HOW TO DISTINGUISH RUGS
THE owner of an Oriental rug will find the pleasure to be derived from
it will be greater if he knows where and by whom it was made. This is
particularly true if it is one of those pieces of which the charm
depends more on its individuality than on the masterly handling of line
and colour. The study of classification, therefore, will well repay the
effort; though unfortunately it is often discouraging, since it involves
a consideration of the characteristics of a hundred different classes,
almost all of which are found to have exceptions to the best known
types. To add to the difficulty, the opinions of dealers in regard to
the less known classes are very often erroneous; and detailed
descriptions, even at the best, are unsatisfactory. Without a long
personal experience in handling rugs, combined with careful study, it is
impossible to become expert; but familiarity with one class makes it
easier by comparison and a process of elimination to distinguish others.
The beginner should first learn to identify each of the six groups. Of
these the Chinese can readily be distinguished by their well-known
patterns, which are found in no other part of the Orient except in the
rugs known as Samarkands, Yarkands, and Kashgars; and the Indian may
generally be recognised by the realism and formal arrangement of their
floral patterns. Relatively few of either group are found in the United
States; and as about ninety per cent of the rugs belong to the other
four groups, they alone will be considered in detail. Leaving out of
consideration, then, the Chinese and Indian rugs, it should be
remembered:
(_a_) That, as a rule, rugs from Persia have floral patterns;
and rugs from Asia Minor, Caucasia, and Central Asia have
geometric.
(_b_) That figures with latch-hooks belong principally to rugs
of the Caucasian group and, to a limited extent, to the rugs
of the Asia Minor group.
[Illustration: PLATE 63. XVIII CENTURY CHINESE RUG]
(_c_) That fields covered with designs of octagonal or diamond
shape belong to rugs of the Central Asian group.
(_d_) That about two thirds of the Persian group have cotton
warp; and the remaining third, as well as the Asia Minor and
almost all the Caucasian and Central Asian group have woollen
warp.
(_e_) That about one third of the Persian group have one of
the two threads of warp encircled by a knot doubled under the
other so as to be hidden at the back; and that this is not the
case with the remaining two thirds nor with almost all classes
of other groups.
(_f_) That, with few exceptions, the Persian rugs have a side
finish of overcasting; and the other groups have both
overcasting and selvage.
(_g_) That the rugs from Persia and Central Asia have both
light and dark colours which, though rich, are subdued and
harmonious; that the rugs of Asia Minor and Caucasia have
colours that are often gaudy and inharmonious; and that the
rugs of the Central Asian group have dark tones of red, blue,
and brown.
(_h_) That all of the rugs of Asia Minor and Caucasia have the
Ghiordes knot; that the rugs of Central Asia, with rare
exceptions, have the Sehna knot; that the rugs of Persia with
woollen warp have the Ghiordes knot; and that those with
cotton warp have either the Ghiordes or the Sehna knot.
(_i_) That the few classes of rugs which have very long
end-webs belong to the Central Asian group. Of the classes
with moderately long end-webs, several belong to the Central
Asian and the Asia Minor groups, only two belong to the
Persian group, and none belongs to the Caucasian group.
Excluding the Indian and Chinese rugs, it follows from the above
statements that:
(1) A rug is from Persia or Central Asia,—
If it has a Sehna knot.
(2) A rug is probably Persian,—
If the patterns are distinctly floral;
If the warp is cotton;
If one of the two threads of warp encircled by a knot is doubled
under the other.
(3) A rug is probably from Asia Minor, Caucasia, or Central Asia,—
If the pattern is geometric;
If the sides are selvaged.
(4) A rug is probably from Asia Minor or Caucasia,—
If the colours are gaudy or inharmonious.
(5) A rug is probably from Caucasia,—
If the designs are largely fringed with latch-hooks.
(6) A rug is probably from Central Asia,—
If the field is covered with octagons or diamond-shaped designs,
and has dark tones of red, blue or brown;
If it has long webs at the ends.
Of these four groups the Persian has the largest number of classes, some
of which can only with difficulty be distinguished from one another.
They may, however, conveniently be divided into the following sub-groups,
depending on the technical peculiarities of the weaving and the material
of the warp, so that the task of learning the class of a particular rug
will be greatly facilitated by first determining to which of these
sub-groups it belongs, and then eliminating the others from
consideration.
{ Kashan
{ Kermanshah
{ Khorassan
{ Sehna Knot (A) { Kirman
{ One thread of { { Meshed
{ warp to each knot { { Mir Sarabend
{ doubled under and { { Sarouk.
{ hidden at back. {
{ { { Gorevan
{ { { Herat
{ { Ghiordes Knot (B) { Herez
{ { Serapi
{ { Tabriz
{
{ { Feraghan
Cotton { Each thread of { Sehna Knot (C) { Mahal
Warp { warp equally prominent { { Muskabad
{ at back or { { Royal Sarabend
{ one slightly depressed {
{ { { Gulistan
{ { Ghiordes Knot (D) { Iran
{ { Joshaghan
{ { Luristan
{ { Sultanabad
{
{ { Sehna Knot (E) Sehna
{ Quincunx effect {
{ of weft at back. { Ghiordes Knot (F) { Hamadan
{ Ispahan (modern)
It should be remembered, when studying the foregoing table, that all
classes of rugs are subject to occasional variations in the
technicalities of their weave, as for instance, the Herats may have
woollen warp and Sehna knots; the Tabriz very often have linen warp;
some of the Feraghans, Mahals, Muskabads, and Sehnas have the Ghiordes
knot and some of the Sultanabads have the Sehna knot; the Joshaghans may
have woollen warp; and in modern Ispahans the weft sometimes crosses
twice between two rows of knots.
{ One thread of warp to each knot doubled (G) { Bijar.
{ under at back { Niris[37]
{
{ { Karadagh.
Woolen { { Suj-Bulak
Warp, { Each of the two threads of warp to a knot { Kurdistan.
Ghiordes { equally prominent at back, or one slightly (H) { Afshar.
Knot. { depressed { Mosul.
{ { Shiraz.[38]
{
{ Quincunx effect of weft at back (I) { Karaje.[39]
With reference to size, these rugs may conveniently be divided as
follows:
{ Gorevan.
{ Mahal.
Rugs invariably of carpet size { Muskabad.
{ Serapi.
{ Sultanabad
{ Bijar.
{ Herat.
{ Kermanshah.
Rugs frequently, but not always, of carpet size { Khorassan.
{ Meshed.
{ Sarabend.
{ Tabriz.
{ Hamadan.
Rugs frequently seen as runners { Karaje.
{ Kurdistan.
{ Mosul.
Of the sub-groups represented on Page 284, “A” includes those that have
the closest and finest woven texture. In this respect the Kashans,
Sarouks, and Kirmans are, in the order named, superior to the others;
and the Kermanshahs are the coarsest and the least evenly woven. In
sub-group “B” the Tabriz are the best woven and have the shortest nap.
The Gorevans and Serapis have several concentric medallions, in which
are designs of archaically drawn leaves, and have generally the
so-called turtle border. The Herats have the typical Herati border. Of
the classes of sub-group “C,” the Royal Sarabends are the closest woven.
The Feraghans are slightly coarser and the Mahals and Muskabads are much
coarser and have longer nap. The Luristans, Joshaghans, and Gulistans
are the best woven of sub-group “D.” At the back of Luristans each half
knot is distinct from the other like a separate bead; and in a few
Joshaghans each half knot is almost as distinct. Both Irans and
Sultanabads are coarsely woven. Comparing sub-groups “E” and “F,” the
weave of Sehnas presents a file-like appearance at the back; and in
Hamadans the weft is of much coarser diameter than in the other two
classes. The Bijars of sub-group “G” are much stouter than the Niris and
have one of the two threads of weft to each knot more completely doubled
under the other. The webs at the ends of the Niris are very much longer
than those of Bijars. Sub-group “H” contains the Kurdistans, Suj-Bulaks
and Mosuls, all of which are woven in territory where for generations
the Kurds have held sway, and show Kurdish characteristics. The Western
Kurdistans may easily be distinguished by their brown colours, nomadic
character, and coarse warp and weft. The Persian Kurdistans are very
stoutly and firmly woven, and usually have one of the two threads of
warp encircled by a knot depressed below the other. The Mosuls have each
of the two threads of warp encircled by a knot equally prominent at the
back; and a characteristic feature is the coloured, crudely spun yarn of
weft, which on account of the size of its diameter stands up as high as
the yarn of the knots at the back. In a typical Suj-Bulak the alignment
of knots at the back appears uneven or serrated. The Karadaghs have
Caucasian characteristics; the Afshars have coarse, wiry wool for the
weft, and threads of warp strung so that each half knot is distinct.
Although the technicalities of weaving are the most reliable evidence
for determining the class to which a rug belongs, the patterns are
important guides. It will be well, therefore, to remember that:
A Persian rug is probably a Shiraz, Karadagh, Karaje, Mosul, Kurdistan,
or Afshar, if the pattern is partly geometric.
If the field has concentric medallions, the rug may be a Kermanshah,
Sarouk, Kashan, Sehna, Gorevan, Herez, Tabriz, Mahal, Muskabad, or
Sultanabad.
If the field is covered with pear designs, the rug may be a Sarabend,
Burujird, Khorassan, Shiraz, Niris, Iran, Joshaghan, or Luristan.
[Illustration: PLATE 64. CHINESE RUG OF THE KEEN-LUNG PERIOD]
If the field is covered with small Herati designs, the rug may be a
Feraghan, Sehna, or an Iran.
If the field is covered with small designs of the Guli Hinnai plant, the
rug may be a Feraghan.
If the field is covered with the Mina Khani pattern, the rug may be a
Persian Kurdistan.
A Persian rug is usually a Shiraz, Niris, Mosul, or Kurdistan if the nap
is long.
It is almost invariably either a Shiraz or a Niris if the webs of the
ends are long, and the overcasting of the sides has a barber-pole design
or has short lengths of different colours. The Niris resembles the
Shiraz; but one thread of warp to each knot is more depressed, the ends
generally have longer webs, and the field is more frequently covered
with large pear designs. It is a Shiraz if short tassels or tufts
project at regular intervals from the ends; and it is probably a Niris
if it has a long end-web of different coloured stripes.
It is probably a Karadagh, Gorevan, Serapi, Herez, or Tabriz if the
sides are finished with a selvage.
Many of these classes have features by which they can be distinguished
at once from all others. For instance:
The Sarabend has a field completely covered with pear designs of
moderate size facing in opposite directions in alternate lines; borders
of several stripes, of which one or two are ivory white with an angular
vine from which are suspended mechanically drawn pear designs, and one
or two narrow stripes with reciprocal trefoils. Only two other classes
are similar: the Iran copies, which are always woven more coarsely and
have the Ghiordes knot, and the Burujirds, which are rarely seen.
Most Feraghans have fields that are completely covered with small Herati
or Guli Hinnai designs, and have the turtle pattern in the border. The
only other rugs that are similar are the Iran copies, which have the
Ghiordes knot and are more coarsely woven.
Almost all Hamadans may be distinguished at once by the broad band of
camel’s hair surrounding the border, and the coarse weft crossing only
once between two rows of knots so as to give a quincunx effect at the
back.
Gorevans are invariably of carpet size. They have fields almost covered
with central medallions on which are archaically drawn leaves, and a
broad central border stripe with a large conventionalised turtle
pattern. They have usually the same colour tones, which once seen are
not forgotten. The Serapis are similar to Gorevans but are usually older
and of better colours.
The Kermanshahs have tones of ivory, pink, and light green, that are
softer and lighter than those of almost any other rug. The fields have
concentric medallions with dainty floral forms that are rarely seen in
other classes except the Sarouks and Kashans; and the borders, that
correspond in drawing and colouring with the field, have an outer edging
that is almost invariably of pink, but sometimes dark blue. The drawing
and colours, which are not easily described but quickly learned, at once
distinguish these pieces from all others.
Some Mesheds resemble Kermanshahs, but the nap is more silky, uneven,
and lustrous. The texture at the back is finer.
The rugs of Tabriz, which are usually made in carpet sizes, may be
distinguished by their linen nap hanging in a short fringe at the ends.
They are not likely to be confused with any classes but the Mesheds,
Khorassans, and Kermanshahs; but the nap is shorter, and harsher to the
touch; the knot is Ghiordes, and the drawing more formal.
Almost the only Persian rug that has small, geometric, adventitious
designs and latch-hooks is the Shiraz. It is the only one that has small
tufts of wool projecting from the sides; and with the exception of the
Niris is the only one that, as a rule, has a barber-pole overcasting and
a long web at the ends. It is also one of the most loosely woven.
The Sarouk and Kashan may be distinguished from all others by their
short velvety nap; dark rich colours; fields of graceful foliated stalks
and floral forms resting on concentric medallions; and the fine, firm,
texture of the weave. A carefully drawn design of the running latch-hook
appears in the borders; and the weft is usually some shade of blue. The
Kashans are almost the same as Sarouks but have closer weave and finer
texture. They very rarely come in large sizes.
Muskabads and Mahals are invariably made in large carpet sizes. Their
texture is firm; they are very coarsely woven; and there is great
irregularity in the size of the knots as shown at the back. Of the two,
the Mahals are the better grade.
A large rug with woollen warp and with one thread of warp to each knot
doubled under the other is almost always a Bijar.
Sehnas are always very thin rugs and of small or moderate size. With few
exceptions the field is covered with Herati or pear designs. They can
be identified by the quincunx appearance of the fine cotton weft at the
back and the file-like feeling of the weave.
The only Persian rug that has a side selvage and also shows evidence of
Caucasian influence in the geometric drawing of the patterns is the
Karadagh.
The Gozenes may be distinguished from other classes by their dull
colours. In many of them each thread of warp is encircled by the right
half of some knots and the left half of others.
The Asia Minor rugs have so many features in common that they cannot
conveniently be divided into sub-groups. For instance: almost all have a
coloured weft, a coloured web with fringe at the ends, and a selvage at
the sides; all, excepting the Ghiordes and a few modern pieces, have
woollen warp and weft; and all have the Ghiordes knot. To be sure, a
distinction may be made in the length of the nap, since as a rule the
Bergamo, Rhodian, Karaman, Yuruk, and some of the Anatolians have a long
nap; and the remainder usually have a short nap; and also in the
weaving, as in the Bergamo, Ghiordes, Karaman, Kulah, and Ladik, one
thread of warp to each knot is generally depressed, and in the remaining
classes all threads of warp are equally prominent; furthermore,
Anatolians, Bergamos, Karamans, Rhodians, and Koniehs, have rarely more
than three stripes to the border; and Kir-Shehrs, Kulahs, Ladiks, and
Ghiordes have seldom less than five; but these features are not always
constant and pronounced. The patterns, therefore, and those smaller
designs which frequently are peculiar to a single class are of
considerable assistance in distinguishing one from the other. The arch
of the namazliks is also an invaluable feature for identification since
its shape is different in each class as will be seen by reference to
Plates C and D (Pages 61 and 63).
Leaving out of consideration modern pieces, made to meet the demands of
exporting companies, the Bergamo and Rhodian have certain points of
resemblance. As a rule, they are almost square, and have long nap, long
webs with coloured bands at the ends, a side selvage, and coloured weft.
The Rhodian may generally be distinguished by their brighter colours and
their panels, suggesting windows, placed parallel to the length of the
rug. The Bergamos, which are more frequently seen, have rich, deep blue
and red colouring, and more devices to avert the evil eye than any other
Oriental rug.
Two panels, one above the arch and the other below the field, are
almost invariably seen in the Ghiordes prayer rugs and occasionally in
the Kulahs, but rarely in any other classes. The typical pattern of the
central border stripe of Ghiordes prayer rugs, consisting of most
conventionalised leaf and rosette, is not seen in any other rugs; nor is
the pattern of the broad border stripe of the odjaliks and sedjadehs,
consisting of an undulating band covered with small flecks and fringed
with latch-hooks.
The most characteristic features in the pattern of Kulahs are the
numerous narrow fleck-covered bands that occupy the centre of the
border, and the secondary stripe with design like a Chinese device
represented in Plate H, Fig. 10 (opp. Page 194).
The pomegranates at the end of the field, and the Rhodian lilies in the
main stripe of the border, distinguish Ladik prayer rugs from all
others. Figures of vandykes, which are seen in some Anatolians and
Mudjars, are also a constant feature of Ladiks.
A characteristic feature of Koniehs is the row of sprigs with three
triangular-shaped petals that project from the border against the field.
As a rule, the Kir-Shehrs contain in the field a larger amount of
grass-green colour than any other rug.
The narrow border stripe of thumb-like processes that fit one another
like cogs and the mauve or heliotrope colour are important aids in
distinguishing Melez rugs.
On account of their long pile and their patterns of latch-hooks and
other geometric figures, the Yuruks alone of all this group resemble the
Caucasian rugs. They may also be distinguished from other Asia Minor
rugs by the facts that the weft is of coarse, wiry wool, and the threads
of warp are not strung closely together, so that at the back each half
knot appears very distinct from the other.
A similarity prevails in the technique of most Caucasian rugs, as all
have the Ghiordes knot, and almost all have warp and weft of wool, sides
that are selvaged, and ends with a web and loose fringe. Moreover,
classes that are in a measure geographically related show resemblances,
as for instance: the Chichi, Daghestan, Kabistan, and Shirvan, which
have short nap; the Tcherkess, Kazak, and Genghas which have medium to
long nap; and the Soumak, Shemakha, and Kuba, which have a similar
selvage at sides and ends. The only classes in which one thread of warp
to each knot is depressed or doubled under the other are the Karabagh,
Shemakha, and Shusha, from the southeastern part of Caucasia, and the
Lesghian from the northern part.
[Illustration: PLATE O. No. 1, Shah Abbas design. No. 2, Mina Khani
design. No. 3, Guli Hinnai design. No. 4, Herati design. Nos. 5-a, b, c,
d, e, f, Swastikas. Nos. 6-a, b. c, d, e, f, g, h, i, j, k, l, m, Pear
designs. No. 7, Cloud-bands. No. 8, Pitcher. No. 9, Motives of Asia
Minor and Armenian rugs. No. 10, Octagonal disc. No. 11, Combs. No. 12,
Motives of Melez rugs. Nos. 13-a, b, c, d, 14, 15, conventionalised
leaf-forms in Asia Minor rugs. Nos. 16-a, b, c, The lotus. No. 17, Knot
of destiny. Nos. 18-a, b, Motives of Daghestans and Kabistans.]
The Soumak with its flat stitch and with ends of yarn hanging loose at
the back is unlike all other rugs. At the sides is a carefully woven
selvage, and next to the nap at the end is a narrow selvage of fine spun
threads. The rugs of Shemakha, woven by some of the same tribes who
dwell nearer the mountains, have similar selvages at the sides of blue
or bluish green, similar ends of a narrow web of “herring-bone” weave
and one or more rows of knots, and a medium long nap of rich blues,
reds, yellows, browns, and greens. The Kuba rugs are almost identical
with them, except that each thread of warp is equally prominent at the
back, whereas in the Shemakhas one thread to each knot is depressed. When
once these selvages, the narrow end-webs of “herring-bone” weave, and
the particular tones of colour characteristic of these rugs have been
carefully observed, they are not forgotten. The well-known Georgian
stripe (Plate J, Fig. 9, opp. Page 228) is rarely found in any but these
three classes.
The Baku rug may be distinguished by its geometric-shaped pear designs,
and stiffly drawn birds. If modern, the tones are dull.
Long, shaggy nap, strong colours, of which red and green are almost
invariably present, and large designs surrounded by numerous small
nomadic figures are the general features of a Kazak. The Tcherkess has a
striking resemblance to it, so that they are constantly mistaken for one
another; but the Tcherkess is generally better woven and the pattern
usually consists of what is known as the “Sunburst” resting on a field
of dull red or a tawny shade. The border is almost invariably of three
stripes, of which the central has the tarantula design, and the two
guards have a reciprocal sawtooth design.
The field of the typical Chichi has an all-over pattern of small
geometric design; and its main border stripe has rosettes separated by
diagonal ribbon-like bars, as shown in Plate I, Fig. 6 (opp. Page 226).
Rugs from the Karabagh district may frequently be recognised by the
Persian influence in the drawing of their patterns.
Genghas may readily be distinguished from other classes of this group by
the fact that the weft crosses more than twice and frequently many
times, between every two rows of knots, which are not appressed, so that
the weft, as it encircles the warp, appears at the back like a narrow
beaded surface.
Daghestans, Kabistans, and Shirvans have so many different patterns that
it is not always easy to distinguish the classes; but it will be some
assistance to remember that the border design of wine cup and serrated
leaf (Plate I, Fig. 1, opp. Page 226) is found in about one half of the
Shirvans, and that the bracket design (Plate J, Fig. 19, opp. Page 228)
is peculiar to Daghestans and Kabistans.
[Illustration: PLATE 65. CHINESE RUG OF THE KEEN-LUNG PERIOD]
The small Central Asiatic group is not only unlike other groups, but may
naturally be divided into three sub-groups, which are also distinct from
one another and contain well-defined classes, viz.:
(_a_) Afghan, Royal Bokhara, Princess Bokhara, Tekke, Khiva,
Yomud, and Beshire.
(_b_) Samarkand, Kashgar, and Yarkand.
(_c_) Beluchistan.
In the first sub-group the prevailing colours are dark reds and browns
with minor quantities of blue, green, and ivory. The Afghans are almost
always of large size, and may be recognised at once by the broad web of
the ends and the large octagonal shaped figures placed in contact in
perpendicular rows. The Royal Bokharas are smaller, the end webs are not
so wide, the octagons are never in contact and are separated diagonally
by diamond-shaped figures. The Princess Bokharas and many Tekkes have
the Katchli pattern. The Yomuds resemble the other classes of this
sub-group in colour; but in the fields, diamond designs have entirely
replaced the octagons.
The rugs of sub-group “b” almost always have cotton warp; whereas the
rugs of sub-groups “a” and “c” invariably have woollen or goat’s hair
warp.
The Samarkands are somewhat similar in colours and patterns to Chinese
rugs, but may be distinguished by the fact that they almost invariably
have three border stripes, whereas the Chinese usually have only one or
two. The Kashgar and Yarkand also show Chinese influence.
The Beluchistans with brown, blue, green, and claret colours may be
identified at once by their long embroidered webs at each end.
In the determination of the class to which a rug belongs, the pattern
first of all attracts attention; and if it be one peculiar to a single
class, it is an important guide. But in the great majority of cases,
this will not be sufficient. It is, therefore, desirable to observe if
the designs be floral or geometric, if the colours be subdued or
obtrusive, if the knot be Sehna or Ghiordes, if the warp be cotton or
wool. The variations in finish of sides and ends are also an index of
the class. The pattern and these few technical details are the only
characteristics by which most dealers attempt to determine the different
kinds of rugs. But in the case of half of them, such evidence is far
from conclusive. The back should be even more carefully examined than
the front; because here are shown those subtle, but nevertheless
positive distinctions, relating to the manner of tying the knot and the
treatment of warp and weft, which are the most permanent tribal
characteristics of Oriental weaving. It should be noticed, then, if each
thread of warp encircled by the yarn that forms the knot lies in the
same plane parallel with the surface and is equally prominent; or if one
to each knot be depressed below the other, or if it be doubled under the
other so as to be concealed. It should also be noticed if the weft be
coloured or uncoloured, of fine or of coarse diameter; and if a thread
of weft crosses only once or two or more times from side to side between
every two rows of knots. Furthermore, the knots themselves should be
carefully scrutinised to see if each row of them is firmly pressed down
upon the weft, if each knot has a length equal or exceeding its width,
if the yarn of which they are formed is drawn tight against the warp,
and if it is loosely or closely spun. Only by consideration of all these
different points, and sometimes even more, such as the nature of the
colours, the character of wool, and the manner in which it is spun, is
it possible to determine doubtful cases of identification.