KILIMS
KILIMS have a special interest apart from their beauty and utility, as
some of them undoubtedly resemble the early fabrics of the Egyptians and
Babylonians from which were evolved the more durable pile carpets. The
different links in this evolution can only be conjectured. Yet it is not
unlikely that such pieces as the nomadic kilims, which occasionally have
little tufts of wool attached for ornament or loose threads of weft
hanging from one side, first suggested the greater durability and warmth
that would be derived from a woven fabric completely covered with tufts
of yarn.
It is also certain that the most delicately woven kilims have likewise
been evolved from cruder forms. In fact, the different steps in this
evolution correspond to three separate styles of weaving still in vogue.
The earliest products which were made subsequent to the primitive
weaving of uncoloured warp and weft were doubtless similar to the simple
fabrics now used to line the under side of saddle bags, and consisted of
a warp and weft of uniformly coloured threads. A much more advanced
style, induced by a desire for ornamentation, was the representation of
patterns which required the use of different coloured threads of weft.
As these threads were never carried beyond the edges of each pattern,
their loose ends were at first allowed to hang at the back, giving an
appearance somewhat similar to what is seen in Soumaks. The third and
most finished style, representing much higher workmanship, was produced
by deftly disposing of the ends of threads of weft so that they should
be concealed and thus permit each surface of the kilim to be exactly the
same.
Each of these kinds of weaving is constantly seen in the East. The first
not only is used as a lining for saddle bags, but is frequently
substituted for them. It is also sometimes used as the only floor
covering, or again is laid as a protection beneath valuable carpets. It
often replaces the heavier felt for tents, and indeed is utilised for
all purposes requiring a strong material like canvas. The second is
found among nomadic weavers, especially those of Asia Minor; who
naturally waste no unnecessary labour in weaving kilims with a delicate
finish, which would be quickly marred by the rough usage that they
receive. The third, which is the more elegant product, is invariably not
only of excellent finish but of carefully drawn patterns. In this
country, the last two are used principally for portières and couch
coverings; but in the Orient they still serve, as they have from the
remotest times, for floor coverings; and because of the custom of
removing the shoes when entering a house, last for a great many years.
Though these three styles represent the principal variations in kilim
weaving, there are a few pieces with embroidered pattern; and
embroidered stitches are sometimes added to represent some simple
design, or as is frequently the case in Shirvans, to make more prominent
the separate horizontal compartments.
When weaving a kilim, the threads of warp are strung as in piled rugs,
and number from six to eighteen to the inch according to the texture.
There are generally about twenty threads of weft to the inch, measured
at the front or back; but in pieces of the finest workmanship, there may
be as many as fifty, and in the crudest only eight or nine. At the sides
of the kilim, the threads of weft encircle the last thread of warp as at
the sides of any pattern; but at the ends, the threads of warp are
braided about a heavier added cord, or else are tied in knots, from
which their loose ends are permitted to hang like tassels.
The patterns are usually geometric; and even when an attempt is made to
copy floral figures, the drawing inclines to the rectilinear. If a
straight line representing the side of a figure is horizontal, or in the
direction of the weft, it will often be several inches in length; but a
straight perpendicular line never exceeds an inch in length. This is
because the threads of weft are never carried from one pattern to
another or to the adjoining field, but are turned back at its defining
edges, so that an opening is left, which would impair the strength of
the fabric if it were of much length. Accordingly, if it is desired to
represent a pattern with perpendicular sides, it is necessary that the
edges be slightly uneven. But here necessity is turned to advantage, as
this unevenness or fringing softens lines that otherwise would be
harsh. Defining the outlines of many figures is yarn of different
colours, which either may be woven like other threads of weft, or when
it serves the purpose of closing the space between adjacent threads of
warp, may be attached by stitches. Borders find slight favour with kilim
weavers, and in most pieces they are entirely wanting or only present at
one end. Even when they completely surround the field, there is
generally some difference in design or colour between the stripes of
side and end. Prayer arches are found in some of the kilims, but their
outlines rarely correspond closely with those of piled rugs.
The colours, by which alone the patterns are distinguished, are largely
responsible for the character of the kilim. Threads of weft of every hue
that is seen in piled rugs are employed in these pieces; yet the
colouring never appears the same, since there are lacking the lustre and
deep wealth of tones due to the length of pile, in which appears an
almost imperceptible gradation from the ends that are exposed to the
light and have incurred the mellowing influence of the elements to the
part which retains more of the original colours and seems darker,
because it is more concealed. Indeed, on account of the lack of pile,
the colours and patterns would seem harsh were it not for the
irregularities of perpendicular and diagonal lines, the devices of
latch-hooks, and other peculiarities that convey to the eye an
impression of blending. Moreover when the designs are large, the effect
of the colour is always severe; but when the field is covered with
innumerable small figures, it is greatly softened.
As kilims are much less durable than rugs that have a pile to protect
the warp and weft, it is not surprising that few of great age remain.
The oldest piece of which we have any knowledge is a fragment obtained
by Dr. M. A. Stein, the archæological explorer, from the ruins near
Khotan, in Eastern Turkestan, of an ancient settlement, which was buried
by sand drifts about the fourth or fifth century _anno domini_. The
weave is almost identical with that of modern kilims, and has about
fourteen threads of warp and sixteen threads of weft to the inch. The
pattern consists of narrow stripes of blue, green, brownish yellow, and
red, containing very small geometric designs. With this one exception,
so peculiarly preserved, there are probably very few over a century old.
[Illustration: PLATE 62. SRINAGAR RUG]
Though kilims are now made in most of the districts where piled carpets
are woven, very few classes are recognised. This is because it is
difficult to distinguish between most of them, and such differences as
exist are with few exceptions unimportant. The best known classes are
the Sehna, Shirvan, Karaman, Kurdish, Turkish, and Merv.
The Sehna kilims are usually of small size, and rarely exceed a breadth
of four and a half feet and a length of seven. They are far superior to
all others in the delicacy of colour, daintiness of design, quality of
material, and character of workmanship. Their patterns, including
border, are identical with those of the piled rugs; and the colours, to
which at a short distance the small figures of the Herati design give
the effect of blending, are the same. As is not the case with other
kilims, the warp is of cotton or linen and there are generally from
fourteen to sixteen threads to the inch. The weft is of wool, and to an
inch there are often nearly fifty threads encircling a thread of warp as
they cross and recross. The old pieces, like the rugs of which they are
true copies, are rapidly becoming scarce. They resemble tapestries and
are unfit for hard usage.
A large percentage of the kilims now sold in this country are Shirvans.
Their fields are divided into a number of parallel horizontal
compartments or bands a foot or more in width separated by narrower
bands. Not infrequently the principal figures of the wide bands are
hexagons surrounding smaller geometric figures; and through the more
narrow bands runs a waving line or a parti-coloured cord. Another
peculiarity, occasionally seen, are the ray-like projections of uniform
colour fringing the edges of the sides. As a rule, there are no borders,
but at each end are two or more narrow bands that give the effect of a
border. In some pieces webs of plain colour extend beyond the bands; and
the ends are fringed with loose threads of warp. The colours are always
pronounced, because of lack of shading, and consist mostly of red, blue,
and ivory. Yellow and green are also used. These kilims are much heavier
than the Sehnas, and also larger, as the average size is about five by
nine feet; and some are even seven by twelve feet.
From the district of Karaman in Southern Asia Minor, such a large number
of kilims were formerly imported into Europe that the general name of
Karamani was applied to all kilims. They are still made there by many of
the tribes of Turkish or Turkoman origin, who wander over the Taurus
mountains, and like all their fabrics are stoutly woven. Their average
size is about four and a half by eight feet. In colours and patterns,
they resemble many of the Kurdish kilims from the districts farther to
the east.
A distinction similar to what exists in the piled rugs of the Kurds, and
dependent on the district in which they are made, is observable in their
kilims, as those which come from the Persian border have carefully drawn
designs, that are generally lacking in others woven in the mountainous
watershed of the Tigris and the Euphrates. Many of these are coarsely
woven, and from the back hang the loose ends of threads of weft, that in
more artistic pieces, are removed. Moreover, in modern pieces the
colours are often crude or even garish. Some of the kilims have large
diamond-shaped figures containing small designs; others have horizontal
bands in which are woven embroidered devices suggestive of the so-called
Bagdad portières; in many are wide spaces without designs; but whatever
the pattern, there is usually a parti-coloured cord running through the
web at the end.
In many parts of Asia Minor are made kilims that are usually classed as
Turkish. They are of large size, and since they are used mostly for
portières or curtains, are divided perpendicularly into equal halves,
that at times are united by stitches. The tribes that make them also
make large numbers of smaller prayer kilims with pointed arches
suggesting the Ghiordes design. Some of them are beautifully woven, yet
the finest workmanship is shown in pieces known as “Kis-kilims” or
girl’s kilims. These are made with the utmost care, since they are
intended as a bride’s gift to her husband; and a sentiment of romance,
and the hope that her skill may weigh favourably in the estimation of
her accomplishments, contribute to influence the weaver. Sometimes even
a lock of hair is added as a charm, or coloured beads as a talisman.
The Christians who live permanently about Oushak, and are, accordingly,
not under the necessity of making such small pieces as can conveniently
be carried by wandering tribes, weave some of the largest kilims. Most
of them are at least six feet in width and many are much wider.
The best known kilims from the Central Asiatic group are known as “Merv
Kilims,” since they are woven by Turkoman tribes who inhabit the desert
near the old capital of Merv. The brilliant colours found in the
products of more Western tribes are entirely wanting, and in their place
are the few subdued, rich tones so characteristic of all Turkoman
weavings. These pieces are stoutly woven, and since the pattern is
represented by diagonal lines, there is no open work. The designs are
largely of diamond-shape, and are arranged in parallel horizontal lines
on a field that is usually surrounded by a border profusely ornamented
with carefully drawn latch-hooks. A heavy embroidered selvage, from
which hang loose threads of warp, often occurs at the ends. These kilims
are noted for their durability, and are usually of large size.
In the city of Dera Ghazi Khan, four miles from the Indus river, are
woven kilims in which warp and weft are of wool, as is not the case with
almost all the rugs of India. They are made by the women in their own
homes and display an individuality which also is rare in Indian textile
fabrics. In a monograph on “Carpet Weaving in the Punjab,” Mr. C.
Latimer says: “The Dera Ghazi Khan rug, which belongs really to the kind
of fabrics known as kilims, is woven in stripes, with designs between
them, and it is interesting to notice that the patterns employed were by
local tradition originally copied from the robes of the Pharaohs of
Egypt.”
Though all such Oriental weavings lack the precision of drawing and the
delicacy of minutely varied colour so frequently found in piled rugs;
though they never display high, artistic perception or poetic instinct,
nevertheless some of the oldest pieces with designs suggestive of the
workings of a primitive imagination untrammelled by the conventions of
art, and with a chaste simplicity of colour that lends an atmosphere of
dignity, possess a subtle charm that awakens an intense interest.