which differ widely from those seen in the
Kurdish rugs of Asiatic Turkey. The warp is only rarely of coarse goats’
hair, and is generally soft, brown wool. The pile is much shorter, so
that the drawing is clearly defined. Likewise, the colours are more
varied and of more delicate tones so as to include lighter shades of
green, rose, and ivory with the darker reds, blues, and browns. But the
chief distinction consists of the more artistic pattern. The medallion
in the centre of the field with corner pieces in which appear some form
of repetitive pattern is most common. Instead of large figures are often
the more dainty Herati designs borrowed from the Feraghans and the
Sehnas, or the pear design from the Sarabends. Now and then is seen a
rare old piece with field completely covered with drawings of the tree
of life and strange floral conceits; but the pattern that is
pre-eminently typical of this type of Kurdish pieces is the Mina Khani,
though it is occasionally adopted in other rugs. The white and yellowish
flowers, connected by a lattice work sub-pattern of brown or olive,
rests on a ground of dark blue, that in accordance with a feature
peculiar to rugs of Kurdish weaves varies from one end of the field to
the other, so as to suggest that their wandering life often made it
difficult to obtain the roots and herbs necessary to produce similar
shades. As is rarely the case with other patterns, the naturalistic
flowers that are pendent from the undulating vine of the main stripe and
the flowers of the field have nearly the same drawing. The two remaining
stripes of the narrow border have most simple vines.
Almost without exception rugs of this class are stoutly woven. To
assure firmness, one thread of warp is depressed below the other in
tying the knots; and the weft that is thrown across for filling is of
fair quality. On account of the firm texture, excellent wool, and good
colours it is still possible to obtain moderately old pieces, that as
objects of utility as well as ornament are desirable for their sterling
qualities.
A similarity exists between the Persian-Kurdish, Mosul, and Bijar rugs;
but a precise, even if easily overlooked, difference in the weave serves
to distinguish one from the other. As may be seen by examining the backs
of typical specimens, in Mosuls every thread of warp lies in the same
plane parallel with the surface of the pile; in the Persian Kurdistans
one of the two threads of warp encircled by a knot is depressed at an
acute angle to that plane; and in Bijars one of the two threads of warp
encircled by a knot is doubled under the other so as to be at right
angles to that plane.
_Type Characteristics._ _Colours_, principally red and blue, also
yellow, green, and white. _Knot_, Ghiordes. Knots to inch horizontally
seven to ten; perpendicularly, eight to twelve. A half knot, as it
appears at back, is no longer than wide and is frequently not so long.
The yarn is loosely woven, so that each separate ply is distinct. The
rows of knots are pressed down, so that the warp is largely concealed
and the weft partly hidden at back. _Warp_, wool; one of the two threads
encircled by a knot is generally much depressed below the other at back;
but sometimes each is equally prominent. _Weft_, wool, of medium
diameter. A thread of weft usually crosses twice between every two rows
of knots, only rarely once. _Pile_, wool, and occasionally some camel’s
hair of medium length. _Border_, three to four stripes. _Sides_, a heavy
double overcasting in dark colour. _Lower end_, web crossed by a
parti-coloured cord, and warp loops. _Upper end_, web crossed by a
parti-coloured cord, and loose warp fringe. _Texture_, very firm.
_Weave_ at back is of coarse grain. _Usual length_, six to twelve feet.
_Usual width_, five eighths to two thirds length.
KARAJES.—Dwelling near Hamadan, in the northwestern part of Persia, are
tribes who weave rugs that are known in the markets as Karajes. In their
colour scheme, length of nap, and texture they resemble many of the
Kurdistans; but in the technicalities of weave they show a marked
difference. As a rule, a single thread of weft crosses only once between
two rows of knots, or in a few pieces two threads of weft pass side by
side as though one. In this particular they resemble Hamadans; but the
alignment of their knots at the back is more regular, their weft is
inserted with some slack, their warp is of wool, and their weft is
almost always of wool. They are generally runners, with long nap of
soft, lustrous wool, with rich colours, and with border of three
stripes. The pattern is Iranian, and very often consists of a small bush
or sprig of leaf and flower disposed in formal array throughout the
field. Sometimes the floral forms are placed within the diamonds formed
by a trellis pattern, but more frequently they are arranged in rows like
the pear designs of Sarabends. In some pieces they are very much
conventionalised and suggest similar figures seen in rugs of Southern
Caucasia; and in others stem, leaf, and flower are very realistic.
Another pattern frequently followed consists of three or four large
diamond-shaped medallions extending from one end of the field to the
other. The borders are moderately narrow, and an undulating vine of
well-known Persian character generally appears in one or more of the
stripes. As these pieces are almost always comparatively old, the
vegetable dyes that were used for colouring have mellowed, and have a
richness of tone that is accentuated by the depth of pile and softness
of wool. The prevailing tone of many is a deep plum colour.
_Type Characteristics._ _Colours_, principally dark blue or plum and
red, with minor quantities of yellow, brown, and white. _Knot_,
Ghiordes. Knots to inch horizontally six to twelve; perpendicularly,
seven to twelve. A half knot, as it appears at back, is as long as wide,
and occasionally is longer. The rows of knots, which have even alignment
at back, are not firmly pressed down. _Warp_, wool, rarely cotton; each
of the two threads encircled by a knot is equally prominent at back.
_Weft_, wool, rarely cotton; a single thread of medium diameter crosses
once between every two rows of knots; but in parts of the same rug two,
three, or even four threads of small diameter will cross side by side as
a single coarse thread. Occasionally a thread of weft crosses three or
four times. The filling of weft stands up as high as the knots at the
back, giving an even surface. _Pile_, wool, of medium length or
moderately long. _Border_, of three stripes. _Sides_, a heavy double
overcasting. _Lower end_, web and warp loops. _Upper end_, web and short
fringe. _Texture_, moderately loose. _Weave_ at back is of coarse grain.
_Usual length_, eight to fourteen feet. _Usual width_, three eighths to
one half length.
[Illustration: PLATE 33. MELEZ RUG]
TABRIZ.—Although Tabriz, capital of the province of Azerbijan, is
situated in a remote corner of Persia, from the earliest times it has
been one of the most important centres in the Orient for the production
of carpets. They were well known in the days of the Caliphs; and some of
the earliest masterpieces that now remain were woven there during the
reign of Shah Tamasp, who extended to this industry his royal patronage.
This city has been for a long period on the great routes of caravans
passing to Trebizond and Tiflis from the country to the south and east,
so that it has become the principal mart of Persia for the export of
rugs gathered from surrounding regions. Nevertheless, it still continues
to produce its own pieces; but the weavers are in the employ of foreign
companies who prescribe the character of workmanship. As a consequence,
the rugs are of good material, excellently woven; and though many of the
old dyes are no longer used, the colours as a rule are fair; yet on
account of the mathematical exactness of their formal patterns the truly
Oriental spirit is largely lacking.
Since the rugs are made solely to meet the requirements of Western
buyers, the patterns are various. Most of them consist of a large
central medallion surrounded by a broad field of ivory, blue, or red
that extends to the sides and ends. In others, a small diamond occupies
the centre and is surrounded by a series of concentric medallions.
Although in these respects they correspond with Kermanshahs, Sarouks,
and Kashans, the patterns of their fields lack the long scrolls and
interlacing branches, and consist frequently of short, slender stems
supporting fronds, leaves, flowers, or the pear designs arranged so as
to present almost the appearance of lace-work. Sometimes the drawing is
a delicate tracery representing intertwining arabesques. A field
completely covered with the small designs peculiar to Sehnas, or
containing the disjunct forms of nomadic rugs, is never seen; and yet it
is not improbable that many of the early Tabriz weavers were Kurds.
Sometimes the flowers are similar to the roses of Kirmans, or are
realistically drawn compositæ surrounded by delicate leaves on graceful
stems; some times the small designs are as formal as the palmettes of
old Ispahans, from which they were doubtless copied; again, the
naturalistic and conventional may be blended together in an harmonious
whole. But whatever the pattern, the different parts show the perfect
balance so frequently seen in the antique pieces of three or four
centuries ago. Nevertheless, to these types are many exceptions, since
the weavers will produce for hire any class of rug or copy any coloured
drawing.
The borders differ from those of Kermanshahs, with which these rugs are
frequently compared, in the fact that in their central stripe the
continuous vine of leaf and flower is less conspicuous; and in its place
are often palmettes, pears, shrubs, or formal trees separated by
foliated scrolls. Not infrequently the smaller stripes, also, have a
repetitive pattern of leaf and flower, though in some of the many
stripes is usually a well-drawn vine. Again, the border may consist of a
series of cartouches that have been copied from much older rugs and
contain verses of the Koran or of Persian poets. Within recent years
this tendency among the Tabriz and Kermanshah weavers to imitate not
only borders but also fields of old masterpieces is increasing.
A feature peculiar to a very large number of these rugs is the adoption
of very finely spun linen for the warp; though cotton, which is used for
the weft, is sometimes substituted. The knots are carefully tied, and
the closely woven texture presents an appearance at the back similar to
that of Sarouks; but the almost concealed weft is generally either white
or pink. The weave compared with that of Kermanshahs is finer, but the
wool of the closely shorn nap is neither so soft to the touch nor so
silky, the colours are harsher, and the patterns more formal. These rugs
are made in all sizes, though most are large and almost square.
_Type characteristics._ _Colours_, principally red, blue, and ivory.
_Knot_, Ghiordes. Knots to inch horizontally twelve to twenty;
perpendicularly, ten to twenty-two. The rows of knots are pressed down,
so that the warp is hidden and the weft partly concealed at back.
_Warp_, generally cotton, frequently linen; one of the two threads
encircled by a knot is doubled under the other. _Weft_, as a rule, is
cotton, occasionally it is wool or linen, of fine diameter, and
frequently dyed pink. A thread of weft crosses twice between every two
rows of knots. _Pile_, wool, clipped short and harsh to the touch.
_Border_, from five to eight stripes and an outer edging. _Sides_, a
two-cord selvage. _Both ends_, a narrow web and loose warp fringe.
_Texture_, firm. _Weave_ at back is of fine texture. _Usual length_,
nine to eighteen feet. _Usual width_, two thirds to four fifths length.
GOREVANS.—Of the many rugs now made in Persia and designed primarily for
use, few are of such moderate price as the Gorevans, which, during
recent years, have been imported in large numbers from the province of
Azerbijan in Northwestern Persia. A hasty glance suggests Occidental
craftsmanship, but in every essential they are distinctly Oriental.
Their stout weave, large size, and nearly square shape place them in the
class of Persian pieces often called carpets, to which belong the
Kermanshahs, Muskabads, Mesheds, and rugs of Tabriz. Yet they are
frequently larger than any of these, and are readily distinguished from
them by their colours and patterns. It is true that they have the same
light shades, but the tones are in a distinctly different scale,
consisting principally of dull brick-red, light terra cotta, buff, dark
blue, dull green, yellow, and ivory, which, when once recognised, are
rarely mistaken for those of any other rugs. Nor are the colours
distributed in patches so small as to blend when viewed at a short
distance, but are of sufficient masses to be separately observed and
analysed.
The patterns are equally distinctive. The field is generally covered
with a number of concentric hexagonal-shaped medallions, of which the
longer sides of the largest are often marked with conspicuous
indentations such as are not seen in classes made in other districts.
All of the medallions are covered with large designs, in which the
artist has departed from the usual forms of vine, leaf, and flower, that
poorly imitate the splendid examples of so-called “Ispahans,” and in
many instances has represented them in the archaic drawing of the oldest
remaining Persian carpets. Hard, straight lines with angles replacing
graceful curves define the medallions, corners, stems, leaves, and
flowers. And not infrequently the formal treatment shows a European
influence, as when all semblance of leaf and flower has disappeared in
the extremely conventionalised forms that are placed with set regularity
in the field. A very noticeable feature of these rugs is the manner in
which the designs are coloured, as it is not unusual to represent a
large figure in two strongly contrasting colours, as blue and pink
separated by a stiffly drawn line.
The designs of the corners are similar to those of the central
medallions, but the designs of the borders are dissimilar. The small
stripes are marked with Persian vines of well-known floral and leaf
forms that show nothing of the drawing characteristic of the field. The
main stripe occasionally has cartouches and star medallions, but in most
instances has the turtle pattern, though its treatment differs from the
usual form seen in Feraghans. A co-ordination in colour exists between
field and border. The ground of both the main stripe and one of the
medallions is often a dark blue or a red, while the ground of the other
stripes corresponds with those of other medallions.
All of the Gorevans are modern pieces, and so lack the interest of those
that follow traditional patterns; but their stout weave, warm colours,
and archaic designs make them both serviceable and pleasing.
_Type Characteristics._ _Colours_, principally dull red, dark blue, and
buff, with minor quantities of green, yellow, and white. _Knot_,
Ghiordes. Knots to inch horizontally six to eight; perpendicularly, six
to ten. The most conspicuous half of a knot, as it appears at the back,
is, as a rule, longer than wide. The rows of knots are somewhat pressed
down, but the warp is rarely entirely concealed at back. _Warp_, cotton;
one of the two threads encircled by a knot is usually depressed below
the other at back; sometimes both threads are equally prominent. _Weft_,
cotton, of coarse diameter, sometimes dyed blue. A thread of weft
crosses only once between every two rows of knots, or frequently twice.
_Pile_, wool, of medium length. _Border_, generally of three stripes,
occasionally four or five. _Sides_, a two-cord double selvage. _Both
ends_, a short warp fringe. _Texture_, rather loose. _Weave_ at back is
of very coarse grain. _Usual length_, ten to sixteen feet. _Usual
width_, three fifths to three quarters length.
BAKSHIS.—A close relationship exists between the Gorevans, which are a
comparatively modern product, and several other less known sub-classes
of earlier origin that are woven in small towns in the east central part
of the province of Azerbijan. One of these towns, located fifty miles to
the southeast of Tabriz, is Bakshis, which formerly produced rugs that
were highly esteemed by the Persians, before the weavers were corrupted
by a spirit of commercialism. Those which are exported to-day are of
little artistic value, are poorly coloured, and carelessly woven. The
patterns are inferior copies of other well-known classes.
[Illustration: PLATE 34. RHODIAN RUG]
SERAPIS.—The rugs known as Serapis are named after the village of Sirab
in the mountainous district between Tabriz and Ardebil; but they are
made not only there, but also in the country farther to the east. The
large sizes are frequently mistaken for Gorevans, as they are of
similar shape and have similar finish of sides and ends, yet as a rule
they are better woven. Many of them follow the same patterns of
concentric medallions, but the lines of others are more artistically
drawn. Although the borders lack the gracefully symmetric vines of old
Iranian pieces, the drawing is interesting in its individuality and is
in harmony with that of the field. All the colours are cheerful. A field
of ivory or some light shade of buff usually surrounds the central
medallions, on which appear soft and pleasing tones of smaller designs.
Yet on the whole there is a tendency to employ richer and deeper tones
than those of Gorevans. The smaller pieces often contain more elaborate
patterns, but there are always the same pleasing and unobtrusive shades
of colour.
_Type Characteristics._ _Colours_, principally red, blue, and ivory,
with minor quantities of green and yellow. _Knot_, generally Sehna,
frequently Ghiordes. Knots to inch horizontally six to ten;
perpendicularly, seven to twelve. The rows of knots are firmly pressed
down, so that the warp does not show at back. _Warp_, cotton; one of the
two threads encircled by a knot is generally much depressed below the
other at back, and frequently doubled under the other. _Weft_, cotton,
of coarse diameter. A thread of weft crosses twice between every two
rows of knots. _Pile_, wool of medium length. _Border_, three stripes.
_Sides_, a double selvage of two cords, or double overcasting attached
figure-eight fashion to the sides. The selvage or overcasting is usually
in red or buff. _Lower end_, a narrow web and warp loops or short warp
fringe. _Upper end_, a narrow web and warp fringe. _Texture_, stout.
_Weave_ at back is of coarse grain. _Usual length_, ten to eighteen
feet. _Usual width_, two thirds to three quarters length.
HEREZ.—The city of Herez is in the extreme eastern part of the province
of Azerbijan, where for a long time the weavers steadily adhered to the
sterling values of early fabrics and produced pieces that were followed
with slight modification in many of the former Gorevans. In a measure
the rugs of Tabriz also are reflected in the medallion pattern of some
of these pieces, but for their gracefully flowing lines are substituted
more rectangular ones; and in place of many colours are few, of which
blue and a reddish copper are particularly noticeable. Another
well-known and interesting type consists of a field of white, on which,
with formal precision, are represented, in delicate shades of red, blue,
yellow, and green, archaic leaves and flowers supported by stems and
tendrils that are so conventionalised as to form geometric lines and
angles. At regular intervals the branching tendrils assume the shape of
arches, of which in larger pieces there are frequently one or two dozen;
and so closely do they resemble prayer arches that these rugs are
sometimes mistaken for namazliks. The borders usually consist of three
stripes. The outer and inner are narrow guards containing some simple
floral figure, and the broad central stripe has often a continuous vine
with formal leaves and a conspicuous design suggestive of the
cloud-band. The tones are never harsh; many of the pieces are large and
almost square, and the wool of the pile is generally excellent.
_Type Characteristics._ _Colours_, principally ivory, light blue, and
reddish brown, also some yellow and green. _Knot_, Ghiordes. Knots to
inch horizontally five to ten; perpendicularly, six to twelve. The most
conspicuous half of a knot, as it appears at the back, is longer than
wide. The rows of knots are only slightly pressed down, so that the weft
is noticeable at back. _Warp_, cotton; one of the two threads encircled
by a knot is depressed below the other at back, or each thread is
equally prominent. _Weft_, of cotton, seldom of wool, of moderately
coarse diameter. A thread of weft crosses twice between every two rows
of knots. _Pile_, wool of medium length. _Border_, generally of three
stripes. _Sides_, a two-cord double selvage. _Lower end_, a very narrow
web and short warp fringe. _Upper end_, a short warp fringe. _Texture_,
loose. _Weave_ at back is of very coarse grain. _Usual length_, nine to
fifteen feet. _Usual width_, two thirds to seven eighths length.
SUJ-BULAKS.—About fifty miles to the south of Lake Urumiah and the same
distance from the western boundary of Persia is the old Kurdish capital
of Suj-Bulak. Kurds still largely predominate in the district and
comprise most of the population of the city, to the discomfort of the
much smaller number of Persians, for whose protection a large garrison
was formerly maintained. Accordingly, the rugs made in this vicinity are
strongly characteristic of Kurdish pieces in the strong texture, the
excellent quality of wool, the rich, dark colours, the finish of sides
and ends. The patterns also are largely Kurdish, but frequently show the
influence of Persian association.
In typical old pieces deep reds and blues are largely used. One of them
is generally the ground colour of the central field, and shows the
Kurdish influence by a gradual shading from end to end; the other
appears in the overlying pattern, which partakes of a floral character.
The drawing sometimes represents flowering plants, such as the rose
bush, arranged in perpendicular rows and brightened by tints of white,
green, or yellow. Detached flowers not infrequently line the edges of
the field. The wide borders also, as a rule, have vines and floral
forms.
_Type Characteristics._ _Colours_, principally dark red and blue, with
minor quantities of brown, green, yellow, and ivory. _Knot_, Ghiordes.
Knots to inch horizontally seven to ten; perpendicularly, eight to
twelve. The rows of knots are, as a rule, pressed down, so that the
alignment of each half knot is very uneven; but frequently this feature
is not regularly maintained in all parts of the same rug, so that here
and there the warp is noticeable at back. _Warp_, wool; each of the two
threads encircled by a knot is generally equally prominent at back, but
occasionally one is depressed below the other. _Weft_, wool, of medium
diameter. A thread of weft crosses twice between every two rows of
knots. _Pile_, wool of medium length. _Border_, of three to four
stripes. _Sides_, a double selvage of two or three cords in blue, red,
or brown. _Lower end_, a web through which runs a parti-coloured cord,
and a warp fringe. Frequently there is a braided selvage in addition to
the web. _Upper end_, the same as lower, excepting that the web is
occasionally turned back and hemmed. _Texture_, moderately loose.
_Weave_ at back is of slightly coarse grain. _Usual length_, six to
seven feet. _Usual width_, two fifths to three fifths length.
KARADAGHS.—In the extreme northwestern part of Persia, between the city
of Tabriz and the river Aras, is a mountain range called Kara Dagh,
which signifies the “Black Mountain,” On its slopes and in the adjoining
valleys rugs have been woven for at least several hundred years, and at
one time were well known in Europe, but few have reached this country.
Most of them are produced for home use, so that they are, as a rule,
well woven, of good material, and of vegetable dyes. They resemble in
colour scheme, weave, and finish of sides and ends the rugs of Karabagh,
which immediately adjoins this district on the north. Indeed, in no
other rugs of Persia are the traditions of Iranian weavers so much
disregarded and Caucasian ideas so closely followed.
The field of many of these rugs is completely covered with
conventionalised flowers of several different colours, so arranged that
diagonal lines are of similar colours. Sometimes it is covered with a
pattern of hexagonal-shaped figures containing geometric forms or
conventionalised floral designs. Again, it may contain the Herati
pattern or one similar to the Mina-Khani. In fact, some repetitive
pattern of small design is the usual type; but now and then some form of
pole medallion, which the weavers have learned from their more southern
neighbours, is substituted. The patterns of the borders are either
mechanically drawn vines or contain geometric figures characteristic of
Caucasian pieces. For guard stripes the reciprocal trefoil is constantly
used.
The colour scheme is generally bright and pleasing. A favourite colour
for the field is blue or a camel’s hair yellow; sometimes rose is seen.
The nap of modern pieces is medium long and of old pieces is short. The
weave of the latter is excellent, so that the closely pressed knots and
stout threads of weft make at the back an even surface unlike the coarse
appearance of many rugs.
_Type Characteristics._ _Colours_, principally blue, red, yellow, green,
and white. Knot, Ghiordes. _Knots_ to inch horizontally seven to eleven;
perpendicularly, seven to eleven. The rows of knots are not firmly
pressed down, so that the warp appears at back, and the weft is
prominent. _Warp_, wool; each of the threads encircled by a knot is
equally distinct at back. _Weft_, wool, of coarse diameter, occasionally
dyed. A thread of weft crosses twice between every two rows of knots.
_Pile_, wool, of moderate length. _Border_, three to six stripes.
_Sides_, a double selvage of two or three cords. _Both ends_, a narrow
web and short warp fringe. _Texture_, moderately firm. _Weave_ at back
is of rather coarse grain. _Usual length_, five to nine feet. _Usual
width_, two fifths to two thirds length.
MOSULS.—Near the ruins of ancient Nineveh, on the bank of the Tigris, is
the city of Mosul. Once it was not only an important mart for wares
carried up and down the river, and for vast caravans from east and west,
but it became noted for its textiles from which was derived the name
“muslin.” At length on account of pestilence, misrule, and the sack of
armies its population and industries have dwindled; though it is still
the capital and commercial centre of a district that lies between the
high table-lands surrounding Lake Van and the low plains of Bagdad, and
that extends across the Mesopotamian valley to the mountain ridges
bordering Western Persia. Within this extensive area are large stretches
of rich pasture, where Abraham once fed his flocks, and where each year
Kurdish nomads from the north drive their sheep when the winter snows
cover their own hillsides. Arabs, Turks, Armenians, Jews, and Christians
likewise mingle with the natives, so that the population is as mixed as
can be found anywhere in the Orient.
[Illustration: PLATE 35. KONIEH PRAYER RUG]
Thus it happens that the rugs marketed in the city of Mosul are made by
different races and show great diversity of character. It would, indeed,
be often difficult to distinguish them if the weave were disregarded;
for though they are prone to yellow and russet hues, and the long wool
is floccy as well as lustrous, there is no pattern that can be
considered truly typical. Many of them borrow Caucasian designs, such as
stars, latch-hooks, diagonal bands, and barber-pole stripes. Others have
patterns adopted almost bodily from Kurdish pieces. But however much the
nomadic rugs are copied, a Persian influence is always shown by the way
in which the severer features are softened. In fact, a very large
percentage of rugs that come from Mosul are made by the tribes that
wander as far east as the great mountain divides along the borders of
Western Persia, and adopt patterns and colour schemes current in
Azerbijan and Ardelan. It accordingly happens that medallion patterns
resembling those of Bijars, but with bolder and less graceful outlines,
are seen. More frequently the field is covered with small figures common
to Feraghans, as well as with the well-known pear designs; but the
former are coarsely drawn, and the latter lack the gracefully rounded
lines seen in Sarabends and are often as geometric as those of the Baku
rugs. Somewhere in almost all these pieces appears evidence of some
conventionalised floral form; but now and then a rare old piece is found
which was woven in the plains of Mesopotamia, with field completely
covered with a naturalistically drawn tulip that grows on the banks of
the Tigris and Euphrates. Its bright flowers and leaves, supported by a
delicate stalk, constitute one of the most beautiful designs seen in any
rug.
The borders are rarely wide, and generally consist of three stripes, one
of which usually has some simple vine, and the others some well-known
geometric pattern. It is, also, not unusual to find an outer edging
surrounding the border. In a few of these pieces camel’s hair is used
even to the extent of occupying the whole field; and goat’s hair or
sheep’s wool, dyed to a similar colour, is constantly employed. One of
the most usual colours is some shade of yellow. Reddish hues also
prevail. These rugs frequently have the same pleasing effect of slightly
graduated changes so common in the ground colour of Kurdistans, but as a
whole the colour scheme is lighter. On the other hand, they follow the
shading adopted in Persian rugs, which in a measure eliminates the
sudden transition between adjacent areas of strongly contrasting colour
so noticeable in nomadic pieces. On account of the present remoteness of
the Mosul district from important highways of travel, many excellent
pieces, which with careful use should acquire the rich tones of those
now old, are still woven there.
_Type Characteristics._ _Colours_, principally yellow and brownish red,
with minor quantities of blue, green, and white. _Knot_, Ghiordes. Knots
to inch horizontally five to seven; perpendicularly, seven to nine. A
half knot, as it appears at back, is as long as wide and frequently
longer. The yarn is not drawn tightly against the warp. The rows of
knots are firmly pressed down, so that the warp is concealed at back.
_Warp_, almost always wool, rarely cotton; each of the two threads
encircled by a knot is equally prominent at back. _Weft_, generally of
wool, of coarse diameter and frequently dyed red or orange, but
occasionally of cotton. As a rule, a thread of weft crosses twice
between two rows of knots, but sometimes crosses only once; or two or
three threads cross side by side, as in Karajes. _Pile_, wool and
occasionally camel’s hair, of medium length. _Border_, of three stripes
with frequently an outer edging of solid colour. _Sides_ are generally a
heavy double overcasting, but in a few pieces there is a two-cord weft
selvage or double selvage. _Lower end_, a web. _Upper end_, a web and
warp fringe; occasionally there is a heavy braided selvage, or the web
is turned back and hemmed. _Texture_, moderately firm. _Weave_ at back
is of coarse grain. _Usual length_, six to ten feet. _Usual width_, two
fifths to three quarters length.
Now and then are seen comparatively scarce rugs, such as the Teheran,
Gulistan, Kara-Geuz, Bibikabad, Afshar, and Gozene, that were woven
within the Iranian boundaries. Some of them are no longer produced, and
others are woven in such small numbers that but few are exported.
[Illustration: PLATE 36. KIR-SHEHR PRAYER RUG]
The Teherans were formerly made in the present capital of Persia. The
typical pattern consists of the Herati design or some floral form
occupying the central field, which is two or three times as long as
wide. The weave resembles that of Irans, since the knot is Ghiordes,
each of the two threads of warp that it encircles is equally prominent
at the back, and both warp and weft are cotton. The borders are wide,
and the sides are finished with a two-cord selvage.
Gulistan is the Persian name for a flower garden, and the rugs known by
that name were once made in a district not far from Kashan, where rose
bushes bloomed profusely. The fields may be covered with
conventionalised floral and leaf patterns, or again they may contain
roses naturalistically drawn with extended petals, as if viewed from
above. The most striking characteristic is the opulence of colour, such
as red, blue, and yellow softened by shades of brown and green. Even the
weft and the webs of the ends are red, blue, or brown. The sides have a
two-cord selvage, warp and weft are usually of cotton, and one thread of
warp to each knot is depressed at the back. These rugs, which formerly
came in large sizes, are no longer made.
Only a short distance to the northeast of Hamadan is the district of
Kara-Geuz, which is occupied by a large tribe, who in the past have
furnished some of the best of Persian cavalry. The people are
industrious, and not only cultivate the land but engage in weaving. Some
of their rugs closely resemble the Kurdish pieces, and others correspond
with the Irans. In the technique of weave they often follow the
Hamadans. On the outskirts of this district is the town of Bibikabad,
where, also, rugs are woven for market.
For a number of generations the country adjoining Lake Urumiah on the
west and stretching into the Turkish domain has been partly occupied by
a powerful race of brave and active people who are known as Afshars.
They are regarded as a branch of the Yuruks of Asia Minor, and the rugs
of both tribes have many points of similarity. The wool of the nap is
generally the coarse product of the mountain sheep. The patterns
incorporate some of the floral features of Persian rugs, though they
display many Caucasian characteristics. These Afshars bear a close
resemblance to the Kazaks, from which they may be distinguished by
observing a fold as they are bent backwards, which will show the fibres
of the yarn of a knot standing out at front as a unit, while in Kazaks
they have a greater tendency to blend. Also at the back, each half of a
knot is no longer than wide, nor is it drawn closely against the warp,
while in Kazaks each half of a knot is often double its width and is
drawn closer.
In the country about Gozene, in the watershed of the Euphrates river,
are made a few rugs for local use, though they occasionally reach
Western markets. The pattern, which is very simple, usually consists of
some small diaper figure of brown or grey colour, or of dull tones of
maroon. Many of this class have a double foundation of warp; and
frequently, at the back, the knots do not form regular lines parallel
with the length, as is the case with other rugs. This is due to the fact
that any thread of warp may be encircled by both the left half of some
knots and the right half of others. Occasionally, also, a knot is tied
about four threads of warp. In other rugs of this class which have a
single foundation of warp the weave resembles that of Mosuls.
BORDER STRIPES
The most noticeable feature of Persian border stripes is their floral
character, which is very frequently represented by a vine winding from
side to side with pendent flowers marking each flexure. Some of these
vines have been evolved from arabesques, and others from naturalistic
tendrils, but all are graceful. In a few pieces the stripes contain rows
of detached flowers, rosettes, or pears, expressed in rich yet
unobtrusive colours, that are always in perfect harmony with those of
the field. Rarely is the pattern geometric. Accordingly, with the
exception of the Indian and some of the Chinese, they are the most
elegant, pleasing, and artistic of all border stripes. Moreover, some of
them follow almost the same patterns that were in use centuries ago.
_Primary Stripes._—In Plate E, Fig. 1 (opp. Page 156), is represented a
typical Herat stripe derived from some of the XV and XVI Century
carpets. It shows close relationship to the pattern of conventional
rosette and pair of attendant leaves so frequently seen on the fields of
such rugs as the Feraghans and Sehnas. In this stripe the angular and
serrated leaves are extended to form a vine.
One of the best known Khorassan stripes, shown in Plate E, Fig. 2, bears
a resemblance to the Herat stripe; and it is not unlikely that they had
a common origin, since they were designed in adjoining and freely
communicating districts. The enlargements of the vine at the centre of
each flexure are doubtless leaves, but they occasionally resemble the
heads of birds.
[Illustration: Plate E. Primary Border-Stripes of Persian Rugs]
The so-called turtle pattern, Plate E, Fig. 3, has probably been derived
from the interlacing arabesques that appeared in rugs at least as early
as the beginning of the XV Century, as is indicated on Page 79. The
rosette and attendant leaves between adjacent “turtles” suggest the
Herati pattern. This stripe is found principally in Feraghans, Irans,
Sehnas, and Muskabads. One that is similar, but more mechanically drawn
and with wider spreading arms, is typical of Gorevans and Serapis.
A stripe found in Joshaghans, representing a row of floral bushes, is
shown in Plate E, Fig. 4. It is also seen in some of the old rugs of
Northwestern Persia. Another Joshaghan stripe, which also suggests the
Herati pattern, is represented in Fig. 5.
A single row of pears (Plate E, Fig. 6) is a characteristic Luristan
stripe.
The dainty pattern of Plate E, Fig. 7, in which the vine has been
abandoned and serrated leaves nearly surround a floral device, shows a
not unusual Herez stripe.
As a rule the drawing of Persian-Kurdish stripes is never crowded, and
represents a simple vine with bright pendent flowers. A stripe commonly
seen in this class is represented in Plate E, Fig. 8. It is also seen in
the Bijars.
On account of the geographic position of the Karadagh district, which is
separated only by the Aras river from Caucasia, its stripes show a
combination of floral and geometric design not usual in other Persian
pieces. Plate E, Fig. 9, represents one of these stripes with a rosette,
and the serrated leaf so common among the Shirvans. Plate E, Fig. 10,
represents another stripe of the same class with eight-petalled
star-shaped flowers pendent from an angular vine.
A beautiful stripe, representing a vine and pendant flower, which is
frequently seen in some of the Persian-Kurdish rugs, is shown in Plate
E, Fig. 11.
In Plate E, Fig. 12, is illustrated a very dainty pattern of vine and
roses that now and then is seen in old Feraghans; and in Fig. 13 are
also represented vine and roses as they occasionally appear in old rugs
of Northwestern Persia.
The very mechanically drawn double vine shown in Plate E, Fig. 14, is
sometimes seen in stripes of Hamadans. In fact, simplicity of border is
a characteristic of this class.
Mosul and Kurdish stripes show a similarity, but the former are often
more mechanically drawn than the latter. In Plate E, Fig. 15, is a
stripe from an old and beautiful Mosul with conventionalised vine and
King Solomon’s eight-pointed star.
Undoubtedly the most typical of any class of Persian stripes is the
well-known Sarabend pattern of formal vine with pendent pear on white
ground. It is very rarely that a rug of this class is without this
stripe (Plate E, Fig. 16). Its presence at once indicates that the piece
is either a Sarabend or an Iran copy.
In Plate E, Fig. 17, is the well-known pear pattern of a Meshed stripe.
The graceful form, resembling in a measure the Indian drawing, is
peculiar to these stripes.
The Kirman stripe (Plate E, Fig. 18) invariably contains red roses
naturalistically drawn, surrounded by a profusion of leaves and stems.
This is one of the most beautiful of Persian border patterns.
Somewhat similar, but far more formal, is the Kermanshah stripe, one of
which appears in Plate E, Fig. 19, with mechanically drawn flowers,
leaves, and vines.
The formal pattern (Plate E, Fig. 20) of octagons surrounded by
latch-hooks is now and then found in borders of Shiraz rugs, and
indicates how great a concession their weavers at times make to nomadic
influences.
The main stripe of Sehnas is always narrow and contains some floral
form, though frequently much conventionalised. One of these stripes is
shown in Plate E, Fig. 21.
Very few Persian rugs have such wealth of floral ornamentation in the
borders as the Sarouks and Kashans. A stripe typical of the former is
represented in Plate E, Fig. 22.
_Secondary and Tertiary Stripes._—The ornamentation of a large
proportion of secondary stripes of Persian rugs consists of running
vines, which fall within two divisions, according to the absence or
presence of pendants.
Plate F, Fig. 1 (opp. Page 158), taken from an inner stripe of a
Kermanshah, shows one of the simplest vines with budding tendrils at
each flexure.
In Plate F, Fig. 2, is a simple stripe seen in such rugs as Gorevans.
Similar stripes are very common. As there is no pendant, the character
of the vine depends upon the form it assumes in alternating flexures,
one of which in this instance is an eight-petalled star.
[Illustration: PLATE F. SECONDARY BORDER-STRIPES OF PERSIAN RUGS]
In many of the Karadaghs is seen the Caucasian stripe (Plate F, Fig.
3) consisting of an angular vine, from each flexure of which spring
small designs like three-leaf clover.
Another type peculiar to some rugs of Northwestern Persia, as the Bijars
and even Sehnas, is shown in Plate F, Fig. 4. Here one flexure is a
serrated leaf, and the other is a small rosette with short curving
tendrils.
A simple vine of somewhat similar order appears in Plate F, Fig. 5. At
each flexure is a flower of four petals, and from alternating flexures
spring tendrils of colour different from that of the vine. Stripes of
similar drawing appeared in Persian carpets as early as 1350 A. D. A
further stage in the development of the same pattern is illustrated in
Plate F, Fig. 6.
One of the simplest forms of a vine with pendant is shown in Plate F,
Fig. 7. It appears in Asia Minor carpets woven during the XIII Century,
and also in some of the earliest Iranian carpets. Now and then it is
seen in modern Persian rugs.
A very common form of a vine with pendant is shown in Plate F, Fig. 8.
This pattern is seen in a large number of Persian rugs, such as Mosuls,
Bijars, Kurdistans, and Hamadans. Each flexure of the vine is enlarged
to almost the form of a leaf, and between them is a branching pendant.
In another stripe (Plate F, Fig. 9), taken from a Feraghan, there is no
particular enlargement to the vine, and the alternating pendants are
buds and flowers of four petals.
A more geometric form that appears in such rugs as Muskabads is shown in
Plate F, Fig. 10. In this the vine represents serrated leaves, and
suggests one of the Shirvan patterns.
A very similar stripe (Plate F, Fig. 11), taken from a Sehna, should be
compared with those of Figs. 8 and 10, as it serves to illustrate the
evolution of vine patterns. In fact, if a very large number of stripes
were arranged in proper order, they would show almost imperceptible
gradations from one type to another.
One of the simplest vines with pendant, adopted by the Kurdish tribes,
is shown in Plate F, Fig. 12; and in Fig. 13 is another vine with
pendent pear alternating with a rosette.
Not all the patterns, however, are vines. In Plate F, Figs. 14 and 15,
for instance, is represented the same secondary stripe as it appears at
the sides and the ends of some moderately old Persian rugs. The former
pattern bears a resemblance to the one in Fig. 5, and each illustrates a
series of connecting links.
A graceful pattern that is seen in Bijars, Hamadans, and other rugs of
Northwestern Persia is represented in Plate F, Fig. 16. It was probably
derived from an old form of leaf and tendril.
The reciprocal trefoil (Plate F, Fig. 17) which is constantly used in a
tertiary stripe, is probably a degenerate form of an ornate floral
design. It is more widely used for a border stripe than any other
pattern, as it is found not only in such Persian rugs as Sarabends,
Bijars, Sarouks, and Kashans, but in many of the Indian and Beluchistan
rugs, and in almost all of the Caucasian group. It was commonly used in
Persian rugs as early as the year 1500.
In many of the rugs of Persia and Asia Minor is seen as a tertiary
stripe the simple ribbon pattern (Plate F, Fig. 18). Its origin is lost
in the dim past, and it is not improbable that once it had a symbolic
meaning.
A very interesting tertiary stripe, because of its well-authenticated
age, contains the “Y” pattern shown in Plate F, Fig. 19. It is found in
some Persian carpets that were woven as early as 1550.
One of the simplest guard stripes, shown in Plate F, Fig. 20, is
frequently found in modern Persian rugs, as well as in Iranian carpets
woven six centuries ago.
[Illustration: COLOUR PLATE VI. PERSIAN GARDEN CARPET
This carpet and the one at the Naesby House, Sweden, which it resembles
in pattern but not in colouring, are, so far as known, the only complete
carpets of this type. The Naesby carpet has been assigned to the middle
of the XVIII. Century; this is undoubtedly much older.
A 16TH CENTURY PERSIAN ROYAL “GARDEN” CARPET (Reputed to have been made
for Shah ’Abbās for Safavi Palace.) Date 1587-1628.
31 ft. 0 in. x 12 ft. 3 in.
[_Statement of the owner_]
ORIGINALLY IMPORTED BY VINCENT ROBINSON & CO., LTD., LONDON.]
The pattern represents a Persian garden divided into four sections by
two intersecting streams, which are bordered by rows of cypress trees,
alternating with bushes on which are birds. These sections are similarly
divided by smaller streams, that meet at the four pavilions of each
side, into plots containing trees and flowering bushes. Four peacocks
rest above the central basin. The colours are harmonious, and show the
mellowing influence of time.
TECHNICALITIES IN THE WEAVE OF PERSIAN RUGS
Legend:
KNOT—
H = Horizontally
P = Perpendicularly
WARP—
s = silk
l = linen
e = each equally prominent
d = 1 to the knot depressed
h = 1 to the knot doubled under
WEFT—
s = silk
l = linen
No. = No. times crossing bet. two round knots
SIDES—
O = overcast
S = selvage
LOWER END
W = web
S = Selvage
K = Rows knots
L = warp loops
F = fringe
UPPER END
W = web
S = selvage
K = Rows knots
T = turned back and hemmed
F = fringe
┌────────────┬────────────────────────────┬──────────────────────────────┐
│ │ KNOT │ WARP │
│ ├─────────┬──────┬───────────┼─────┬───────┬────┬───────────┤
│ PERSIAN │ │ │ Number to │ │ │ │ At back │
│ │ │ │ Inches │ │ │ │ │
│ │ G = │ S = ├─────┬─────┤ w =│ c = │ ├───┬───┬───┤
│ │ Ghiordes│ Sehna│ H │ P │ wool│ cotton│ s/l│ e │ d │ h │
├────────────┼─────────┼──────┼─────┼─────┼─────┼───────┼────┼───┼───┼───┤
│Bijar │ G │ │ 6-10│ 8-12│ w │ │ │ │ │ h │
│Feraghan │ [G] │ S │ 8-13│ 7-18│ │ c │ │ e │ │ │
│Gorevan │ G │ │ 6-8 │ 6-10│ │ c │ │[e]│ d │ │
│Hamadan │ G │ │ 6-9 │ 8-12│ │ c │ │ e │ │ │
│Herat │ G │ [S] │ 8-11│ 6-12│ [w] │ c │ │ │[d]│ h │
│Herez │ G │ │ 5-10│ 6-12│ │ c │ │[e]│ d │ │
│Iran │ G │ │ 6-11│ 7-11│ │ c │ │ e │ │ │
│Mod. Ispahan│ G │ │ 6-9 │ 8-11│ w │ c │ │ e │ │ │
│Joshaghan │ G │ │ 7-11│ 8-13│ [w] │ c │ │ e │ │ d │
│Kashan │ │ S │16-20│16-24│ │ c │[l] │ │ │ h │
│Karadagh │ G │ │ 7-11│ 7-11│ w │ │ │ e │ │ │
│Karaje │ G │ │ 6-11│ 7-12│ w │ [c] │ │ e │ │ │
│Kermanshah │ │ S │12-18│11-18│ │ c │ │ │ │ h │
│Khorassan │ │ S │ 8-13│12-20│ │ c │ │ │ │ h │
│Kirman │ │ S │11-20│11-20│ │ c │ │ │ │ h │
└────────────┴─────────┴──────┴─────┴─────┴─────┴───────┴────┴───┴───┴───┘
┌────────────┬────────────────────────┬───────┬─────────────────┐
│ │ WEFT │ SIDES │ LOWER END │
│ +─────┬───────┬────┬─────┼───┬───┼─────┬───┬───┬───┤
│ PERSIAN │ │ │ │ │ │ │ │ │ │ │
│ │ w = │ c = │ │ │ │ │ │ │ │ │
│ │wool │ cotton│ s/l│ P │ O │ S │ W/S │ K │ L │ F │
├────────────┼─────┼───────┼────┼─────┼───┼───┼─────┼───┼───┼───┤
│Bijar │ w │ │ │ 2 │ O │ │ W │ │ │ │
│ │ │ │ │ │ │ │ [S] │ │ │ │
│Feraghan │ │ c │ │ 2 │ O │ │ W │ │ │ │
│Gorevan │ │ c │ │ 1-2 │ │ S │ │ │ │ F │
│Hamadan │[w] │ c │ │ 1 │ O │ │ W │ │ L │ │
│Herat │ w │ [c] │ │ 2 │ O │ │ W │ │ L │ │
│ │ │ │ │[3-4]│ │ │ │ │ │ │
│Herez │[w] │ c │ │ 2 │ │ S │ W │ │ │ F │
│Iran │ │ c │ │2/[1]│ O │ │ W │ │ │ │
│Mod. Ispahan│ w │ c │ │ 1-2 │ O │ │ W │ │ │ │
│Joshaghan │ w │ │ │ 2 │ O │ │ W │ │ │ F │
│Kashan │ │ c │[l] │ 2 │ O │ │ W │ │ │ │
│Karadagh │ w │ │ │ 2 │ │ S │ W │ │ │ F │
│Karaje │ w │ [c] │ │ 1 │ O │ │ W │ │ L │ │
│Kermanshah │ │ c │ │ 2 │ O │ │ W │ │[L]│ F │
│Khorassan │[w] │ c │ │ 2 │ O │ │ W │ │ │ F │
│ │ │ │ │[6-8]│ │ │ │ │ │ │
│Kirman │ w │ [c] │ │ 2 │ O │ │ W │ │ │ F │
└────────────┴─────┴───────┴────┴─────┴───┴───┴─────┴───┴───┴───┘
┌────────────┬─────────────────┬───────────┬───────────┬──────────┐
│ │ UPPER END │ NAP │ WEAVE │ TEXTURE │
│ ├─────┬───┬───┬───┼───────────┼───────────┼──────────┤
│ PERSIAN │ │ │ │ │l = long │f = fine │l = loose │
│ │ │ │ │ │m = medium │m = medium │m = medium│
│ │ W/S │ K │ T │ F │s = short │c = coarse │f = firm │
├────────────┼─────┼───┼───┼───┼───────────┼───────────┼──────────┤
│Bijar │ W │ │ │ F │ m │ m │ f │
│ │ [S] │ │ │ │ │ │ │
│Feraghan │ W │ │ │ F │ s │ m │ m │
│Gorevan │ │ │ │ F │ m │ c │ l │
│Hamadan │ W │ │ T │ │ m/s │ m │ f │
│Herat │ W │ │ │ F │ m │ c │ f │
│Herez │ │ │ │ F │ m │ c │ l │
│Iran │ W │ │ │ F │ m │ c │ l │
│Mod. Ispahan│ W │[K]│[T]│ F │ m/s │ m │ f │
│Joshaghan │ W │ │ │ F │ m │ f │ m │
│Kashan │ W │ │ │ F │ s │ f │ f │
│Karadagh │ W │ │ │ F │ m │ m/c │ m/f │
│Karaje │ W │ │ │ F │ m/l │ c │ l │
│Kermanshah │ W │ │ │ F │ m │ c │ f │
│Khorassan │ W │ │ │ F │ m │ m/f │ m/f │
│Kirman │ W │ │ │ F │ s │ f │ f │
└────────────┴─────┴───┴───┴───┴───────────┴───────────┴──────────┘
┌────────────┬────────────────────────────┬──────────────────────────────┐
│ │ KNOT │ WARP │
│ ├─────────┬──────┬───────────┼─────┬───────┬────┬───────────┤
│ PERSIAN │ │ │ Number to │ │ │ │ At back │
│ │ │ │ Inches │ │ │ │ │
│ │ G = │ S = ├─────┬─────┤ w =│ c = │ ├───┬───┬───┤
│ │ Ghiordes│ Sehna│ H │ P │ wool│ cotton│ s/l│ e │ d │ h │
├────────────┼─────────┼──────┼─────┼─────┼─────┼───────┼────┼───┼───┼───┤
│Persian │ │ │ │ │ │ │ │ │ │ │
│ Kurdistan │ G │ │ 5-9 │ 6-13│ w │ │ │ e │ d │ │
│Western │ │ │ │ │ │ │ │ │ │ │
│ Kurdistan │ G │ │ 4-7 │ 6-9 │ w │ │ │ e │ │ │
│Mahal │ G │ S │ 7-12│ 6-12│ │ c │ │ e │ d │ │
│Meshed │ [G] │ S │ 8-15│12-17│ [w] │ c │ │ │ │ h │
│Mosul │ G │ │ 5-7 │ 7-9 │ w │ [c] │ │ e │ │ │
│Muskabad │ G │ S │ 6-11│ 6-11│ │ c │ │ │ d │[h]│
│Niris │ G │ │ 6-11│ 7-15│ w │ │ │ │ d │[h]│
│Sarabend │ │ S │ 8-13│ 9-13│ │ c │ │ e │ │ h │
│Sarouk │ │ S │12-18│12-20│ │ c │[l] │ │[d]│ h │
│Sehna │ G │ S │11-20│12-24│ │ c │[l] │ e │ │ │
│Serapi │ [G] │ S │ 6-10│ 7-12│ │ c │ │ │ d │[h]│
│Shiraz │ [G] │ S │ 7-12│ 8-12│ w │ │[g] │ e │[d]│ │
│Suj-Bulak │ G │ │ 7-10│ 8-12│ w │ │ │ e │[d]│ │
│Tabriz │ G │ │12-20│10-22│ │ c │[l] │ │ │ h │
└────────────┴─────────┴──────┴─────┴─────┴─────┴───────┴────┴───┴───┴───┘
┌────────────┬────────────────────────┬───────┬─────────────────┐
│ │ WEFT │ SIDES │ LOWER END │
│ ├─────┬───────┬────┬─────┼───┬───┼─────┬───┬───┬───┤
│ PERSIAN │ │ │ │ │ │ │ │ │ │ │
│ │ w = │ c = │ │ │ │ │ │ │ │ │
│ │wool │ cotton│ s/l│ P │ O │ S │ W/S │ K │ L │ F │
├────────────┼─────┼───────┼────┼─────┼───┼───┼─────┼───┼───┼───┤
│Persian │ │ │ │ │ │ │ │ │ │ │
│ Kurdistan │ w │ │ │ 2 │ O │ │ W │ │ L │ │
│Western │ │ │ │ │ │ │ │ │ │ │
│ Kurdistan │ w │ │ │ 2 │ O │ │ W │[K]│[L]│ │
│Mahal │ │ c │ │ 2 │ O │ │ W │ │ │ F │
│Meshed │ w │ c │ │ 2 │ O │ │ W │ │ │ F │
│Mosul │ w │ [c] │ │2/[1]│ O │[S]│ W │ │ │ │
│Muskabad │ │ c │ │ 2 │ O │ │ W │ │ │ F │
│Niris │ w │ │ │ 2 │ O │ │ W │ K │ │ F │
│Sarabend │ │ c │ │ 2 │ O │ │ [W] │ │ │ F │
│Sarouk │ │ c │ │ 2 │ O │ │ W │ │ │ F │
│Sehna │ │ c │ │ 1 │ O │ │ [W] │ │ │ F │
│Serapi │ │ c │ │ 2 │ │ S │ W │ │ L │[F]│
│Shiraz │ w │ │ │ 2 │ O │ │ W │ │ L │ │
│Suj-Bulak │ w │ │ │ 2 │ │ S │ W │ │ │ F │
│Tabriz │ [w] │ c │[l] │ 2 │ │ S │ W │ │ │ F │
└────────────┴─────┴───────┴────┴─────┴───┴───┴─────┴───┴───┴───┘
┌────────────┬─────────────────┬───────────┬───────────┬──────────┐
│ │ UPPER END │ NAP │ WEAVE │ TEXTURE │
│ ├─────┬───┬───┬───┼───────────┼───────────┼──────────┤
│ PERSIAN │ │ │ │ │l = long │f = fine │l = loose │
│ │ │ │ │ │m = medium │m = medium │m = medium│
│ │ W/S │ K │ T │ F │s = short │c = coarse │f = firm │
├────────────┼─────┼───┼───┼───┼───────────┼───────────┼──────────┤
│Persian │ │ │ │ │ │ │ │
│ Kurdistan │ W │ │ │ F │ l │ c │ f │
│Western │ │ │ │ │ │ │ │
│ Kurdistan │ W │[K]│ T │ F │ l │ c │ f │
│Mahal │ [W] │ │ │ F │ m │ c │ m/f │
│Meshed │ W │ │ │ F │ m │ m │ m/f │
│Mosul │W/[S]│ │[T]│ F │ m │ c │ m/f │
│Muskabad │ [W] │ │ │ F │ m │ c │ m/f │
│Niris │ W │ K │ │ F │ m │ m │ l │
│Sarabend │ W │ │ │ F │ m/s │ m/f │ f │
│Sarouk │ W │ │ │ F │ s │ f │ f │
│Sehna │ W │ │ │ F │ s │ m │ m │
│Serapi │ W │ │ │ F │ m │ c │ f │
│Shiraz │ W │ │ │ F │ m │ m │ l │
│Suj-Bulak │ W │ │[T]│ F │ m │ m/c │ m/l │
│Tabriz │ W │ │ │ F │ s │ f │ f │
└────────────┴─────┴───┴───┴───┴───────────┴───────────┴──────────┘
[] indicates the less frequent condition.