CAUCASIAN RUGS
ASIDE from the facts that the Caucasus is rugged, that during the Middle
Ages it was ruled by the illustrious Tamara, and that till recently the
physical charms of its women made them favourites in the slave markets
of Constantinople, the character and history of that country are to-day
almost as unknown to the average reader as they were when the bards of
ancient Greece bound Prometheus to its rocks and hung the Golden Fleece
from its oaken boughs. Yet it is a country of wonderful interest. Above
its gorges, rivalling those of the Himalayas, rise mountains higher than
the Alps. On the southwestern slope are combined the luxuriant
vegetation of tropical lowlands with virgin forests of fir and pine, and
in meadows and beside shaded brooks grow flowers of strange beauty.
Beneath the ground is undeveloped wealth of ores and mineral oil. The
river Phasis is the natural home of the pheasant; the crags are the
resorts of ibex; and in secluded glens sharing solitude with bear, wolf,
and boar are hidden the wild aurochs.
Moreover, the philologist, ethnologist, and historian can here follow
his favourite pursuit with as much zest as the Alpine climber, botanist,
mineralogist, and sportsman; for within the confines of this region are
spoken some seventy languages by as many distinct clans, each of remote
origin. Some are the descendants of the early dwellers; some are the
Aryan stock that found its way to Europe before the beginning of
history; still others are but the offspring of the flotsam and jetsam
which recurring waves of Asiatic conquerors, surging westward in ancient
times, left stranded here. Nevertheless, for so many generations have
the present inhabitants remained among their mountain strongholds,
unabsorbed and unassimilating, that they have been regarded as a type
sufficiently pure and characteristic to give its name to the great
Caucasian race.
Though enjoying greater isolation than surrounding countries, the
Caucasus at different times and in different ways has felt their
influences. During the Augustan age of Tamara’s rule she attracted by
her brilliancy, taste, and industry foreign courtiers and artisans.
Hardly was she dead before Genghis Khan’s horde of conquering Mongols
poured over the land; and rival suitors, enraptured by her daughter’s
beauty, pressed their claims by invading it with their Mohammedan
armies. For long succeeding years Persia struggled with Turkey for the
mastery of the country, and was about to take it when Russia grasped the
prize, but only after Shamyl with a few brave thousands had defeated
vast armies.
Each of these foreign guests or foes left some impression on the native
art; so that Caucasian rugs show traces of Turkoman, Turkish, and
Persian influences. It is rarely, excepting in a few small geometric
figures, that there is any evidence of the Turkoman influence; but it is
not unusual to see border stripes and field designs adopted from the
Turkish rugs. Some of these stripes represent both geometric and floral
patterns, either copied directly or derived with slight modifications
from rugs woven three or four centuries ago in Asia Minor or Armenia.
The Persian influence is apparent only in the floral forms. It doubtless
inspired the stripe of dainty carnations so common in a large number of
Caucasian pieces, the pear design inseparable from Baku rugs, as well as
many other figures that first appeared in the rugs of Persia.
Nevertheless, these rugs have their own distinct characteristics, which
have a boldness and virility that are to be attributed in a measure to
grand and rugged scenery as well as to centuries of struggle for
independence, since in art the influence of environment is most
apparent. They lack something of the sobriety, artistic drawing, and
delicate colouring of those woven in vast deserts, amid the monuments of
fallen empires, and in the gardens of the East; they contain on the
other hand, both in line and colour, the forceful expression of
untrammelled thought. The patterns are largely geometric; the tones of
colour, in which clear red, blue, green, and yellow predominate, are
strong. On the whole, they possess an individuality of character that is
not surpassed by the rugs of any other group.
[Illustration: MAP OF CAUCASIA]
DAGHESTANS.—In no part of Caucasia have better rugs been woven than in
Daghestan, “the mountain country.” Nor is it surprising that this
province should produce distinctive types, when it is considered that it
has a length of over two hundred miles; that its topography is
diversified by glaciated mountains, barren steppes, and fertile valleys;
and that it is occupied by numerous clans, many of whom differ in origin
as well as religion. Some of the rugs come from the city of Derbend on
the Caspian Sea; some come from Kuba in the southeastern corner; others,
called Kabistans, are produced in the country about Kuba; a few are made
by the Lesghians who live among the lofty mountains; and in other parts
of the province are woven pieces which formerly were sent in large
numbers to Europe and America, where they soon became known as
Daghestans.
Though their resemblance to the Kabistans is so great that it is often
difficult to distinguish between them, the rugs which acquired the trade
name of Daghestans are different from almost all other Caucasian pieces.
This is largely because the province is bounded on three sides by a sea
and a nearly impassable mountain range, which render communication with
surrounding territory difficult, and create a natural isolation, where
in the course of many generations a distinct type was developed.
Moreover, these same physical conditions have impeded both the
introduction of aniline dyes, so that even among modern pieces spurious
colours are not frequently seen; and also the adoption of new designs,
so that the patterns of two or three centuries ago are still largely
used.
It is among the oldest rugs of the Daghestan weave that are found many
of the best examples of Caucasian textile art. The dark, rich reds and
blues of the fields, which are brightened by the ivory, light blue,
green, and yellow of the small designs, resemble the fine colouring of
choice Persian carpets. But the patterns are totally dissimilar; for it
is only in a few rare old pieces, in which are copied some designs such
as the lotus, or the running vine with leaf and bud, that there is any
likeness to the realism of Persian floral ornamentation.
The drawing, however, is never crude, and on account of the short nap
and strongly contrasting colours always appears with clear definition.
With the exception of conventionalised pears, the three-leaf sprig,
which is commonly seen in the field, and the narrow border stripes of
carnations, almost all of the figures are geometric; and are so
carefully drawn, so closely clustered, that they represent an appearance
frequently compared to mosaic work. Even when the patterns represent
large medallions or stars, they contain smaller concentric forms, or are
divided and redivided into smaller stars, diamonds, or tessellated
figures, so that the effect is the same. In some form or other the
latch-hook is seen in almost all these pieces. Of small designs, the
octagonal disc is almost invariably found; and animals, human beings,
and the pear are not infrequently seen.
As the population of the province is largely Mohammedan, namazliks as
well as sedjadehs are made; but with the exception of the unobtrusive
arch of the namazlik, which is represented in Plate C, Fig. 9 (Page 61),
there is little difference between them. There is never any panel as in
Asia Minor rugs; nor is there a noticeable spandrel, since the space
above the arch contains designs similar to those on the rest of the
field.
As a rule, the borders consist of three or four stripes separated by
coloured lines. Only in the secondary stripes are any floral forms
employed; and these, with the exception of the carnation design, are
rare. The reciprocal trefoil is most characteristic as an outer stripe;
the serrated line is also employed; and it is not unusual to find next
to the field a broad stripe of diagonal barber-pole bars, on which are
small dotted lines.
_Type Characteristics._ _Colours_, principally blue, red, and ivory,
with minor quantities of green and yellow. _Knot_, Ghiordes. Knots to
inch horizontally seven to twelve; perpendicularly, eight to fifteen. A
half knot, as it appears at back, is as long as wide and occasionally
longer. The rows of knots are not firmly pressed down, so that their
alignment is even and the warp shows at back. _Warp_, wool; each of the
two threads encircled by a knot is equally prominent at the back;
occasionally in old pieces one thread is slightly depressed below the
other. _Weft_, wool of medium diameter. A thread of weft crosses twice
between every two rows of knots. _Pile_, wool, clipped short. _Border_,
three to five stripes. _Sides_, a selvage of two, three, or four cords,
or occasionally a weft-overcasting. _Both ends_, a web, one row of knots
or more, and loose warp fringe. Occasionally there is also a narrow
braided selvage. _Texture_, moderately firm. _Weave_ at back is of fine
grain. _Usual length_, five to ten feet. _Usual width_, one half to two
thirds length.
[Illustration: PLATE 44. BAKU RUG]
KABISTANS.—Within recent years most of the rugs shipped from the
southern part of Daghestan have become known in Western markets as
Kabistans, though the distinction between them and the type that takes
the name of the province is so slight that it is determinable only by
the strictest analysis. In fact, Kabistans are merely a variety of
Daghestans. Both have short nap and occasionally adopt the same colour
scheme and patterns, so that many of each class are indistinguishable
from one another.
On the other hand, there are a few interesting points of difference
between the best types, which are largely attributable to geographic
environment. As the only easy access to this province from the south is
by the shore of the Caspian, where the great mountain wall that forms an
almost impassable barrier between Northern and Southern Caucasia
descends to the plain, the district adjacent to this entrance on the
line of travel would naturally feel and show a foreign influence, while
the remote and more inaccessible parts of the province would be
unaffected. Accordingly, the designs of Kabistans are more varied, and
it is not surprising to find in them evidences of Persian influence not
so apparent in the Daghestans. In some, for instance, are pear designs,
like those occasionally seen in Shiraz pieces; and the rich tones, that
are usually more subdued than those of the Daghestans, suggest the
finest dyes of the Feraghans. There is also a slight difference in
weave. Both display the two threads of warp encircled by each knot with
equal prominence at the back; but in the Daghestans the alignment of the
two halves of the knot, as they appear at the back, is more regular;
while in the Kabistans one extends beyond the other in the direction of
the length of the rug, as is the case with the Shirvans woven in the
adjoining country to the south. Frequently the weft of Kabistans is of
cotton; and the filling is not as wide as that of Daghestans, which is
of wool. Moreover, the Kabistans may be either overcast or have a
selvage at the sides, but the Daghestans have almost always a narrow
selvage. Among the modern pieces there is a tendency for both classes to
follow the side finish of the Shirvans.
A well-known type of old Kabistans, that is also sometimes repeated in
Daghestans, has a dark blue field on which are spaced in regular order
white bracket-like designs, in which the perpendicular arms are usually
connected (Plate O, Figs. 18-a and 18-b, Page 291). Their origin is
unknown; but when their shape and their position in reference to the
rosettes or effulgent stars that are placed near them are considered,
the thought is at once suggested that in them is reproduced after a long
process of slow change a conventionalised form of the Herati design.
Other small harmonious designs are properly spaced throughout the
fields, and in the main stripe of the border, on a cream-coloured
ground, is frequently seen the beautiful pattern of Cufic origin
represented in Plate J, Fig. 19 (opp. Page 228). Old pieces of this
pattern, which are now growing rare, represent in weave, colour, and
design the masterpieces of Caucasian textile art.
Another pattern consists of diagonal stripes with small geometric
figures, or of small floral forms arranged in rows, so that those of
similar colour fall in diagonal lines. Again, the entire field may be
covered with rectangular pears like those of Baku rugs. Oblong odjaliks
are often seen with fields of dark colour, at each end of which are
large geometric figures symmetrically balanced with reference to the
centre. But they are so fringed with latch-hooks and so subdivided into
smaller devices, which are accentuated by the shortness of the nap, that
they have the effect of an assemblage of smaller designs.
_Type Characteristics._ _Colours_, principally blue, also some red,
ivory, green, and brown. Knot, Ghiordes. _Knots_ to inch horizontally
seven to twelve; perpendicularly, eight to sixteen. A half knot, as it
appears at back, is as long as wide and occasionally longer. The rows of
knots are not firmly pressed down; their alignment is less even than in
Daghestans, yet the warp may be seen at back. _Warp_, wool; each of the
two threads encircled by a knot is equally prominent at back. _Weft_,
wool or cotton, of medium diameter. A thread of weft crosses twice
between every two rows of knots and occasionally three times. _Pile_,
wool, of medium length. _Border_, three to five stripes. _Sides_,
generally a weft-overcasting, or a two-cord weft selvage; occasionally a
double overcasting or selvage. _Lower end_, a narrow web, not
infrequently a fine braided selvage and warp loops. _Upper end_, a
narrow web, occasionally a fine braided selvage and warp fringe.
_Texture_, moderately firm. _Weave_ at back is of medium grain. _Usual
length_, five to twelve feet. _Usual width_, one half to three quarters
length.
[Illustration: PLATE 45. SHIRVAN RUG]
KUBAS.—Not far from the southeast corner of the province of Daghestan,
in a plain watered by streams that debouch from the Caucasus, is the
small town of Kuba. It is on the site of an old Persian fort, about
which in the course of time sprang up a town sufficiently important to
be the residence of a Khan. For a long period previous to the treaty
of Gulistan, in 1813, the influence of the Persians had been predominant
in this part of the country; and it is not improbable that some of the
oldest Kuba rugs now existing are the work of their weavers. Many, on
the other hand, have few foreign characteristics either of weave or
design, and show a relationship to the work of the Shemakha tribes, who
inhabit an adjoining district in Shirvan.
In some of this class the floral form receives more elaborate treatment
than in any other Caucasian rug. One of the patterns of undoubted
Iranian inspiration represents a large oval panel or medallion, with
graceful outlines resting on a field of deep blue and sable brown,
streaked with waving lines of gold. Within the medallion is a lavish
display of large flowers _en masse_, and not detached from one another
or arranged in set form, as is the case with most floral patterns. In
each corner is a rose with spreading petals that equals the largest seen
in nature, and with colour that suggests the beauty of a Duchess or
Marechal Niel. Surrounding all is a narrow dainty border of some
well-known Persian vine. The most recent copies of this pattern, that
has been followed for at least a century and a half, are so crude as to
resemble but slightly the oldest, which suggest the work of some early
Kirman weaver and are unsurpassed in beauty and artistic elegance by any
other Caucasian rug.
Other patterns are more distinctly representative of the native art. The
field of some is occupied by large, irregular, octagonal-shaped figures
defined by serrated edges and subdivided by mosaic work, at the centre
of which is some well-known design. One of the most pleasing patterns
consists of a field on which with mathematical precision are placed
large effulgent stars. At their centre is often a much smaller star
enclosed by a diamond from which extend broad rays directed towards the
eight principal points of the compass. When softened by time the
different shades, such as light blue, ivory, and deep red of the
enveloping rays, contrasted with other shades at the centre and with a
dark blue of the ground, are exceedingly beautiful.
The Kubas and Shemakhas have similar tones of colour, consisting
principally of blues, reds, sable brown, and yellow, to which the soft,
velvety character of the wool of the best examples gives a quality of
richness that is distinctive. The finish of their sides and ends, which
is usually similar to that of the Soumaks, is also identical, so that
they are frequently mistaken for one another, and can only be
distinguished by a difference of pattern and a slight difference of
weave.
_Type Characteristics._ _Colours_, principally blue, red, and brown,
occasionally some green. _Knot_, Ghiordes. Knots to inch horizontally
six to nine; perpendicularly, seven to thirteen. The rows of knots are
pressed down, so that the warp is almost hidden at back. _Warp_, fine
wool; the two threads encircled by a knot are equally prominent at back.
_Weft_, wool of fine or medium diameter. A thread of weft crosses twice
between every two rows of knots. _Pile_, wool of medium length.
_Border_, one to three stripes. _Sides_, a blue double selvage of two or
three cords. _Both ends_, a narrow blue web of “herring-bone” weave, a
knotted selvage or several rows of knots, and short warp fringe.
_Texture_, slightly loose. _Weave_ at back is of moderately fine grain.
_Usual length_, four to nine feet. _Usual width_, one half to two thirds
length.
DERBENDS.—Near the great walls built by Alexander on the Caspian Sea,
where mountains rise abruptly so as to leave only a narrow pass, is one
of the oldest cities of Caucasia. It was known by the Romans as Albana,
and was renamed by the Persians of the VI Century “Derbend,” which in
their language signifies a gateway. No other city of Caucasia has been
visited by more foreign foes. Tartar tribes passed that way when
entering Europe; Mongolians captured it as late as the XIII Century;
Russians and Persians in turn held it. Moreover, the sea has offered an
easy approach to the Turkoman tribes dwelling to the east. It is
therefore somewhat surprising that there is so little evidence of
artistic foreign influence in the weavings; but this is due, perhaps, to
the fact that pieces with an authentic age of over two centuries no
longer exist, and such old rugs as remain are very scarce; whilst the
modern pieces are derived largely from the mountainous districts that
find a market in the city.
Occasionally, however, there comes to light a very old piece that
reaches the standard of the finest Kabistan. The field of such a one may
be filled with elaborately drawn pears like those seen in many of the
Niris rugs. Again, it may be covered with a checkered or lattice-work
pattern that contains within the diamonds geometric or semi-floral
mosaic designs. Surrounding this field are three or four stripes, of
which the outer has a reciprocal pattern. The nap is of fine wool of
moderate length. At the back of these older rugs is sometimes
displayed finely spun reddish dyed threads of woollen weft pressed
closely together between lines of knots carefully tied to brownish
threads of woollen warp; but not infrequently cotton is used for both
warp and weft. Such designs and technique suggest the rugs woven much
farther to the south.
[Illustration: PLATE 46. SOUMAK RUG]
In contrast with these beautiful but rare pieces, the modern products
are sad commentaries on the retrogression in weaving; for those that are
ordinarily found in the market are like poor imitations of inferior
Daghestans. They are of slightly larger size, and have longer nap,
looser weave, and cruder colours. Moreover, they show evidences of
Turkoman influences; for not infrequently the warp is of brown goat’s
hair, and at each end is a reddish brown web like what may be seen in
the rugs of Yomud tribes living on the eastern shores of the Caspian.
Still other nomadic characters, resembling the workmanship of Kazak
tribes, appear in the large star-like or diamond-shaped figures which,
fringed with latch-hooks and coloured with bright tones of red, blue, or
green, are often placed in simple array on a field of strongly
contrasting colour. There is nothing, however, offensive in the colour
scheme, excepting when aniline dyes are used. With wear the nap of many
of them acquires the soft and pleasing effect of Beluchistans.
Furthermore, they are both flexible and durable, though entirely lacking
in artistic qualities.
_Type Characteristics._ _Colours_, principally blue, red, and ivory,
with minor quantities of green, yellow, and brown. _Knot_, Ghiordes.
Knots to inch horizontally five to nine; perpendicularly, six to twelve.
Each half knot is about as long as wide, and occasionally longer. The
rows of knots are generally pressed down, so that the warp is concealed
at back. _Warp_, generally wool, occasionally cotton. The separate
threads are not strung closely together. Each of the two threads
encircled by a knot is equally prominent at the back. _Weft_, generally
wool, but often cotton. In some pieces a thread of weft of medium
diameter crosses twice between every two rows of knots; not infrequently
it crosses both twice and three times in the same piece; rarely a thread
of coarse diameter crosses only once. _Pile_, wool of medium length.
_Border_, three stripes. _Sides_, a double selvage of two or three
cords, or occasionally a double overcasting. _Both ends_ have a web,
frequently a knotted selvage, and a warp fringe. _Texture_, moderately
loose. _Weave_ at back is of medium grain. _Usual length_, five to seven
feet. _Usual width_, one half to two thirds length.
LESGHIANS.—On the northern flank of the high mountain ranges that extend
eastward from Kazbek into the province of Daghestan, live the numerous
tribes classed as Lesghians. Their different dialects and languages
would indicate unrelated origins; but their common religion, mode of
life, and struggle for liberty have established between all of them
strong bonds of sympathy. They are nominally Christians, but essentially
Mohammedans. Most of them live in almost inaccessible spots, beneath the
snow covered, glaciated ridges, and beside fierce flowing torrents,
where on occasions they have converted their homes into almost
impregnable fortresses. These are the people who united with the
Circassians in the long-continued struggle against the Russian Empire,
and followed Shamyl to repeated victory among the mountain defiles.
It might naturally be expected that the rugs of such people would
partake of a character totally distinct from those woven in the sunny
atmosphere of Kirman, amid the sacred influences of Meshed, or among the
peaceful hills of Ghiordes. Such, in fact, is the case, since both
patterns and colouring display extreme simplicity, as well as strength
and beauty. Large numbers of these rugs are of moderate size and
slightly oblong; and are flexible yet stout. Both warp and weft are of
fine brown wool; and as is rarely the case with any other Caucasian rugs
excepting the Shushas, one of the two threads of warp encircled by a
knot is often almost doubled beneath the other. The knotted fringe of
the ends suggests the work of tribes living further westward, but the
selvage of the sides shows relationship to the Daghestans.
The patterns of some of these rugs are not unlike those of rugs woven
south of the Caucasus; and not infrequently the fields contain unrelated
designs such as the lozenge fringed with hooks, the octagonal disc,
eight-pointed stars, and S forms. The borders usually consist of two or
three stripes, on which is some geometric pattern. The colours are few
and characteristic. Blue and yellow are generally present, and
frequently red and brown. On the whole, these pieces have an interesting
individuality unlike that of any other rugs.
_Type Characteristics._ _Colours_, blue, yellow, red, brown, and ivory.
_Knot_, Ghiordes. Knots to inch horizontally six to nine;
perpendicularly, six to eleven. The rows of knots are firmly pressed
down, so that the warp is almost hidden at back. _Warp_, brown wool;
one of the two threads encircled by a knot is depressed below the other
at back, or doubled under 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_, usually three stripes. _Sides_, an
added selvage, which is generally wool but occasionally cotton, of two,
three, or four cords. Both ends, a web, two or three rows of knots, and
a warp fringe. In some pieces there is also a braided selvage.
_Texture_, firm. _Weave_ at back is of slightly coarse grain. _Usual
length_, five to eight feet. _Usual width_, one half to two thirds
length.
CHICHIS.—On the lower slope of the Caucasus, extending down into the
valley of the Terek are the homes of the Tchechens, the weavers of
pieces so often spoken of as Chichis. Beyond them to the north are great
stretches of Russian steppes, and to the south is the land of the hardy
Lesghians. Nevertheless, their rugs show little relationship to the work
of the latter or of any other tribes to the north of the mountain chain;
but resemble more closely the work of the Shirvans in the valley of the
Kur, so that not infrequently they are mistaken for them. Indeed, their
general character is remote from anything barbaric, and is more in
keeping with the pleasing effect of the Persian sense of harmony. All
floral forms are conventionalised, but the geometric designs have a
delicacy of drawing, a refinement of detail, from which every jarring
note is eliminated.
Like almost all weavers, the Tchechens adopt different patterns. On the
field of some of the rugs is a plentiful array of small devices
surrounding two or three large geometric figures; or again the field may
be covered with pear designs arranged in regular order; but most of the
rugs now seen follow a common type. In this the field resembles a floor
inlaid with beautiful mosaic work, formed of carefully cut stones of
various hues, studiously arranged in the form of small diamonds,
eight-pointed stars, or rosettes. Not infrequently the rosettes are
outlined by a fret device surrounding a central star. They are
invariably arranged in lines parallel to the ends of the rugs, and this
horizontal effect is sometimes accentuated by inserting between each row
narrow bands composed of conventionalised leaves. The colours of these
small designs are generally ivory, light blue, pale yellow, or red; and
appear more pronounced by contrast with the underlying ground of light
blue. Now and then the nomadic instinct of the Tchechen tribes, who lead
their flocks regularly from the green pastures of the ridges to the
valley of the Terek, crops out in unrelated devices such as combs and S
forms, which they weave in the field. But they usually arrange them so
as to harmonise with the main pattern, or else place them near the sides
and ends, which are almost invariably fringed with either a serrated
line or a row of reciprocal trefoils projecting from the border into the
field. This feature of a reciprocal trefoil employed as a fringe to the
edges of a field independently of the lines of a stripe, is seen in very
few other classes.
Often the borders, which contain a large number of stripes, are as wide
as the central field, with which they harmonise both in colour and
design. There is something chaste in the simplicity of the geometric
figures of the secondary stripes and of the conventionalised floral
drawing of the main stripe. The latter, as represented in the type
generally seen (Plate I, Fig. 6, opp. Page 226), consists of a row of
about eight rosettes, connected by an angular vine drawn with such
breadth and regularity as to resemble a number of parallel bars diagonal
to the sides. In fact, this pattern would be entirely geometric were it
not for the three-cleft leaves, which spring from opposite sides of the
rosettes. Of the secondary stripes, the outer almost invariably has the
reciprocal trefoil, and one has frequently a continuous line of
eight-pointed stars. The arch of the prayer rugs is similar to that of
Daghestans.
_Type Characteristics._ _Colours_, principally ivory, blue, and red,
with minor quantities of green and brown. _Knot_, Ghiordes. Knots to
inch horizontally seven to ten; perpendicularly, eight to twelve. The
rows of knots are not firmly pressed down, so that the warp may be seen
at back. _Warp_, wool; each of the two threads encircled by a knot is
equally prominent at back. _Weft_, wool, of medium diameter. A thread of
weft crosses twice between every two rows of knots. _Pile_, wool, of
short or medium length. _Border_, three to five stripes. _Sides_,
generally a double overcasting, but occasionally a double selvage of two
or three cords. _Both ends_, a web, one row of knots or more, and a warp
fringe. _Texture_, moderately firm. _Weave_ at back is of medium grain.
_Usual length_, four and one half to six and one half feet. _Usual
width_, five eighths to three quarters length.
[Illustration: PLATE 47. KAZAK PRAYER RUG]
TCHERKESS.—The narrow strip of fertile and beautiful country that
reaches from the Kuban valley southward along the shore of the Black Sea
for a distance of two hundred miles is occupied by a people known to
the western world as Circassians. In their own land they are called
“Tcherkesses,” a Tartar term for “cutter of roads” or highwaymen; and
they have been in the habit of speaking of themselves as “Adighies” or
Nobles. In fact, there has been no prouder Caucasian race, even though
their homes were often log huts and their daughters were sold in the
markets of Constantinople. These are the people, who half a century ago
finally yielded after a long, fierce struggle for independence; but a
hundred thousand families, preferring exile to submission to the Czar,
migrated to Armenia and Asia Minor, where they intermarried with other
races, and are rapidly losing their identity.
Very few of the Circassian or Tcherkess rugs have been woven by those
who left their country. The best were made before the exodus; and on
account of the hardships and poverty of the people, many that have come
to the market within recent years are greatly inferior to the excellent
pieces of former times and are often mistaken for the work of nomadic
tribes. Not only so, but crude and foreign devices have crept into some
of them. It is, therefore, to the older pieces that we must turn for a
better understanding of this class.
Something of the ruggedness of lives spent in struggles with men and
nature found expression in the fabrics, which show firmness of texture,
boldness of design, richness of colour. In fact they resemble the Kazaks
so closely in their long nap, and finish of sides and ends that they are
constantly mistaken for them; yet they may be distinguished from all
classes by the large amount of brownish red or tawny colour of the field
and their stereotyped patterns. These usually consist of diamond-shaped
figures sometimes called “sun-bursts,” that are often regarded as crude
copies of the Russian coat of arms; but there is little doubt that they
have been derived from the medallions of some old Armenian rugs of the
XIV and XV Centuries, in which also appear the same tri-cleft leaves so
common in both this class and the Soumaks. These patterns are
sufficiently large to occupy the full breadth of the field; and there
are seldom less than two and occasionally as many as four or five
extending from one end to the other. The strong contrast between the
blue and ivory of the figures and the red or tawny colour of the ground
is softened by the depth of pile, which in turn adds warmth and
richness. The borders are always of three stripes. The main one almost
invariably has the tarantula design and is enclosed by guards with the
serrated sawtooth design. Many of these old pieces are excellently
woven and have a dignity of pattern and wealth of harmonious colour
rarely seen in nomadic rugs.
_Type Characteristics._ _Colours_, principally red and tawny yellow,
with minor quantities of blue and white. _Knot_, Ghiordes. Knots to inch
horizontally six to nine; perpendicularly, seven to ten. A half knot, as
it appears at back, is as long as wide or longer. The rows of knots are
firmly pressed down, so that the warp does not show at back. _Warp_,
wool; generally each of the two threads encircled by a knot is equally
prominent at back, occasionally one is depressed below the other.
_Weft_, wool of medium diameter. A thread of weft usually crosses only
twice between every two rows of knots, but in some pieces as many as
four or six times. _Pile_, wool of medium length. _Border_, three
stripes. _Sides_, a two-cord double selvage. _Both ends_, as a rule have
a web, a heavy braided selvage, and knotted warp fringe; occasionally
either web or selvage may be omitted. _Texture_, very firm. Weave at
back of medium grain. _Usual length_, five to ten feet. _Usual width_,
one half to two thirds length.
BAKUS.—No other rugs of Caucasia have greater individuality of colour
and design than the Bakus. This, perhaps, is partly due to the fact that
the district from which they come is dissimilar to any other. It
consists largely of the peninsula of scanty vegetation, where the great
mountain chain extends to the dreary Caspian, leaving at its base the
narrow strip of land now famous for its immense accumulations of mineral
oil. Hither, during the past, the followers of Zoroaster have come from
all directions to worship in the temple of the Guebres, where day and
night the priests watched the blue flame that rose perpetually from the
ground, and once in long intervals spread over the waters like a sea of
fire. This sacred spot has been owned in turn by Saracens, Persians,
Turks, Russians, and the Princes of Shirvan; so that the influences of
different religions and different races have been felt here.
The most noticeable feature of many of these rugs is their dull colours,
that give the impression of being partly bleached or having faded. There
are subdued tones of light blue, tan, pale ocherous yellow, and black,
as well as light, medium, and dark brown colours of natural wool; but in
the rugs woven a century ago the colours were much richer. None of them
are used in large masses excepting for the underground; nor are there
striking contrasts, so that the effect is somewhat monotonous.
[Illustration: _COLOUR PLATE VIII—SOUMAK RUG_
_The shape, colouring, and particularly the pattern of this interesting
Soumak, which was probably woven seventy-five or more years ago, not
only are unusual but belong to a higher type than is often seen.
Arranged in diagonal rows on a field of red are flowering bushes, that
for the most part are blue and pink, but at one end are green, yellow,
and brown. The accurate drawing of these bushes and of the reciprocal
trefoils of the guard stripes, the care with which the stitches have
been inserted, and the fine texture of the wool, as is shown even in the
cream-white warp at the knotted ends, alike proclaim the excellent
quality of this rare piece._
_Loaned by Mr. Theodore S. Hawley_]
An equally important characteristic is the large number of pear designs,
which are unlike those of any other rug. These designs (Plate O, Fig.
6b, Page 291) are so rectangular that they have lost all resemblance to
floral drawing; and to add to their formality, each is placed in the
field with studied regularity and often surrounded by a delicate
hexagonal shaped sub-pattern giving a diaper effect. Sometimes, also,
they appear in the border between an array of other designs, to which
they show no relation; but they never constitute the sole feature of the
rug as they do in Sarabends.
At the centre of the field is often a star-shaped design surrounded by a
large diamond or other figure fringed with radiating lines. These lines
suggest the effulgence of light; and it is not improbable that their
origin lay in the mysticism of fire worship. In sedjadehs the corners
are set off by quadrants of octagons, of which the diagonal sides are
serrated and frequently fringed with radiating lines like the central
medallions. Throughout both corners and fields often appear
eight-pointed and effulgent stars, the three-cleft leaf, S designs,
crude human and animal forms, and other small geometric devices like
those seen in Daghestans and Shirvans. But more noticeable than any of
these are the realistic but mechanically drawn birds, which are
represented in larger numbers and more frequently than in any other rugs
woven within the last century.
The borders contain from three to five stripes, of which one at least is
always geometric; and another, as a rule, has some suggestion of floral
form. Often it is only the carnation in profile; but now and then it is
a running vine with leaf or flower, adopted without modification from
Persian rugs. This is not, however, surprising, when it is remembered
that during the reign of Shah Abbas, Baku belonged to Persia, which for
centuries had been the home of devout Parsees, some of whom undoubtedly
made pilgrimages to the sacred temple.
These rugs can at once be recognised by their short nap, and their
characteristic colours and designs. They are always interesting on
account of their marked individuality and the still unsolved symbols of
Zoroastrian mysticism they may contain; but in spite of the careful
delineation of the design and the delicate mosaic effect of the central
medallions, very few, excepting the old pieces, are handsome.
_Type Characteristics._ _Colours_, principally brown, tan, blue, yellow,
and black. _Knot_, Ghiordes. Knots to inch horizontally six to nine;
perpendicularly, seven to eleven. The rows of knots are firmly pressed
down, so that the warp does not show at back. _Warp_, wool; each of the
two threads encircled by a knot is generally equally prominent at back,
occasionally one is depressed slightly below the other. _Weft_, usually
cotton, sometimes wool, of medium diameter. A thread of weft crosses
twice between every two rows of knots. _Pile_, wool, clipped short.
_Border_, three to five stripes. _Sides_, a weft overcasting or a narrow
weft selvage. _Both ends_, a web, one row of knots or more, and a warp
fringe. _Texture_, moderately firm. _Weave_ at back is of slightly
coarse grain. _Usual length_, six to nine feet. _Usual width_, one half
to two thirds length.
SHIRVANS.—Between the rugs of Shirvan and Daghestan is a relationship
easily accounted for by the fact that they are adjoining provinces, and
that almost the only approach to Daghestan for the Asiatic races among
whom the art of weaving reached its highest development was through
Shirvan. Both districts, therefore, received ideas from the same
sources; but since Shirvan has been at times more completely under the
sway of Persia, it has yielded more readily to the influence of the
Persian weavers, as is observable in the flower and foliate forms which
are used more frequently and are drawn more realistically in its rugs
than in those of Daghestan. On the other hand, the technique of weave as
well as finish of sides and ends in the Shirvans lacks something of the
refinement observable in the Daghestans.
The oldest existing Shirvans are absorbingly interesting. In them the
foliate forms are more noticeable than in almost any other Caucasian
rugs, though they may in a measure be disguised by formal treatment.
Sometimes they appear as large figures covering a great part of the
field and acting as sub-patterns for superimposed smaller devices; but
they are most frequently found in the borders. Other old pieces contain
lattice-work of hexagonal-shaped diaper patterns, within which may be
designs abounding in latch-hooks and figures strongly suggestive of
Chinese devices. Such patterns, however, are unusual; as the fields of
most old Shirvans are covered with large medallions, stars, and diamonds
similar to those of Daghestans, although the drawing inclines to greater
simplicity of outline and detail; and they have greater diversity of
colour, as tones of blue, red, green, and brown in a field of ivory are
not unusual.
[Illustration: PLATE 48. KAZAK RUG]
The patterns of the more modern rugs have become corrupted into a mere
mechanical copying of conventional forms lacking all artistic spirit.
Some of them resemble those found in both Daghestans and Kabistans, but
generally the designs are drawn less clearly in Shirvans. This is partly
because, as a rule, they are not so closely woven and the nap is not
quite so short. Now and then the large medallions so common to Soumaks
are seen; and not infrequently the field is covered with diagonal
parallel stripes on which are small geometric devices.
There is, however, one pattern peculiar to Shirvans that rarely, if
ever, is adopted in any other class. It has somewhat the appearance of
pole medallions and consists of a panel that occupies nearly the whole
field and contains broad incisions at each side, which nearly divide it
into three or four rectangular sections. Within each of them are
octagonal figures, and an octagonal shape is given to both ends of the
panel so as to leave small corners to the field. Each part often
contains small designs such as latch-hooks, octagonal discs, S forms,
eight-pointed stars, and combs, as well as crudely drawn dogs and other
animal or human forms. With slight modifications this pattern is
sometimes repeated in the prayer rugs (Plate C, Fig. 11, Page 61), but
the section at one end is more completely an octagon, and the remainder
is an oblong rectangle. A more usual pattern for prayer rugs has the
same form of arch that is common in Daghestans.
Whatever the fields of these rugs may lack in delicacy of drawing is
amply compensated for by the diversity and beauty of some of their
borders, which have a well balanced harmony of colours. They have seldom
less than three, nor more than five stripes, of which the secondary are
often as interesting as the primary. The best known is the one with
serrated leaf and wine glass, represented in Plate I, Fig. 1, opp. Page
226, which is found in such a large percentage of Shirvans that it is
almost typical of them. If the figures of the field contain latch-hooks,
they are very apt to be expressed in some form in the primary stripe.
Such a one appears in Plate I, Fig. 2; and the beautiful Georgian
pattern (Plate J, Fig. 9, opp. Page 228) is also occasionally seen. A
very much rarer stripe, which is shown in Plate J, Fig. 8, is only used
when the field has a large central panel with a corresponding pattern.
Now and then appears a stripe with no other ornamentation than a formal
row of pear designs. Of the secondary stripes, the one with the designs
of carnations (Plate K, Fig. 1, opp. Page 230) is very frequently seen,
but its beauty depends largely upon the delicacy of its drawing and
colour scheme. On the whole, the Shirvan dyer displays a wider scope in
the selection of colours than his Daghestan neighbour, but the tones are
not always so rich or harmonious.
_Type Characteristics._ _Colours_, principally blue, red, and ivory.
_Knot_, Ghiordes. Knots to inch horizontally seven to twelve;
perpendicularly, eight to twelve. The rows of knots are firmly pressed
down, so that the transverse warp does not show at back. _Warp_, wool;
each of the two threads encircled by a knot is equally prominent at
back. _Weft_, generally wool, occasionally cotton, of medium or coarse
diameter. A thread of weft crosses twice between every two rows of
knots. _Pile_, wool, of short or medium length. _Border_, three to five
stripes. _Sides_, generally a weft selvage of two or three cords or a
double selvage, occasionally a double overcasting. _Both ends_, a web,
one row of knots or more, and a warp fringe. _Texture_, slightly loose.
_Weave_ at back is moderately coarse. _Usual length_, four to six feet.
_Usual width_, one half to four fifths length.
SOUMAKS.—Seventy miles to the northwest of Baku, and about the same
distance to the south of Kuba, where the high ranges of the Caucasus
begin to descend to the sea, is the city of Shemakha. It was almost
destroyed by Nadir Shah, but recovered sufficiently within the last
century to become the capital of Shirvan and a manufacturing centre of
silks. It is the market place for many tribes from the mountains of
Daghestan and the valley of the Kur, who take thither their rugs, from
which its own weavers often borrow patterns. By a corruption of the name
of the city, their fabrics are called Soumaks, though they are more
popularly known as Kashmirs, because ends of yarn hang loosely at the
back, as is the case with the beautiful shawls of the noted valley of
India.
[Illustration: PLATE 49. KARABAGH PRAYER RUG]
It is, of course, the finish at the back and the absence of pile that
make them so different from all other rugs and place them in a class by
themselves; but even apart from these characteristics, they are as
distinct a type as any in Caucasia. On the fields of most of them are
three or four diamond-shaped medallions, that occupy nearly the full
width of the field and extend from one end to the other. Almost without
exception they are slightly hexagonal, and are incised on the diagonal
sides to represent crosses. These patterns are doubtless derived from
very old Armenian rugs; and it is possible that once the crosses had
a religious significance, as it is claimed that the earlier weavers of
this type were a Christian sect; but the present weavers are mostly
Mohammedans. At the centre of the medallions and in the triangular
spaces at the sides are flattened octagons, which are generally
ornamented with some star-shaped devices. Superimposed on these larger
patterns and surrounding them on the field, are also many small designs,
which as a rule are grouped with a regularity suggestive of the mosaic.
Some are common to other Caucasian pieces; but a few are more frequently
seen in this class than in any other, as for instance, the knot of
destiny (Plate O, Fig. 17, Page 291), and the tri-cleft leaf, drawn like
a bird’s claw, which appeared in Armenian rugs at least five centuries
ago. Sometimes the medallions and octagons are replaced by smaller and
more ornate figures, but the geometric character is seldom entirely
lost.
There are also some old pieces with a totally different pattern, and
with fine colours that are most pleasing in the rich harmony of tones.
They may contain geometric, foliate, or floral designs. One recently
examined had a field of rose red completely covered with diagonal rows
of innumerable dainty figures, which were evidently the conventionalised
forms of small flower bushes. Not a single other design appeared in the
field, yet the richness of colour and chasteness of pattern made it
exceedingly beautiful.
The patterns of the border stripes, that number from two to five, are
generally distinctive; though occasionally they follow well known
Caucasian drawing. The outer one has so frequently the running
latch-hook that it is almost typical. As a rule, it has the simple form
shown in Plate K, Fig. 20 (opp. Page 230); but now and then the more
elaborate drawing of the Georgian stripe (Plate J, Fig. 9, opp. Page
228) is followed. Sometimes this is replaced by the reciprocal trefoil,
which is used also for the inner stripe; and a running vine and rosette,
such as the one in Plate K, Fig. 4, is not infrequently used for a
secondary stripe. The primary stripes, on the other hand, although most
dissimilar to those of other rugs, differ so widely among themselves,
that no one is typical. Separating these primary and secondary parts of
the border are frequently narrow lines with the barber-pole device.
The old pieces are of fine texture and excellent wool, which even in the
warp displays a silky character. The dyes are faultless, though the
colours never acquire a lustre. Red and blue are largely employed, but
they are partly replaced by brown in the more modern pieces; and in both
old and modern is usually an orange yellow that rarely appears in other
Caucasian rugs.
_Type Characteristics._ _Colours_, principally red, blue, brown, some
yellow, and white. _Knot_, flat stitch. Knots to inch horizontally eight
to fourteen; perpendicularly, six to sixteen. _Warp_, wool; each thread
is equally prominent at the back. _Weft_, wool, of fine or medium
diameter. A thread of weft crosses twice between every two rows of knots
in old rugs, and between every second and third row in modern rugs.
_Border_, two to five stripes. _Sides_, generally a double selvage of
several cords, occasionally an overcasting. _Both ends_, narrow web, one
or more rows of knots and fringe; sometimes heavy added selvage. _No
nap._ _Usual length_, five and one half to twelve feet. _Usual width_,
one half to three quarters length.
SHEMAKHAS.—Flatly woven Soumaks are not the only rugs of the Shemakha
tribes. Some of the same people, who dwell among the ranges of the
Caucasus a short distance to the north, make rugs of pile that
occasionally surpass in quality of material and beauty of colour scheme
the best of Daghestans, and are sometimes spoken of by dealers as “Royal
Daghestans;” yet they are seldom seen and little known. In fact, they
are frequently mistaken for Persian fabrics on account of the subdued
richness of their deep reds, blues, greens, yellows, and browns, and the
patterns which are largely floral.
Very often the principal border stripe is the well-known Georgian
pattern, that occurs in so many Soumaks, even though the secondary
stripe be some Persian pattern. These rugs also resemble the Soumaks in
the coloured woollen selvage of the sides, and in the narrow coloured
web of “herring-bone” weave and knotted fringe of the ends. In some, the
field is divided by diagonal bars into large diamond-shaped figures
containing conventionalised flowers; in others, it is merely a
background over which are strewn more realistically drawn floral forms;
and in all is expressed an artistic perception of design and colour not
frequently found in Caucasian pieces.
_Type Characteristics._ _Colours_, principally blue, red, and brown.
_Knot_, Ghiordes. Knots to inch horizontally seven to eleven;
perpendicularly, seven to thirteen. The rows of knots are pressed down,
so that the warp is almost hidden. _Warp_, wool; one of the two threads
encircled by a knot is depressed below the other at back. _Weft_, wool,
of fine or medium diameter. A thread of weft crosses twice between every
two rows of knots. _Pile_, wool, of medium length. _Border_, two to
three stripes. _Sides_, a blue selvage of two or three cords. _Both
ends_, a narrow blue web of “herring-bone” weave, a knotted selvage or
several rows of knots, and short warp fringe. _Texture_, slightly firm.
_Weave_ at back is of moderately fine grain. _Usual length_, four to
eight feet. _Usual width_, two fifths to two thirds length.
TIFLIS.—When it is considered that for centuries Tiflis has been the
Georgian capital, where culture and art received more encouragement than
in the provinces; that it was in constant communication with the
rug-producing countries on all sides; and was on one of the great
highways between Persia and Europe, it is surprising that what has been
written hitherto about Caucasian rugs has contained almost no reference
to a type peculiar to this city and district. This is undoubtedly due to
the fact that within recent years hardly any rugs have been produced
there, and that the old pieces are few and but little known.
Nevertheless, now and then come to light beautiful old rugs which are
dissimilar to those of all other classes. The wool of their moderately
long nap has a silkiness that suggests a Shiraz or a Meshed; the colour
scheme includes a very wide range of bright and positive tones, such as
blue, green, rose, and ivory; the weave of delicate and fine threads is
as close as that of old Bergamos. A glance at the ends and back helps to
determine the type; for the warp is occasionally of cotton, which is a
peculiarity not seen in many other Caucasian classes; the weft which
crosses from three to five times is of very finely spun wool mostly dyed
a brown or dull red, and strung with great exactness; and the knots are
tied with care. There is also something distinctive in many of the
patterns; for however interesting they may be, precision of drawing is
often combined with discordance of detail. One part of the field, for
instance, may consist of a well executed diaper pattern; another part
may represent a number of stiff, perpendicular, parallel bars, occupying
the full width of the field; and still another part may be entirely
occupied by hexagonal-shaped pear designs. Adjoining these may be other
pear designs of totally dissimilar shape as well as mystic symbols and
other strange devices. Likewise, many different colours may be placed in
close relation, yet the wool is so soft and the tones so delicate that
the effect is not harsh. Some sort of tree-form is not unusual; but on
the whole, the designs of both field and border are geometric.
_Type Characteristics._ _Colours_, principally blue and red, with minor
quantities of yellow, green, and brown. _Knot_, Ghiordes. Knots to inch
horizontally six to ten; perpendicularly, six to ten. A half knot, as it
appears at back, is as long as wide or longer. The rows of knots are
firmly pressed down, so that the warp does not show at back. _Warp_,
generally wool, occasionally cotton; each of the two threads encircled
by a knot is equally prominent at back. _Weft_, wool, of fine diameter,
usually dyed red or brown. A thread of weft crosses from three to five
times between every two rows of knots. _Pile_, soft wool of medium
length. _Border_, three to five stripes. _Sides_, a double overcasting
or narrow selvage. _Both ends_, a web and warp fringe. _Texture_, firm.
_Weave_ at back is of moderately fine grain. _Usual length_, six to
eleven feet. _Usual width_, three eighths to two thirds length.
KUTAIS.—Among a large assortment of Caucasian rugs are occasionally seen
a few pieces from Kutais, once famed as the home of Media, and now the
capital of Imeritia. The gardens surrounding its homes, that line both
banks of the river Rion, are fragrant with lilacs and roses; in the
valley beyond the city, pink rhododendrons and yellow azaleas blossom
beneath the oaks. Here is woodland scenery not found in other parts of
Caucasia, and it might be expected that the weavings of the people would
have a striking individuality of their own; but they are little known as
a distinct class. In fact, they bear such a resemblance to the Kazaks
that they are constantly mistaken for them; though as a rule they have a
more oblong shape and somewhat shorter nap; they are less stoutly woven,
less barbaric, and contain fewer crude, nomadic devices. Moreover, as
this district was producing rugs before the Cossacks had settled
permanently in Southern Caucasia, it is not improbable that some of its
patterns were copied by them.
[Illustration: PLATE 50. GENGHA RUG]
A peculiarity of this class is the drawing of the pear designs, which
are found in a very large number of the rugs. The extension of the
narrower end, instead of being a short, curved hook, is generally more
developed, so that it may be as long as the major axis of the pear and
frequently stands almost at right angles to it. Also attached to the
sides of the pear are rectangular bead-like processes (Plate O, Fig. 6c,
Page 291). In many of these rugs, the field is divided into a number
of bands parallel with the sides; and through them run vines, from which
the pears are suspended. Or the pears may be arranged in regular order
on the field without the bands and vines. Sometimes the field is reduced
to a very small space by a broad border consisting of a number of
stripes, some of which are often of striking patterns. One of them is
represented in Plate I, Fig. 15 (opp. Page 226), which suggests the
grape vine common to the gardens of Kutais. Some form of the tree of
life and floral forms are also seen in old pieces.
A resemblance exists between the weave of Kutais and Tiflis rugs, as in
each the weft usually crosses several times; it is generally coloured
blue or red, and is formed of fine threads of yarn. The wool of the nap
is of the same fine quality; but the warp of the Kutais rugs, which is
almost invariably of wool, frequently consists of a brown and white
thread twisted together; and the knots are tied less evenly, so that the
alignment at the back is a little more irregular, yet less so than in
Kazaks.
_Type Characteristics._ _Colours_, principally red, blue, and white,
with minor quantities of yellow, brown, and black. _Knot_, Ghiordes.
Knots to inch horizontally five to nine; perpendicularly, six to eleven.
A half knot, as it appears at back, is as long as wide or longer. The
rows of knots are slightly pressed down. The alignment is more even than
in Kazaks. _Warp_, generally wool, occasionally cotton; each of the two
threads encircled by a knot is equally prominent at the back. _Weft_,
wool, of fine or medium diameter. A thread of weft usually crosses three
times, occasionally only once, and again four or five times. _Pile_,
wool, of medium length or long. _Border_, three to five stripes.
_Sides_, either a double overcasting, or a double selvage of two or
three cords. _Both ends_, a web and warp fringe. _Texture_, moderately
firm. _Weave_ at back, generally of medium fine grain but occasionally
coarse. _Usual length_, six to twelve feet. _Usual width_, one third to
two thirds length.
KAZAKS.—Of the warlike Cossack tribes, which were once stationed along
the southeastern border of Russia to protect it from the depradations of
Caucasians, a number settled permanently in Circassia, and a few crossed
the mountains to the high plateau lying between Lake Gotcha and Mt.
Ararat. Here they adopted more sedentary lives; but there still lingers
the inherited spirit that generations ago won for them the name Kazaks,
which denotes to the Tartars, from whom many have doubtless sprung, a
Marauder. All of these tribes weave; but the rugs seen in this country
come principally from the southern district, where may also be found the
fabrics of other races such as Armenians, Tartars, and the native
people. Nevertheless, the Kazak weavings are of a most distinct type, to
which even the smaller Kazakjes conform. They have bright, rich colours,
of which a liberal amount of green is almost invariably present, though
sparingly used in other Caucasian rugs. Only the Tcherkess vie with them
in the length of the nap; and no other class has such noticeable
patterns of incongruous sizes and shapes. They have, in fact, the most
nomadic, unconventional patterns of all this northern group; and in
their barbaric characteristics, they bear much the same relation to
other Caucasian rugs as those of Western Kurdish and Yuruk tribes bear
to Persian and Asia Minor pieces.
In marked contrast to the almost mosaic drawing of Chichis and many
Daghestans, the Kazaks show a tribal fondness for large patterns.
Sometimes the field is divided into three horizontal panels, which may
be entirely plain except for a simple design fringing the edges; or as
is more frequently the case, it may be occupied by large, slightly
elongated octagons, within which are represented smaller figures.
Occupying almost the entire field of other pieces are large patterns
like medallions, perfectly balanced with reference to the centre and
subdivided into small sections, each of which contains individual
motives. A few of this class, also, have the “sunburst” pattern, so
characteristic of the Tcherkess.
At least half the pieces now seen are without any formal pattern, but
contain a heterogeneous lot of geometric designs characteristic of
nomadic weavings; but even these are generally arranged with the idea of
symmetrical balance. For instance, at the centre may be a large
geometric figure surrounded at equal distances by pairs of smaller and
similar figures. Not infrequently the drawing of the upper and lower
half, or of the right and left side, shows an almost perfect
correspondence, notwithstanding the many separate designs. The most
common of these are eight-pointed stars, lozenges fringed with
latch-hooks, and what are known as the “tarantula” device. Of the
innumerable small figures, the octagonal discs and S forms are the most
common; crude animal and human figures are also seen.
Excepting the addition of the arch, there is little distinction between
namazliks and sedjadehs. It is small and less graceful than that of Asia
Minor pieces, and follows stiff lines in harmony with the general
pattern. It is, however, drawn in two different ways. Generally it has
the shape of half an octagon, or of a wall-tent with apex flattened;
but not infrequently it is square or slightly oblong. The narrow bands
that form the arch are extended transversely from each side of the base
to the borders; and occasionally they are continued down the sides of
the field to form at the bottom a figure similar to the square-shaped
arch. Now and then a comb, or small figure of diamond shape, on which to
place the bit of sacred earth from Mecca, is outlined within the mihrab;
and now and then crude palm-like figures, indicating where the hands are
to be rested in the act of devotion, are represented at the sides.
However many stripes the border may contain, rarely are there more than
one of any consequence; since the guard stripes have generally only the
reciprocal sawtooth or trefoil patterns, the barber-pole or dotted lines.
The absence of important secondary stripes, however, brings out more
prominently the drawing and colouring of the main one. The most common
pattern is what is known as the “tarantula” represented in Plate I, Fig.
8 (opp. Page 226). Very similar is the crab pattern (Plate I, Fig. 7),
which was undoubtedly derived from the double vine of some Persian rug,
as the crab-like figure may be resolved into a rosette to which are
attached four conventionalised leaves. Another pattern, which is also
seen in Kutais rugs, is the crude but striking vine shown in Plate I,
Fig. 15, which, when represented in bold, rich colours on an ivory
field, makes a most effective and beautiful border stripe. Other border
stripes frequently employed in these rugs appear in Plate I.
Unfortunately, during recent years, many inferior rugs of other tribes
have been sold as Kazaks, which in a measure they often resemble though
they lack their spirit and character. The very modern Kazaks, also, are
often of poor quality, but those made two generations or more ago were
carefully and stoutly woven, with silky wool dyed with the best of
vegetable colours. There is always something interestingly barbaric in
their long, almost shaggy nap, their masses of rich red and green, their
bold designs surrounded by smaller nomadic figures, all of which
collectively find no counterpart in any other Caucasian rugs.
_Type Characteristics._ _Colours_, principally red, green, and yellow,
also some blue, white, and brown. _Knot_, Ghiordes. Knots to inch
horizontally six to nine; perpendicularly, seven to ten. The rows of
knots are pressed down, so that the warp is hidden at back. _Warp_,
wool; each of the two threads encircled by a knot is equally prominent
at back. _Weft_, wool, of coarse diameter, usually dyed red or brown. A
thread of weft generally crosses only twice between every two rows of
knots, but occasionally three or four times. _Pile_, wool, clipped long.
_Border_, three to five stripes. _Sides_, a double overcasting attached
in figure-eight fashion to the sides, or a double selvage having from
three to five cords. _Lower end_, a red or brown web and warp loops, or
a braided selvage and fringe. _Upper end_, a red or brown web,
occasionally a braided selvage or several rows of knots, and a warp
fringe. _Texture_, stout. _Weave_ at back is of very coarse grain.
_Usual length_, five to twelve feet. _Usual width_, one third to three
quarters length.
KARABAGHS.—To the southeast of Lake Gotcha and north of the river Aras,
that divides Caucasia from Persia, is the district of Karabagh, a name
signifying “Black Vineyard.” On account of its geographic position, it
has been subject to the Shahs for long periods, during the many
struggles between the two countries. It is, moreover, separated from the
rug-producing district of Karadagh by the river only; and its southern
border is less than eighty miles distant from the city of Tabriz, to
which many of its rugs are taken. For these reasons it would be only
natural to expect that the weavings of Karabagh would show more of the
Persian influence than those of any other part of Caucasia. Such,
indeed, is true, when applied to the oldest pieces; but it is not at all
true in the case of a large percentage of the modern products.
Within recent years large numbers of these coarsely made and wretchedly
dyed rugs have reached the Western markets. Some of them resemble Kazaks
in their geometric figures; but differ from them in their workmanship,
since one of the two threads encircled by a knot is depressed; they are
much more loosely woven; they are not so large; nor for the most part
are they so heavy. Other pieces often lack the symbolic and other small
designs that render nomadic rugs so interesting. Occasionally the
central field is almost figureless, or there may be large expanses of
white or some raw colour such as startling red, yellow, or blue, on
which appear stiffly and crudely drawn nondescript devices.
[Illustration: PLATE 51. ROYAL BOKHARA RUG]
It is a relief to turn from these poor pieces to those woven half a
century ago, with less obtrusive colouring and more chaste patterns.
Many of the old pieces are oblong sedjadehs, which have often a length
almost twice the breadth; though the more modern pieces incline to
smaller and nearly square sizes. There are also namazliks that do not
always religiously follow the usual pattern; for now and then one is
seen with an arch of several steps, rising from near the middle of the
sides, and with a diamond for the sacred earth or pebble from Mecca, as
is shown in Plate C, Fig. 12 (Page 61). The particular piece from which
this was drawn was over fifty years old and was three fourths as wide as
long. Scattered over the main field, which was yellowish brown, and the
spandrels, which were white, were geometrically shaped flowers with long
angular stems tinted with blue, green, and pinkish red.
The borders show as great diversity as the fields, but one stripe
usually contains a concession to the Persian and another to the
Caucasian tradition. For instance, the primary stripe may be of Iranian
character flanked by the running latch-hook; or it may be the well-known
crab pattern, while the adjacent stripe may be a running vine of simple
form.
Many of these old pieces are very handsome and equal in artistic finish
the best of Caucasian rugs; the drawing is carefully executed; the
colours are rich; the weave is fair; but like the rare old rugs of
Daghestan and Tiflis, are now seldom seen.
_Type Characteristics._ _Colours_, principally red, blue, yellow, and
white. _Knot_, Ghiordes. Knots to inch horizontally six to ten;
perpendicularly, seven to ten. The rows of knots are only slightly
pressed down, yet the warp is generally concealed at back. _Warp_, wool;
one of the two threads encircled by a half knot is depressed below the
other at back. _Weft_, wool, of medium or coarse diameter, sometimes
dyed red. A thread of weft crosses twice between every two rows of
knots. _Pile_, wool, of short or medium length. _Border_, three stripes.
_Sides_, generally a double selvage of two or three cords, in lengths of
different colours; occasionally a double overcasting attached
figure-eight fashion. _Lower end_, a web and warp loops, or a braided
selvage, one row of knots or more, and a warp fringe. _Upper end_, a
web, a web turned back and hemmed, or a braided selvage, one row of
knots or more, and a warp fringe. _Texture_, loose. _Weave_ at back is
of coarse grain. _Usual length_, four to nine feet. _Usual width_, one
half to three quarters length.
SHUSHAS.—About seventy miles to the southeast of Lake Gotcha is Shusha,
capital of Karabagh. Nearly two centuries ago, it was built by Nadir
Shah on an almost inaccessible mountain side to guard the northern
boundary of Persia, which had been extended to the Caucasus. It has now
about twelve thousand inhabitants, and is the market place for numerous
tribes that are scattered over the dry plains as far as the Aras river.
In this city and in the suburbs are woven rugs that are frequently
imported to this country and sold under several names, yet are of a
distinct type. They resemble the Karabaghs of the surrounding country
but differ from them in their richer and more subdued colours as well as
in the stoutness of weave. One thread of warp to each knot is doubled
beneath the other, whereas in the rugs of the desert tribes it is only
depressed.
_Type Characteristics._ _Colours_, principally dark blue, red, and
brown, with minor quantities of green and yellow. _Knot_, Ghiordes.
Knots to inch horizontally seven to twelve; perpendicularly, six to
eleven. The rows of knots are only slightly pressed down, so that the
warp shows at back. _Warp_, wool; one of the two threads encircled by a
knot is much depressed below the other at back, and frequently doubled
under the other. _Weft_, wool, of medium diameter, generally dyed red. 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 or three cords, often attached to the sides in
figure-eight fashion. _Lower end_, a narrow web and warp loops. _Upper
end_, a web that is sometimes turned back and hemmed, and a warp fringe.
_Texture_, moderately firm. _Weave_ at back is of slightly coarse grain.
_Usual length_, four to nine feet. _Usual width_, one half to three
quarters length.
GENGHAS.—Over the land lying between lakes Gotcha, Van, and Urumiah, in
Caucasia, Armenia, and Persia, tribes of mixed origin wander back and
forth, but frequently gather at the yearly fair of Elizabethpol. During
the period when the Persian rule extended over the country, it was the
residence of a Khan and an important centre of trade. As it was then
known as Ganja or Gengha, the weavings of these nomads, which were
marketed there, acquired that name.
[Illustration: PLATE 52. PRINCESS BOKHARA RUG]
Naturally they are a heterogeneous lot containing ideas incorporated
from many sources; but they resemble the Kazaks more than anything
else, and are frequently mistaken for them. Yet some of the distinctions
are very marked: they have a more oblong shape; the nap is shorter; and
they are less stoutly woven. In the Kazaks a thread of weft, as a rule,
crosses only twice between two rows of knots, which are firmly pressed
down; but in these rugs a thread of weft crosses from four to eight
times between two rows of knots, which are not firmly pressed down, so
that the narrow filling of weft is sometimes even four times as wide as
a row of knots and presents a bead-like appearance. In the colour scheme
of numerous pieces, which in many respects resembles that of Karabaghs,
is often a preponderance of ivory white. There is no characteristic
pattern. The field may be covered with diagonal stripes as in some
Shirvans; it may consist largely of lozenges fringed with latch-hooks
and tarantula devices; again, it may have some large central figure
surrounded by a motley lot of emblematic as well as apparently
meaningless devices, or crudely drawn human, animal, or floral forms.
The borders, likewise, include a wide scope of patterns. It is,
therefore, largely by the character of the weave, quality of material,
and finish of sides and ends, that these pieces can be distinguished
from other nomadic products.
_Type Characteristics._ _Colours_, principally blue, red, and white,
with minor quantities of green, yellow, and brown. _Knot_, Ghiordes.
Knots to inch horizontally six to eight; perpendicularly, six to nine. A
half knot, as it appears at back, is longer than wide. The rows of knots
are not firmly pressed down, so that the warp shows at the back. _Warp_,
generally wool, occasionally goat’s hair; each of the two threads
encircled by a knot is equally prominent at the back. _Weft_, wool, of
medium diameter and usually dyed red. A thread of weft crosses twice
between every two rows of knots, but generally three and frequently as
many as six or eight times. _Pile_, wool of medium length. _Border_,
three or four stripes. _Sides_, a double selvage of two, three, or four
cords. _Lower end_, a web, usually coloured red, and warp loops. _Upper
end_, a web to which a braided selvage is often added, and a warp
fringe. _Texture_, very loose. _Weave_ at back is of coarse grain.
_Usual length_, five to nine feet. _Usual width_, two fifths to two
thirds length.
BORDER STRIPES
Disregarding a very few floral secondary stripes that have been derived
from Persian rugs, the Caucasian borders are characterised by geometric
patterns, which distinguish them from other groups. But were it possible
to trace them to their origin, it would doubtless be found that a very
large number that are now strictly geometric have degenerated from leaf
and flower patterns. Of the remainder, some are symbolic and others are
crude copies of familiar objects. The more artistic and realistically
drawn floral patterns appear in the less conspicuous secondary stripes;
but on the other hand the primary stripes contain a number of unusually
interesting patterns, which have been copied for centuries.
PRIMARY STRIPES.—The cup and serrated leaf pattern (Plate I, Fig. 1,
opp. Page 226) appears so frequently in Shirvans as to be almost
typical. It is also occasionally seen in Daghestans and Kabistans; but
probably originated in Southern Caucasia or Armenia, since it is found
similarly drawn in rugs woven in that district about 1500 A. D. It is a
pattern that scarcely varies with time or locality except in the number
of serrations to the leaf and in the shape of the cup.
Serrated leaf patterns, represented in Figs. 2 and 3, Plate I, are
sometimes seen in Kazak and other nomadic rugs. It is not improbable
that they have a common origin with the Shirvan cup and leaf pattern.
In the stripe represented in Plate I, Fig. 4, is a series of wine cup
rosettes that are occasionally seen in the old rugs from the Shirvan
district. In fact, the wine cup design is a favourite there.
Another stripe, in which a somewhat similar cup appears, is shown in
Plate I, Fig. 5. This is an old nomadic pattern not frequently seen.
Fig. 6 of Plate I, represents the well-known Chichi border stripe,
composed of rosettes separated by diagonally drawn ribbon-like bars. To
the rosettes are attached tri-cleft leaves. This stripe suggests at once
some Persian vine and flower.
What is known as the crab pattern (Plate I, Fig. 7), is seen in Kazaks
and other Caucasian nomadic rugs, as well as in a few very modern Asia
Minor pieces. Though its resemblance to a crab is noticeable, it is
really a rosette to which are attached four crudely drawn leaves, that
frequently contain smaller designs at their centres.
[Illustration: PLATE I. PRIMARY BORDER-STRIPES OF CAUCASIAN RUGS]
Slightly resembling the last is the so-called tarantula pattern (Plate
I, Fig. 8), that was possibly derived from the stripe with an
eight-pointed star (Plate K, Fig. 12, opp. Page 230); but it seems more
probable that the inspiration is Iranian and that it is intended for
rosette and double vine. This stripe is found in Kazaks, Genghas,
Tcherkess, and other nomadic rugs.
Somewhat like the last is the stripe of Plate I, Fig. 9, that is now and
then seen in old Tiflis and other rugs of Southern Caucasia. It suggests
a geometric rosette and double vine.
Occasionally the dainty clover-leaf design, represented in Plate I, Fig.
10, is used by the nomadic weavers. It is almost the only reciprocal
pattern found in a Caucasian primary stripe.
The repetitive urn-shaped pattern of Plate I, Fig. 11 is once in a while
seen in old rugs of the Daghestan country.
On account of the resemblance between the stripes shown in Plate I,
Figs. 12 and 13, they have probably a common origin. Both are found in
rugs of the Daghestan and Shirvan districts, and the former is
occasionally seen in rugs of Asia Minor. Sometimes smaller adventitious
devices are placed at the sides of the stripes between the rosettes.
Resembling the last is the pattern shown in Plate I, Fig. 14, which is
commonly seen in Shirvan rugs and kilims. It is purely geometric and
resembles one used in Western Asia Minor rugs of the XV Century, from
which it may have been derived.
Though greatly conventionalised, the pattern represented in Plate I,
Fig. 15 is a vine and leaf derived from much more ornate forms, which
may be seen in a XVI Century Asia Minor piece that is in the British
Museum. It is now seldom copied, but was once a popular pattern for the
Kazak and Kutais weavers.
Some form of the latch-hook appears in a large number of Caucasian
stripes, but mostly in nomadic pieces. Figs. 16, 17, 18, 19, and 20 of
Plate I, represent patterns found mostly in old Kazaks and kindred rugs.
The last one is also occasionally used as a secondary stripe. The
patterns shown in Plate I, Figs. 21 and 22 are from stripes sometimes
seen in the Daghestan and Shirvan districts.
A much more interesting stripe because of its well authenticated
antiquity, is the one shown in Plate J, Fig. 1 (opp. Page 228). It is
found in rugs made in Southern Caucasia two centuries ago, and according
to Dr. Martin has been used since the XII Century. Probably as the
result of copying, the design appears reversed in many old rugs.[30]
These stripes are seen in comparatively recent pieces, but principally
in those of the Daghestan and Shirvan districts. Though the latch-hook
is suggested by the small triangular parts, it is more probable that
originally they were intended for leaves. In a few stripes the design is
elongated, and in place of a single crossbar there are several, forming
a figure that slightly resembles a poinsetta, which is the term
occasionally applied to it by weavers.
The stripe shown in Plate J, Fig. 2, which is found in Kazak and other
nomadic rugs, is interesting as representing a vine of which the pendant
flower is replaced by a T formed by latch-hooks.
In Figs. 3 and 4 of Plate J, are patterns of stripes found in rugs of
the Shirvan and Daghestan districts. As they are several centuries old,
they may be derived from Armenian patterns, to which they show kinship.
Both patterns are at times reversed as the result of copying.[31] A
stripe also used in the same districts and probably of similar origin is
seen in Plate J, Fig. 5.
Differing from any of these because of their utilitarian origin, are the
separate designs, which arranged in perpendicular rows, form the “churn”
stripe of Plate J, Fig. 6. Each of them represents crude machines for
churning milk, which were formerly used by the nomadic tribes of
Southern Caucasia and Armenia, who constructed them out of logs with a
length of about five feet, and placed the sharpened base in the ground.
Then hanging a goat’s skin filled with milk over each of the sides, and
seating themselves in the middle, they turned first one then the other.
As might be expected, these stripes belong entirely to nomadic rugs.
Figs. 7 and 8 of Plate J, represent stripes sometimes seen in Shirvans.
The latter is undoubtedly derived from the prayer patterns that are
often used in these rugs.
What is known as the Georgian stripe is shown in Plate J, Fig. 9. It is
found in Daghestans, Kabistans, Shirvans, Soumaks, Shemakhas, and Kubas.
Though a primary stripe, it is rarely placed at the centre of the
border, but at the outer or the inner side, or at both sides with a less
ornate stripe between. As a rule it accompanies only the more artistic
rugs.
Generally the primary stripes of Soumaks are different from those of
other rugs. A few appear in Figs. 10, 11 and 12 of Plate J. The last is
interesting on account of the leaf-like forms of the octagonal designs.
[Illustration: PLATE J. PRIMARY BORDER-STRIPES OF CAUCASIAN RUGS]
The stripes seen in Plate J, Figs. 13, 14 and 15 are found only in
nomadic rugs. The last is interesting principally on account of the
swastikas.
And old form now and then seen in the Daghestan-Shirvan classes appear
in Plate J, Fig. 16. It is an archaic pattern copied from a most
interesting Daghestan prayer rug.
The stripe shown in Plate J, Fig. 17 is sometimes adopted in rugs of
Southern Caucasia, such as the Kutais and Kazak.
Another very old pattern found in the borders of the Daghestan-Shirvan
classes is shown in Plate J, Fig. 18. Though it suggests the narrow
tertiary stripes known as “barber-poles,” it differs from them by being
very much wider, and by containing bars of many different colours, as
red, yellow, cream, blue, green, and brown, which generally contain
short, oblong dashes.
A very interesting stripe, found almost exclusively in rugs from the
districts of Daghestan and Shirvan, is the Cufic pattern of Plate J,
Fig. 19. It is particularly characteristic of old Daghestans and
Kabistans, but must have been introduced through Shirvan from Armenia,
as it can be traced through a gradation of changes to stripes of Cufic
characters used in Asia Minor rugs of the XV Century.
Plate J, Fig. 20 represents a “bracket-chain” pattern that probably
originated in Asia Minor, but is occasionally found in the rugs of
Caucasia.
In Plate J, Fig. 21 is a stripe representing scorpions, that is very
rarely seen in Shirvans; and in Fig. 22 is a stripe representing birds,
sometimes seen in Bakus.
SECONDARY AND TERTIARY STRIPES.—As the pattern shown in Plate K, Fig. 1
(opp. Page 230) shows in profile flowers representing carnations, it has
been called the “carnation pattern.” It is very common in Shirvans,
Kabistans, and Daghestans.
Less frequently seen are the rectangular vine with a design like a
three-leaf clover, shown in Plate K, Fig. 2, and the very graceful vine
with leaf and flower shown in Fig. 3, both of which are indiscriminately
used in place of the carnation pattern in rugs with the same primary
stripe. The latter is the most dainty and graceful Caucasian floral
stripe. It is found in pieces of the Kabistan and Daghestan classes made
over a century and a half ago, and is probably of Iranian extraction.
Another floral pattern from the same district is seen in Plate K, Fig.
4. It often accompanies the Georgian stripe of Daghestans and Soumaks,
with which its stiff drawing harmonises.
Likewise, the stripe shown in Fig. 5 is found now and then in the same
classes of rugs. Similar rosettes are sometimes represented in Persian
stripes that show the influence of nomadic weavers.
Simple forms of the running vine which are seen mostly in the rugs of
Southern Caucasia are represented in Plate K, Figs. 6, 7, 8, 9, and 10.
All are old patterns. The third appears in an Asia Minor carpet woven
about 1250 A. D. The fourth is found in some of the oldest remaining
rugs from Southern Caucasia, that date back two and a half centuries;
and a pattern similar to the last is seen in some Persian carpets made
about 1650 A. D.
Plate K, Figs. 11 and 12 represent stripes sometimes seen in Chichis and
a few other Caucasian rugs.
A very simple pattern, but one that at times is very attractive on
account of its delicate colouring, is shown in Plate K, Fig. 13, and
another is shown in Fig. 14. Both are used principally in rugs of
Southern Caucasia.
The stripe represented in Plate K, Fig, 15, is found in very old rugs of
the Daghestan and Derbend types; and there is a tradition among some of
the native weavers that the designs originally represented boat hooks
used by the sailors of the Caspian Sea. It is not unreasonable to
suppose that the early weavers imitated objects of utility before those
of mere ornament; but even if there is any basis for the tradition, it
is equally probable that these designs are derived from the lily or
other floral forms, and were introduced from Persia.
Somewhat similar to the last is the reciprocal trefoil, which generally
appears with more simple drawing than is shown in Plate F, Fig. 17 (opp.
Page 158). It is more widely used for a border stripe than any other
pattern, as it is found in almost all Caucasian, in a large number of
Persian, in Indian, and Beluchistan rugs. It was commonly used in
Persian rugs as early as the year 1500.
The dainty Chain pattern of Plate K, Fig. 16 has a well authenticated
antiquity, as it is found in Asia Minor carpets of the XV Century, from
which it was probably derived. Without doubt it was a favourite pattern
three centuries ago, as it appears in some of the early paintings in
which Oriental carpets are represented.
[Illustration: PLATE K. SECONDARY AND TERTIARY BORDER-STRIPES OF
CAUCASIAN RUGS]
Not infrequently the right-angled corners are rounded so as to give it a
more graceful form.
As the purely geometric pattern of Plate K, Fig. 17 is entirely lacking
in ornamental features, it is used principally to separate more
important stripes. Occasionally it is found in such rugs as the Chichis
and Shirvans.
Another very simple pattern that is sometimes used as an inside stripe
is seen in Plate K, Fig. 18. This is evidently an archaic form and is
found principally in pieces of the Shirvan district.
The reciprocal sawtooth and the running latch-hook patterns (Plate K,
Figs. 19 and 20) belong to the less important stripes of not only
Caucasian but a number of Persian rugs. The former pattern appears
constantly on the monuments of ancient Susa, and doubtless had once some
symbolic meaning. The latter is seen in the corners of the Dragon and
Phœnix carpet (Plate 20, opp. Page 88) which was woven about 1350
A. D.
TECHNICALITIES IN THE WEAVE OF CAUCASIAN RUGS
Legend:
KNOT—
H = Horizontally
P = Perpendicularly
WARP—
g = goat’s hair
e = each equally prominent
d = 1 to the knot depressed
h = 1 to the knot doubled under
WEFT—
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 │
│ ├─────────┬──────┬───────────┼─────┬───────┬────┬───────────┤
│ CAUCASIAN │ │ │ Number to │ │ │ │ At back │
│ │ │ │ Inches │ │ │ │ │
│ │ G = │ S = ├─────┬─────┤ w =│ c = │ ├───┬───┬───┤
│ │ Ghiordes│ Sehna│ H │ P │ wool│ cotton│ s/l│ e │ d │ h │
├────────────┼─────────┼──────┼─────┼─────┼─────┼───────┼────┼───┼───┼───┤
│Baku │ G │ │ 6-9 │ 7-11│ w │ │ │ e │ │ │
│Chichi │ G │ │ 7-10│ 8-12│ w │ │ │ e │ │ │
│Daghestan │ G │ │ 7-10│ 8-15│ w │ │ │ e │[d]│ │
│Derbend │ G │ │ 5-9 │ 6-12│ w │ [c] │ │ e │ │ │
│Gengha │ G │ │ 6-8 │ 6-9 │ w │ │[g] │ e │ │ │
│ │ │ │ │ │ │ │ │ │ │ │
│Kabistan │ G │ │ 7-12│ 8-16│ w │ │ │ e │ │ │
│Karabagh │ G │ │ 6-10│ 7-10│ w │ │ │ │ d │ │
│Kasak │ G │ │ 6-9 │ 7-10│ w │ │ │ e │ │ │
│Kuba │ G │ │ 6-9 │ 7-13│ w │ │ │ e │ │ │
│Kutais │ G │ │ 5-9 │ 7-12│ w │ [c] │ │ e │ │ │
│Lesghian │ G │ │ 6-9 │ 6-11│ w │ │ │[e]│ d │[h]│
│Shemakha │ G │ │ 7-11│ 7-13│ w │ │ │ │ d │ │
│Shirvan │ G │ │ 7-12│ 8-12│ w │ │ │ e │ │ │
│Shousha │ G │ │ 7-12│ 6-11│ w │ │ │ │ d │ h │
│Soumak │ │ │ 8-14│ 6-16│ w │ │ │ e │ │ │
│Tcherkess │ G │ │ 6-9 │ 7-10│ w │ │ │ e │[d]│ │
│Tiflis │ G │ │ 6-10│ 6-10│ w │ [c] │ │ e │ │ │
└────────────┴─────────┴──────┴─────┴─────┴─────┴───────┴────┴───┴───┴───┘
┌────────────┬─────────────────────┬───────┬─────────────────┐
│ │ WEFT │ SIDES │ LOWER END │
│ ├─────┬───────┬───────┼───┬───┼─────┬───┬───┬───┤
│ CAUCASIAN │ │ │ │ │ │ │ │ │ │
│ │ w = │ c = │ │ │ │ │ │ │ │
│ │wool │ cotton│ No. │ O │ S │ W/S │ K │ L │ F │
├────────────┼─────┼───────┼───────┼───┼───┼─────┼───┼───┼───┤
│Baku │ w │ │ 2 │ O │ S │ W │ K │ │ F │
│Chichi │ w │ │ 2 │ O │[S]│ W │ K │ │ F │
│Daghestan │ w │ │ 2 │[O]│ S │ W │ K │ │ F │
│Derbend │ w │ [c] │ 2/[1] │[O]│ S │ W │[K]│ │ F │
│Gengha │ w │ │ 2-4 │ │ S │ W │ │ L │ │
│ │ │ │ [6-8] │ │ │ │ │ │ │
│Kabistan │ w │ c │[2]/[3]│ O │ S │W/[S]│ │ L │ │
│Karabagh │ w │ │ 2 │[O]│ S │W/[S]│[K]│ L │ F │
│Kasak │ w │ │2/[3-4]│ O │ S │W/[S]│ │ L │ F │
│Kuba │ w │ │ 2 │ │ S │ W │[K]│ │ F │
│Kutais │ w │ │3/[1-5]│ O │ S │ W │ │ │ F │
│Lesghian │ w │ │ 2 │ │ S │ W │ K │ │ F │
│Shemakha │ w │ │ 2 │ │ S │ W/S │ │ │ F │
│Shirvan │ w │ [c] │ 2 │[O]│ S │ W │ K │ │ F │
│Shousha │ w │ │ 2 │ │ S │ W │ │ L │ │
│Soumak │ w │ │ 2 │[O]│ S │ W/S │ K │ │ F │
│Tcherkess │ w │ │2/[4-6]│ │ S │ W/S │ K │ │ F │
│Tiflis │ w │ │ 3-5 │ O │ S │ W │ │ │ F │
└────────────┴─────┴───────┴───────┴───┴───┴─────┴───┴───┴───┘
┌────────────┬─────────────────┬───────────┬───────────┬──────────┐
│ │ UPPER END │ NAP │ WEAVE │ TEXTURE │
│ ├─────┬───┬───┬───┼───────────┼───────────┼──────────┤
│ CAUCASIAN │ │ │ │ │l = long │f = fine │l = loose │
│ │ │ │ │ │m = medium │m = medium │m = medium│
│ │ W/S │ K │ T │ F │s = short │c = coarse │f = firm │
├────────────┼─────┼───┼───┼───┼───────────┼───────────┼──────────┤
│Baku │ W │ K │ │ F │ s │ m │ m/f │
│Chichi │ W │ K │ │ F │ m/s │ m │ m │
│Daghestan │ W │ K │ │ F │ s │ f │ m/f │
│Derbend │ W │[K]│ │ F │ m │ m │ m/l │
│Gengha │W/[S]│ │ │ F │ m │ c │ l │
│ │ │ │ │ │ │ │ │
│Kabistan │W/[S]│ │ │ F │ m │ m │ m/f │
│Karabagh │W/[S]│[K]│ T │ F │ m │ c │ l │
│Kasak │W/[S]│[K]│ │ F │ l │ c │ f │
│Kuba │W/[S]│[K]│ │ F │ m │ m │ m/l │
│Kutais │ W │ │ │ F │ m │ m/c │ m/f │
│Lesghian │ W │ K │ │ F │ m │ c │ f │
│Shemakha │ W/S │ │ │ F │ m │ m/f │ m/f │
│Shirvan │ W │ K │ │ F │ m/s │ m/c │ m/l │
│Shousha │ W │ │[T]│ F │ m │ m/c │ m/f │
│Soumak │ W/S │ K │ │ F │ │ m │ m │
│Tcherkess │ W/S │ K │ │ F │ m │ m │ f │
│Tiflis │ W │ │ │ F │ m │ m/f │ f │
└────────────┴─────┴───┴───┴───┴───────────┴───────────┴──────────┘
[] indicates the less frequent condition.