PURCHASING RUGS
AS those who have expert knowledge of the value of Oriental rugs are
exceedingly few, compared with those who admire and wish to own them,
the object of this chapter is to make suggestions regarding a proper
selection, when purchasing, and to point out some of the pitfalls that
beset the inexperienced.
In estimating the value of any rug, three distinct qualities are to be
considered: rarity, artistic beauty, and utility.
Rarity may depend on the age of a rug, the locality where it was woven,
or its type. In determining the age, which as a rule is greatly
exaggerated, a number of facts should be considered. One is the
condition resulting from wear; though at times this is misleading, since
of two pieces, one may have been handled with almost religious
solicitude and the other exposed to the elements and to hard usage.
Moreover, an artificial appearance of natural wear is sometimes
counterfeited. Another is the pattern, since, as has been shown in the
case of antique carpets, the character of drawing changed with
succeeding periods. Even when the patterns of old carpets are copied in
modern pieces, a distinction is usually discernible to a careful
observer. The colours, too, play an important part in determining age;
for not only are some characteristic of different periods, as particular
shades of yellow and green of Chinese rugs and the blue of Persian; but
the mellowing influences of time, acting through the agencies of
exposure and wear, cause effects that cannot be produced by any
artificial process.
Occasionally the time when a rug is made is recorded in Arabic numbers
woven above a word denoting “year.” If they are indistinct on account of
the length of the nap, they may be more clearly read in reverse order at
the back. In the following lines, each of them is represented below the
one in our own notation, to which it corresponds.
0, 1, 2, 3, 4, 5, 6, 7, 8, 9
[Illustration: Arabic numerical symbols]
These numbers represent not the Christian but the Mohammedan year,
which, dating from the time of the Hegira, began about the middle of
July 622, or a little before the actual flight from Medina. It should
also be remembered that the lunar and not the solar year is considered
in Moslem chronology; which, according to our reckoning, gains about one
year in every thirty-three and seven tenths years. To calculate, then,
the year of our time corresponding with the year expressed in the rug,
from the number should be subtracted one thirty-three and seven tenths
part of itself, and then should be added six hundred and twenty-two.
Thus, if the year 1247 was woven in the rug, our corresponding year
would be A. D. 1247 less 37 (or 1210) plus 622, or 1832. When such dates
appear in old rugs, they are generally to be depended on, but in modern
ones they are more likely to be antedated to give the effect of greater
age.
With reference to the time when woven, rugs may conveniently be divided
into three broad classes; Antique rugs or carpets made over two
centuries ago; old rugs made fifty or more years ago; and modern rugs
made since the introduction of aniline dyes, or within the last fifty
years.
The number of antique carpets that exist is undetermined, as it is
impossible to estimate how many remain in Oriental mosques and palaces.
Nor has any complete catalogue been made of those that are owned in
Europe and America. They consist principally of the products of Persia,
Asia Minor, Armenia, and China. Many belong to the museums and the
remainder to sovereigns and wealthy collectors. Like rare porcelains and
old paintings, their value increases with each passing year; and the
prices received for them range according to the fancy and caprice of the
purchaser. They are the most valued and the most costly of all rugs.
[Illustration: PLATE 66. KURDISH PRAYER KILIM]
The number of rugs over fifty years of age, but not belonging to the
previous class, is very large. A few are sufficiently prized to be
placed in art museums, some belong to collectors, large numbers
embellish the halls and drawing rooms of people of refinement, and
others are yearly brought from the Orient; but dealers and the public
already realise that their numbers are limited. Even now they are
searched for in the remotest corners of every rug-producing country; and
in a few years the last, now cherished as family heirlooms, will have
been exchanged for western gold. Almost all are well woven, though some
are too much worn to be trodden longer under foot. None are treated with
aniline dyes, but the colours mellowed by time are exceptionally good
and frequently contain rare tones characteristic of the first class.
Moreover, large numbers contain emblems of a symbolism still shrouded in
mysteries that increase their fascination. On the whole, this is the
choicest stock from which to choose elegant carpetings for luxurious
homes. When it is considered that rugs of this class are beginning to
disappear from the market, the prices at which they may be purchased are
moderate compared with the prices of more modern pieces.
The great majority of existing Oriental rugs have been woven within the
last fifty years. A few of them, including many of the newest, have
colours that compare favourably with those of older pieces; but a large
number show the effect of aniline dyes. Some woven by nomads or dwellers
in remote villages, without thought of sale, have designs and
workmanship such as have characterised the fabrics of these people for
past generations; but others, which are the products of the work-house
system, though well woven as a rule, lack the charm of spontaneous
individuality. Age alone has little influence in determining the value
of these modern rugs, since they have not yet become rare; yet even in
them the wear of time affects their other qualities. Other things being
equal, they cost less than the old and the antique rugs.
The locality where a rug was woven is also to be considered in
determining its rarity and therefore its value. Of the countless carpets
that once existed in Egypt, of the very early rugs of Caucasia and
Turkestan, not a piece remains; but if one were to be found it would be
almost priceless. The antique carpets of Syria, or of Kirman, Shiraz,
and Tabriz, woven over three centuries ago, are more valuable than
others of equally good workmanship, of which relatively large numbers
remain. So, too, of the rugs classed as old, but falling short of the
venerable age of the real antiques, those which are now difficult to be
obtained on account of their scarcity, are more valuable than those
which are being produced in larger numbers. Rugs such as the Joshaghan,
Tiflis, and many others of sixty or more years of age, are no longer
woven. Modern products from the same districts may adopt the old names,
but they are not the same. Accordingly, it will be only a short time
when they too will disappear from the market. Good examples of such
pieces should therefore receive more careful consideration on the part
of purchasers and collectors, as their value is increasing with each
passing year.
Furthermore, the rarity of an old rug is often independent of its age or
the locality where it was made, and is due to its peculiar type. For
instance, the Ming Rugs of China with silver threads and the so-called
Garden Carpets of Iran represent types rather than localities. Likewise
the Hunting Carpets of Persia, the Holbein Carpets of Asia Minor, and
the Dragon Carpets of Armenia, represent, as far as we know, the textile
craft of no well-defined district of limited area, as is the case of
modern rugs, but rather rare types. Such pieces are valuable, not alone
on account of their age, but also because they represent these rare
types.
A rug is also valued for its artistic beauty. The innumerable rugs which
centuries ago were in daily use soon disappeared, and only those
intended for palaces or temples have been preserved. It is but natural,
then, that the antique carpets representing the highest art of their
time should be not only rare but also beautiful. Yet even in them is
often a distinction that affects their value. Fortunately, very many of
the larger number of rugs of less age, but classed as old, likewise
possess artistic beauty. This chiefly depends on the drawing and the
colouring.
It will be noticed that almost without exception careful drawing
accompanies workmanship of a high class. This is partly due to the facts
that the more excellent the weave the easier it is to clearly define
patterns; and that on shortness of nap, which as a rule is found in
closely woven rugs, depends accuracy of delineation. The charm of rugs
often depends, also, on the graceful flow of lines, the careful balance
of different parts of patterns, and the proper co-ordination between
border and field. Careful attention should accordingly be given to the
drawing when selecting a rug.
The artistic beauty of Oriental rugs depends still more on the
colouring, since, as has been elsewhere expressed, drawing, which is
intellectual, finds its highest development in the Occident, and
colouring, which is sensuous, finds its highest development in the
Orient. It at once suggests sumptuous luxury. In all of the antique
carpets that remain and in very many rugs over fifty years of age, all
the colours employed in a single piece are in tones of perfect harmony,
and are so placed with reference to one another that the effect is most
agreeable. But in some of the modern pieces, such as are produced in
parts of Asia Minor and Caucasia, are colours which, like discordant
notes of music, grate harshly on the senses. The most pleasing effect is
when colours of border and field are complementary, yet so in harmony as
to accentuate the qualities of each.
There are also colours which, independent of their association, are in
themselves good or bad. The best are found in the antique carpets woven
when the art of the dyer was an honourable profession. The colours are
also very good in still later pieces; but for a century now some of the
finest have not been used, and even the secret of producing them has
been lost. Here and there dyers and weavers cling to early traditions,
so that among modern rugs are many examples of good colouring; but the
most recent pieces, excepting when softened by artificial processes,
often display harsh and garish colours. This distinction is in a measure
due to the fact that old colours were largely produced by vegetable dyes
and the modern are too often produced by aniline. Not infrequently both
vegetable and aniline colours are used in the same piece, and sometimes
the quantity of aniline colour is so small that it is scarcely
objectionable; but as a rule it is best never to purchase a rug that is
so tainted.
One objection to the use of aniline dyes is that by removing some of the
natural oil of the wool they are apt to make it brittle, so that it is
less able to stand wear. Another is that in time some of the dyes, which
have been applied collectively to produce a single colour, will fade or
even disappear, so that the final colour may be a most undesirable shade
not in harmony with those that surround it. If the fibres are brittle
and become harsher to the touch when wet with water, it is an indication
that aniline dyes have been used. Another test is the application of
weak vegetable acids, which will make the colour spread if produced by
aniline dyes, but are not likely to affect it if produced by vegetable
dyes. Many native weavers can distinguish by placing the wool in their
mouths, when they experience a sweet or bitter taste, according as
vegetable or aniline dyes have been used. It is a mistake, however, to
assume that the dyes are aniline because the wool has a brighter colour
at the surface of the nap than at the foundation; or because the colour
spreads when wet with water; since in time even some of the vegetable
colours will fade; and when fresh they will run during the first washing
in water, but afterwards they are little affected either by water or
weak acids.
Even when the same colours and the same kind of dyes were used, there is
a marked distinction in the appearance of old and of recently woven
rugs, which is due to wear as well as exposure to sun and weather. The
effect of time, imperceptible at first, is shown in rich tones of
remarkable softness and beauty, that add greatly to the value of a rug.
It accordingly happens that artificial processes are adopted to create
as far as possible the same results without the lapse of time. Some of
these are as novel as were the efforts of the distinguished viceroy of
King-te Chin, in the reign of Kang-hi, to produce antique
porcelains.[40] Henry Savage Landor says[41] that “to manufacture
‘Antique Carpets’ is one of the most lucrative branches of modern
Persian carpet making. The new carpets are spread in the bazar in the
middle of the street, where it is most crowded, and trampled upon for
days or weeks, according to the days required, foot passengers and their
donkeys, mules and camels making a point of treading on them in order to
‘add to age’ in the manufacturer’s goods. When sufficiently worn down
the carpet is removed, brushed, and ordinarily sold for double or treble
the actual price, owing to its antiquity.”
[Illustration: _COLOUR PLATE XI—CHINESE RUG_
_This large Chinese carpet represents some of the best workmanship of
the Keen-lung period. In it are shown the graceful drawing of leaf,
fruit, flower, and butterfly, and the dainty colouring of blue, yellow,
brown, and apricot on a field of ivory that are so characteristic of
this time. The usual balance of designs throughout the field is
maintained with precision; but, as is not always the case, different
motives occupy corresponding positions. Thus a cluster of leaves and
fruit may be balanced with a cluster of leaves and flowers. The
conventional drawing of the corners and the somewhat formal panel that
surrounds the central medallion give to the pattern strength of
character while they detract nothing from its beauty._
_Loaned by Mr. Nathan Bentz_]
Whatever may be their character, the methods employed to give softened
effects to the colours are known as “washing.” Most of those in vogue in
the Orient, such as washing with lime water, do little real injury. In
this country to artificially mellow the colours has become a regular
business of firms, who guard the secret of their different methods. Some
use ammonia, borax, and soap, which also do very little injury to the
rug. Others use chloride of lime, boracic acid, vinegar, or oxalic acid,
that remove some of the natural oils of the wool and accordingly impair
its qualities for wear. In fact, pieces are occasionally injured to the
extent that the wool has become brittle and may readily be plucked out.
Nevertheless, it does not necessarily follow that all rugs washed with
an acid solution have been seriously injured; but the colours never have
the same richness as those which have been softened by natural processes
operating for a long period of years. To be sure, rugs that have been
washed are often more attractive than they were in their raw colours;
but the older, more beautiful rugs with genuine tones mellowed by time
are always to be preferred. Over ninety per cent of the Kermanshahs,
Sarouks, Kashans, Tabriz, Muskabads, Mahals, and Gorevans, and a large
percentage of all other modern rugs sold in this country, have been
treated by some artificial process to soften their colours or give them
the appearance of age. It is generally necessary, when selecting a large
rug for a floor covering, to accept a washed piece; but when a smaller
rug or a runner will meet the requirements, it is preferable to choose
the older unwashed piece, which, as a rule, is more beautiful and costs
but little more. In the case of most pieces, the tones of colour are
sufficient to enable one who is experienced to distinguish between those
that are artificially aged and those that are not. In the case of
others, a simple test is to rub them thoroughly with a wet rag; when, if
acid or chloride of lime has been used, it can generally be detected by
the odour.
The artistic beauty of a rug also depends somewhat on the fineness of
the nap; as the soft, floccy fibres of some wools acquire a velvety
appearance, or give to the colours a sheen and a lustre compared with
which other rugs look harsh and coarse. For instance, the rugs of Shiraz
and Meshed, the Beluchistans, and many Bokharas are noted for the lustre
of their colours; but on the other hand many of the rugs of Asia Minor
and Caucasia have colours that are without lustre, and the rugs of India
which are made of dead or “Chunam” wool, seem lifeless.
When selecting any rug, then, the purchaser should carefully observe if
the patterns are well drawn and their different parts show a proper
balance. He should observe if the colour tones are harmonious with one
another, if each colour in itself is good, and if they have been
softened by natural processes acting for a long time. And he should
notice if the wool is coarse, dead, and lustreless, or if it has a sheen
and glint in the light of day; for these are the qualities that make up
the artistic beauty of a rug.
The utility to be derived from rugs that properly belong to museums and
collectors receives small consideration, though even with them the more
perfect their condition the more valuable they are. But in case of the
great majority of rugs, which are intended for use as well as for
ornament, their utility is an important consideration to the purchaser.
Rugs that have warp and weft of strong yarn and a close firm texture,
will wear better than others. Also, such rugs as Bijars, in which one
thread of warp to each knot is doubled under the other, will be found to
wear better than such rugs as Mosuls which have each thread of warp
equally prominent at the back. For durability, long nap is also to be
preferred to short, since it protects the foundations of the knots from
wearing and becoming loose.
Before purchasing an old rug, it should be spread on the floor to see if
it lies flat and if its shape is regular. It should be examined by
daylight and not by electric light, which gives a false impression of
colour and sheen. It should be held up with the back turned to the
purchaser, and carefully examined for weak spots through which the light
may pass; since, when so held, many pieces which seem in good condition
when lying on the floor, resemble a sieve. The foundation threads should
also be carefully inspected, as sometimes they rot and will tear with
slight tension. Moreover, as the selvage or overcasting of the sides and
the webs of the ends are intended primarily not for ornament but for
protection, it should be noted if they are in good condition. Sometimes
the webs of the ends are entirely gone, so that continual fraying of the
nap is prevented with difficulty. Sometimes the selvage or overcasting
of the sides is broken and some of the threads of warp are injured. Or
the sides may be well protected by a stout overcasting; but on
examination it will be seen that it is not the original finishing, and
that some of the border has disappeared. Again, it may have been
overcast too tightly, so that the sides curl and turn under, and thus
expose the border to injury when trodden on. Careful examination will
often reveal surprises. In many old rugs the field is full of rents,
that have been sewn together; in others entire pieces have been removed,
so that they are no longer of their original length; or parts of the
border are gone, or even the whole of it has been replaced by the
border of another rug; yet all so deftly done that the changes are
scarcely noticeable.
Nevertheless, old pieces, if otherwise meritorious, are not to be
discarded on account of a few imperfections, since what can be
accomplished in the hands of a careful repairer is remarkable. Broken
threads of warp and weft can be mended; missing knots can be replaced
with others of similar yarn; crooked pieces can be straightened by
loosening here and stretching there; borders that curl can be flattened
by removing the yarn and overcasting again more carefully. In fact, if
the nap be not so worn that the foundation of warp and weft is exposed,
it is far better to choose an old rug with some rents than a new one
with garish aniline dyes. Nor should a piece be slighted, because the
brownish black areas of wool dyed with iron pyrites are worn low; since
often the most beautiful effects are obtained by a surface of brighter
colours standing out in relief, on account of the worn blackish nap that
surrounds it. Now and then a bargain can be had by buying a rug which,
because of some imperfection that is not serious, has been passed by;
and now and then a piece reeking with dirt has proved, when properly
cleansed, to be a gem.
The foundation, consisting of the warp and weft, receives but little
consideration from purchasers; yet it is one of the most important
indices of the quality of a rug, and its strength is one of the most
necessary conditions for utility. The warp is best observed at the ends.
In most Chinese and Indian rugs and in some of the Persian, it is of
cotton; in others it is of wool or goat’s hair. In the Chinese rugs the
diameter of the threads of warp is much smaller than the diameter of the
threads of the weft, and has little strength, but in almost all other
rugs it is at least as large and as stout. The weft may readily be
observed at the back. In very many of the best rugs, it consists of fine
spun wool; but in many modern ones, it is of coarse wool or cotton. The
number of knots to the square inch does not of itself demonstrate the
quality of texture, since a rug may have only a few knots of coarse
diameter and be firmly woven, or it may have many knots of fine diameter
and be loosely woven; but in the same class the better rug has generally
more knots than a poorer one. When selecting a rug, then, the back
should be most carefully observed; for here may be seen if the yarn that
forms the knots is well spun, if the knots themselves are drawn tight
and well pressed down, and if the threads of weft are carefully
inserted and have a texture that indicates fine workmanship. Almost
invariably it will be found that if the back of a rug shows good
material, and has an appearance of firmness and skilful, painstaking
weaving, the front will correspond with good colours and careful
drawing.
The value of antique carpets, which depends to some extent on their
size, and to a much greater extent on their rarity and character, is
constantly increasing; for the reason that their number is limited and
each year they are more highly appreciated. It is, therefore, impossible
to affix even approximate prices; but the sums paid at the Yerkes sale
in 1910, when some thirty pieces were sold at auction for an average of
about $9,400, will serve as a guide. The following are some of the
pieces sold and the prices realised:
Carpet, size 7 feet 4 inches by 5 feet 4 inches, attributed
to Western Persia, at end of XVI Century, and purchased by
the Metropolitan Museum of Art, N. Y. $5,600
Persian carpet, XVI Century, described on page 86 5,600
Polish silk carpet, XVI Century, size 6 feet 6 inches by 4 feet
7 inches 4,700
Polish silk carpet, XVI Century, size 6 feet 6 inches by 4 feet
7 inches 3,500
Polish silk carpet, XVI Century, size 6 feet 11 inches by 4 feet
10 inches 12,300
Silk carpet, XVI Century, size 7 feet 2½ inches by 6 feet
5 inches, stated to have belonged to the Ardebil Mosque 35,500
Moorish carpet, XVI Century, size 10 feet 11 inches by 5 feet
10 inches, stated to have belonged to the Ardebil Mosque and
purchased by the Metropolitan Museum of Art, N. Y. 15,200
Hispano Moresque Mosque carpet, size 34 feet 5 inches by 16 feet
8 inches, flat stitch 8,600
Carpet attributed to Western Iran, size 16 feet 4 inches
by 11 feet 2 inches, and purchased by the Metropolitan Museum
of Art, N. Y. 19,600
Carpet similar to the Mosque carpet of Ardebil, XVI Century,
size 23 feet 11 inches by 13 feet 5 inches 27,000
The value of rugs over fifty years of age but not sufficiently old to
belong to the antique class also depends as much on the technique of
weave, drawing, colouring, and rarity as on the size; yet even this must
be taken into consideration. In proportion to their size the most
expensive of these rugs are the Kirmans, Sehnas, and Niris from Persia;
the Ghiordes and Ladiks from Asia Minor; the Daghestans and Kabistans
from Caucasia; and the Royal Bokharas and Yomuds from Central Asia.
Considering both utility and attractiveness the least expensive are
probably the Sarabends and Mosuls from the Persian group, the Yuruks
from Asia Minor, Kazaks and Tcherkess from Caucasia, and Afghans and
Beluchistans from Central Asia. As is the case with antique carpets, the
prices of all old rugs in good condition are steadily advancing.
There is likewise a tendency for the prices of modern rugs to increase
with each year, since on account of the gradual opening of Oriental
countries to the markets of the world, and the greater demand for rugs,
the wages of weavers are increasing. Some of them, as the Tabriz,
Gorevans, Kermanshahs, Muskabads, Mahals, Sarouks, and Kashans, are now
made almost exclusively under the direction of the work-house system,
and are sold at prices that fluctuate but slightly. But in a short time
the prices of all of them will doubtless be higher.
When a rug of carpet size is required, the Kermanshahs are generally
preferred on account of their soft colouring and refined patterns, that
harmonise with the furnishings of most reception rooms. Less expensive
and more showy are the Gorevans, which are suitable for halls or dining
rooms. In the Afghans, which are splendid rugs for a den, are combined
durability with a moderate price. Within recent years some of the Indian
rugs, as the Amritsars and Lahores, have been growing in favour, as they
not only have good colours, artistic patterns, and exceedingly good
texture, but are reasonable in price. Of smaller rugs required both for
ornament and use, the Shiraz, Feraghan, Mosul, Bergamo, Tcherkess,
Bokhara, and Beluchistan are desirable.
As is the case with other works of art, so much deception can be
practised in the sale of rugs that a purchaser cannot use too much
circumspection. Sometimes through ignorance or with intention, a dealer
will declare that the wool of a rug which has been coloured with aniline
dyes has been coloured with vegetable dyes only; that a rug washed with
acid has matured naturally; that a new rug which has been artificially
worn almost to the knot is an antique; or that a particular rug belongs
to the class desired, as where a Shirvan is offered for a Shiraz or a
Bijar for a Bergamo, which ordinarily are worth much more. It is,
accordingly, discreet to buy only of such firms as have a reputation
which is above reproach; and if for any reason it is difficult to learn
the standing of a firm, the purchaser would do well to make an effort to
test its reliability by inquiring about the qualities of some class of
rugs with which he is familiar before purchasing others; and if there
appears to be any intention to deceive, he should at once look
elsewhere. In any event, he should take a guarantee that the rug
purchased is as represented. Firms that have gained an honourable
reputation by honest dealing deserve the patronage of the public, and
will always be found ready to make restitution if any mistake has been
made.
At times, the best rugs may be bought at auctions and at the fairest
prices. Auctions such as the Yerkes, where estates are being closed or
where firms are dissolved, occasionally occur, when every opportunity is
given the purchaser to thoroughly examine in advance pieces which are
sold without reservation to the highest bidder. On such occasions, rare
pieces are sometimes bought at very moderate prices. But as a rule,
unless the purchaser is a good judge and has previously carefully
examined a coveted piece in broad daylight, it is better not to buy at
auctions. During the sale it is impossible to properly examine a rug.
The glare of electric light thrown upon it gives a too favourable
impression of its beauty. The competitive bids of other real or
fictitious purchasers and the words of the auctioneer too often lead
beyond the dictates of good judgment. At such times one would do well to
remember the old words _caveat emptor_.
FOOTNOTES:
[1] The Yerkes sale.
[2] Stewart Dix, in “Arts of Old Japan.”
[3] The influence of the physical aspects of a country on its art as
expressed in architecture is nowhere more clearly shown than in Egypt,
and there is little doubt that, likewise, the character of the native
rugs was influenced by the spirit of the sluggish Nile and the boundless
desert wastes. But as Egypt long ago ceased to be a rug-producing
country, and none of its ancient rugs remain, it will only be briefly
referred to in this work, though symbolic designs which had their origin
there during the Caliphate or even earlier were adopted by foreign
weavers and occasionally appear with modified form in modern rugs.
[4] It is said that he carried Persian weavers as captives to Asia Minor
and Constantinople.
[5] This is a product of flowers of the genus _Delphinum_ that grows in
the Himalayas. It is also obtained as a powder from Afghanistan.
[6] In a few rare instances a knot is tied to four threads of warp.
[7] Most Sehna knots are right-hand knots, but the Sehna knots of a
large proportion of Khorassan rugs are left-hand knots.
[8] As far as the writer is aware, no one has hitherto called attention
to the many precise distinctions there are in weaving, and to the fact
that each class of rugs follows a distinct type of its own. For this
reason this branch of the subject is treated more fully than would
otherwise be necessary.
[9] A few of the weavers about Gozene in Asia Minor make rugs with a
double foundation, in which a single thread of coarse weft crosses twice
between parallel rows of threads of warp. Only rarely is this method
followed in other districts.
[10] Sir George Birdwood has made the statement that “A deep and
complicate symbolism, originating in Babylonia and possibly in India,
pervades every denomination of Oriental carpet. Thus the carpet itself
prefigures space and eternity, and the general pattern or filling, as it
is technically termed, the fleeting, finite universe of animated beauty.
Every colour has its significance; and the design, whether mythological
or natural, human, bestial, or floral, has its hidden meaning. Even the
representatives of men hunting wild beasts have their special
indications. So have the natural flowers of Persia their symbolism,
wherever they are introduced, generally following that of their colours.
The very irregularities either in drawing or colouring, to be observed
in almost every Oriental carpet, and invariably in Turkoman carpets, are
seldom accidental, the usual deliberate intention being to avert the
evil eye and insure good luck.”
[11] The equivalent of 106 feet square.
[12] See his work, “The Holy Carpet of the Mosque at Ardebil.”
[13] Ismael reigned, 1502-1524; Tamasp reigned, 1524-1576.
[14] 1586-1628.
[15] These will be considered in a later chapter.
[16] This group includes both antique and modern rugs.
[17] Robert Kerr Porter, a well-known traveller, stated that the floor
of the audience hall of the governor at Tabriz, whom he visited in 1818,
“was entirely overspread with Herat carpets, those of that manufacture
being the richest that can be made.”
[18] By “Type Characteristics” is meant the characteristics of such
types of the class as are most frequently seen. There are exceptions to
these types.
[19] As this is the case with most rugs, only the exceptions to this
feature will be noticed in the type characteristics of other classes.
[20] Ibn Batutah.
[21] Of modern Ispahans.
[22] “Burlington Magazine,” December, 1909.
[23] In “Industrial Arts of India.”
[24] Sidney Churchill in the Imperial Vienna Book says that “the dyes of
Sultanabad have perhaps the most extensive colour scheme in Persia.”
[25] “Industrial Arts of India.”
[26] Mrs. Elizabeth Bishop in “Journeys in Persia and Kurdistan.”
[27] Encyclopedia Britannica.
[28] It is also to be noted that within the last few years large numbers
of pieces bearing resemblance to old Oriental rugs have been woven about
Constantinople.
[29] One of the most interesting is at Sivas, where are the remains of a
most beautiful Seljuk gateway, with architectural lines that might well
have been taken for a weaver’s model. As in many prayer rugs, the
engaged columns support a high arch over which a panel rests above a
figured spandrel. The outlines of each of these parts suggest most
forcibly the drawing of the prayer rug, and the resemblance is carried
even further; for corresponding with the border stripes is the chiselled
masonry that once rested above the panel and still extends to the foot
of the entrance at each side of the arch.
[30] One of these is represented in Dr. Bode’s “Knupfteppiche,” where it
appears as a secondary stripe.
[31] An intermediate pattern suggested by each is found in an old Asia
Minor piece owned by Dr. Bode.
[32] A. Bogolubow, in his excellent work “Tapis de l’Asie Centrale,”
divides the Transcaspian Turkomans into two principal groups, the Salors
and Yomuds, each of which includes sub-groups. These are again
divisible into many tribes, almost all of whom weave. As their rugs,
though resembling one another, show different characteristics, they
might properly be separated into numerous classes; but since only a few
of them are known in this country, they alone will be described.
[33] “Desert of Red Sands.”
[34] A tent in which an average of five people live.
[35] In “Industrial Arts of India.”
[36] Dr. Birdwood.
[37] Sometimes Sehna knot.
[38] Sometimes one thread of warp to each knot is doubled under the
other.
[39] Rarely Iran, Feraghan, Mosul, and Kurdistan.
[40] It is stated that in the short space of a few weeks he created
valuable antique porcelains to present to his noble friends by placing
recent copies of old specimens in a vessel containing very greasy soup,
where they were duly boiled for a month, and after that placing them in
the “foulest drain of the neighbourhood,” where they remained until
seasoned.
[41] In “Across Coveted Lands, 1903.”
[42] All references of an unimportant character are indicated by the
page number only.
INDEX[42]
A
Abbas, Shah, 88, 89, 169, 211;
pattern named after, 105;
sent artisans to India, 111;
rug industry declined after death of, 112.
Abraham, 23, 31.
Acacia used as a dye, 40, 41.
Accadians, 23.
Adighies, 209.
Afghan rugs, 293, 304, 305;
geometric designs of, 62;
technicalities in weave of, 51, 53, 56, 57, 235.
Rugs described, 243, 244, 245;
border stripes, 251.
Afghan tribes, 90.
Afghanistan, 41, 103, 233, 243, 244;
camel’s wool of, 82.
Afshar rugs, 100, 286;
technicalities in weave of, 51.
Rugs described, 155.
Aga Mohammed Khan pillaged Kirman, 113.
Agamemnon, 166.
Agra, 255, 257.
Agra rugs described, 257.
Akbar, Shah, 28;
received assistance from Shah Abbas, 29;
established rug weaving at Lahore, 94;
imported Persian weavers, 253;
carpet factory of, 256.
Ak-Hissar, 175.
Ak-Hissar rugs, 101.
Rugs described, 175, 176.
Ak-kal, oasis of, 238.
Albana, 204.
Alexander the Great, 169, 181, 246;
destroyed Shiraz, 115;
built walls at Derbend, 204.
Alhambra, 25.
Ali Riza, Imam, 110.
Allahabad, 258.
Allahabad rugs described, 258.
Altai Mts., 29;
original home of the Turks, 26.
Altman, Benjamin, 85.
Alum, used as a mordant, 40, 41.
Amritsar, 255, 258.
Amritsar rugs, 101, 257, 305.
Rugs described, 255.
Amu Daria. _See_ Oxus river.
Anatolia, 163, 182;
the “Land of the Rising Sun,” 187.
Anatolian rugs, 101, 176, 190, 289, 290;
illustration of prayer arch of, 63.
Rugs described, 187, 188, 189;
border stripes, 195.
Angora, 27, 185, 187;
goat’s wool, 32.
Anilines. _See_ Dyes.
Animal carpets, 86, 87.
Anjuman Industrial Art School, 259.
Anoschar, 76.
Anti-Taurus Mts., 140, 187, 190.
Arabia, 24, 29, 32.
Arabic features in rugs, 85;
notation, 296;
symbolism in Western Kurdistan rugs, 141.
Arabs, in Persia, 103;
overran Turkestan, 234.
Ararat, Mt., 103, 219.
Aras river, 151, 157, 224.
Ardebil, Persian capital under Ismael, 28;
mosque of, 82, 127.
Ardebil carpet, 15;
described, 83, 84.
Ardelan district, 100, 129, 133, 153.
Armenia, 209;
origin of some Caucasian border stripes of, 226, 228, 229.
Armenian rugs, 91, 170, 209, 220;
designs derived from, 64, 65, 67, 209, 214, 215.
Rugs described, 91.
Armenians in Persia, 103;
in Mosul, 103.
Artaxerxes, 103.
Aryan races, in India, 28;
in Persia, 103;
in Caucasia, 197;
in Turkestan, 234;
floral ornamentation employed by, 62.
Asburg used as a dye, 41.
Astrabad, 241.
Astrakan, market for Bokharas, 235;
for caravans from Khiva, 240.
Auctions, 306.
Ayyampet, 259.
Azerbijan province, 26, 145, 147, 148, 149, 153.
B
Baber, Shah, 28.
Babylon, 23, 24, 74, 102, 103.
Bagdad, 81, 138, 152;
carpets covering the floors of, 25;
captured by Tartars, 27,
by Solyman the Magnificent, 28.
Bajazet, defeated by Tamerlane, 27;
Karaman subject to, 188.
Bakshis rugs described, 148.
Baku, 210, 214.
Baku rugs, 101, 292;
pear design in, 70, 129, 153, 198, 202.
Rugs described, 210, 211, 212;
border stripes, 229.
Bangalore, 259, 261.
Bangalore rugs, 101, 259.
Rugs described, 261.
Barbarossa, Frederic, 181.
Bardini, Stefano, 85.
Bastard teak used as a dye, 39.
Bedouins, 103.
Belshazzar, 24.
Beluches, in Kirman, 113;
untamed tribes of, 248.
Beluchistan, 233.
Beluchistan rugs, 205, 234, 239, 301, 305;
technicalities in weave of, 53, 56, 57;
illustration of prayer arch of, 61;
geometric designs in, 62;
S design in, 64;
zigzag line in, 66;
reciprocal trefoil in, 160, 230.
Rugs described, 248, 249;
border stripes, 251.
Beni-Hassan, tombs of, 74.
Bergamo rugs, 101, 289, 305;
technicalities in weave of, 50, 52, 53, 54, 57;
illustration of prayer arch of, 63;
prevailing colour tone of, 178.
Rugs described, 166, 167, 168;
border stripes, 193.
Berlin gallery, 92.
Beshire rugs, 101, 233, 293;
illustration of prayer arch of, 61;
S design in, 65;
zigzag line in, 66.
Rugs described, 243;
border stripes, 251.
Bibikabad, town of, 154.
Bibikabad rugs described, 155.
Bijar, 129, 136.
Bijar rugs, 100, 153, 256, 286, 288, 302, 305;
technicalities in weave of, 51, 52;
compared with Persian-Kurdistans and Mosuls, 143.
Rugs described, 136, 137;
border stripes, 157, 159, 160.
Birbul’s blue used as a dye, 40.
Bird figures in rugs. _See_ Designs.
Birdwood, Sir George, cited, 62, 70, 94, 122, 138;
quoted, 59, 241, 253, 258, 259, 260.
Birjand, 108.
Bishop, Mrs. I. B., quoted, 138.
Bode, Dr. Wm., cited, 79, 227, 228.
Bogolubow, A., cited, 233.
Böhler, J., cited, 79.
Bokhara, 100, 110, 245;
captured by Genghis Khan, 26;
the “Noble,” 236.
Bokhara rugs, 100, 243, 305;
goat’s hair in, 32;
technicalities in weave of, 50, 52, 53.
Bokhara, Princess, rugs, 101, 233, 235, 293;
illustration of prayer arch of, 61.
Rugs described, 237, 238;
border stripes, 250, 251.
Bokhara, Royal, rugs, 101, 103, 233, 241, 242, 243, 244, 293, 304;
compared with Princess, 237;
the arch compared with that of Tekkes, 239.
Rugs described, 235, 236;
border stripes, 250, 251.
Border stripes, defined, 59;
Persian, described, 156, 157, 158, 159, 160;
Asia Minor, described, 192, 193, 194, 195;
Caucasian, described, 225, 226, 227, 228, 229, 230, 231;
Central Asiatic, described, 250, 251;
Chinese, described, 273, 274, 275.
Boston Museum of Fine Arts, 94.
Brahoes, 248.
British Museum, 82.
Broussa, 181.
Rugs described, 181.
Buckthorns used as a dye, 39.
Buddhism, influence on Asiatic art, 16;
on symbolism, 58;
the lotus an emblem of, 69.
Buddhist emblems, 271, 274.
Burujird, 131.
Burujird rugs described, 131.
Butea fondosa used as a dye, 39.
Butti lac used as a dye, 39.
C
Cæsarea. _See_ Kaisariyeh.
Caïcus valley, 166.
Cairo, Caliphs in, 25;
Mecca rugs sold in, 118.
Caliphate, 20, 76.
Caliphs, 24, 25, 77, 90, 91, 115;
prayer rugs in time of, 85;
Ispahan under, 111;
Kirman rugs in palaces of, 113;
Tabriz rugs known in days of, 145.
Caliph Hisham, carpet of, 76.
Camel’s hair. _See_ Wool.
Carduchis, 140.
Caria. _See_ Melez.
Chaldees, 23;
symbolism derived from, 66.
Chardin cited, 113.
Charles Martel, 25.
Chehel Sutoon, enormous carpet of, 112.
Che-Hwang-te, 26.
Chichi rugs, 100, 290, 292;
illustration of prayer arch of, 61;
Kazaks contrasted with, 220.
Rugs described, 207, 208;
border stripes, 226, 231.
Chinese fret, 67, 165;
influence, 293;
medallions, 272, 273.
Chosroes I, “Spring of Chosroes” carpet made for, 76.
Chunam wool, 261, 301.
Churchill, Sidney, A. T., quoted, 131.
Cinnabar used as a dye, 40, 41.
Circassians. _See_ Tcherkess.
Clark, Sir Purdon, cited, 112.
Clotilde Clam-Gallas, Countess, cited, 80.
Coccus cacti used as a dye, 38.
Coccus ilicus used as a dye, 38.
Coccus lacca used as a dye, 38.
Cochineal used as a dye, 38.
Cochran, Wm. Alexander Smith, 86.
Coconada, 259.
Colour, the artistic value of, 18;
the symbolism of, 59, 72.
Cone design. _See_ Designs.
Constantinople, 27, 98, 99, 118, 181, 197, 209;
Persian weavers taken to, 28;
silk carpets sent to Sultan of, 87.
Conventions in art, 16.
Cordova, 25.
Cossacks, 218, 219.
Cotton, used in weaving 30;
mercerized, 30.
Cow’s hair used in weaving, 30, 33.
Crocus used as a dye, 39.
Crœsus, 163.
Crown jewel design. _See_ Designs.
Ctesiphon, 76, 102, 103.
Cufic lettering, in Altman carpet, 85;
in borders of Asia Minor and Caucasian rugs, 92, 166, 202, 229;
reputed inventor of, 183.
Cupressus sempervirens used as a dye, 41.
Curcuma used as a dye, 38.
Cyrus, 24, 115, 181; Turkestan overrun by, 234.
D
Daghestan, 198, 206, 214.
Daghestan rugs, 205, 212, 213, 216, 290, 292, 293, 304;
technicalities in weave of, 51, 54;
illustration of prayer arch of, 61;
effulgent stars in, 91;
Cufic borders of, 92;
Bergamo prayer arch compared with that of, 167;
weave of Kabistans compared with that of, 201;
designs in, 211;
colour scheme of Shirvans compared with that of, 214;
mosaic drawing of, 220.
Rugs described, 198, 199, 200;
border stripes, 226, 227, 228, 229, 230.
Daghestan, Royal, 216.
Damascus, 17;
antique carpets of, 95;
Mecca rugs sold in, 118.
Dari, 211, 257.
Darius, 215.
Dekkan, rugs woven in interior of, 259.
Delhi, 28, 110.
Demirdji, 164, 176.
Demirdji rugs described, 176.
Deodorus, 74.
Dera Ghazi Khan, 280; Kilims, 281.
Derbend, 199, 204.
Derbend rugs described, 204, 205;
border stripes, 230.
Designs, geometric, 62, 64, 185;
floral, 62, 64, 68, 185;
almond, 70;
animal, 89, 83, 91, 112, 114, 126, 137, 165, 200, 211, 213, 225, 248;
antilope, 72;
arabesques, 71, 79, 81, 83, 94, 104, 156, 175;
barber-pole, 117, 118, 119, 153, 182, 200, 215, 229, 242, 246, 251;
bat, 71, 266;
birds, 71, 87, 91, 119, 114, 137, 165, 229, 246, 270, 292;
bird of paradise, 71;
butterfly, 71, 246, 266, 269, 270;
camel, 72;
chessboard, 271;
chrysanthemum, 271;
cloud-band, 67, 90, 106, 265, 274;
cocos, 114;
comb, 67, 208, 213, 221;
conch, 274;
cone, 70;
crab, 71;
cross, 67, 92, 236, 237;
crown jewel, 70, 112;
daisy, 64, 69;
diamond, 91, 141, 145, 177, 200, 203, 212, 223;
djinni, 72;
dog, 72, 213;
dragon, 71, 246, 266, 268, 273, 274;
dragon and phoenix, 92;
duck, 71, 81, 87;
eagle, 71;
Euphrates flower, 69, 189;
fish, 165, 246;
fung-kwang, 266;
fungus, 269;
gazelle, 95;
goat, 72;
Joo-e, 265, 274;
key-pattern, 27, 267, 274;
knot of destiny, 274;
ky-lin, 265;
lamp, 165, 170, 182;
latch-hook, 67, 74, 117, 145, 155, 167, 169, 180, 182, 183, 184, 186,
187, 189, 200, 202, 203, 212, 215, 220, 223, 225, 227, 228, 231,
242, 249, 250, 251, 278, 282, 288;
lily, 167, 170, 172, 184, 193, 230;
lion, 72, 95;
lion-dog, 266;
lotus, 64, 68, 69, 89, 199;
lozenge, 62, 91, 123, 141, 206, 220, 225, 249;
lyre, 271;
mango, 70;
medallion, 60, 86, 87, 104, 106, 108, 109, 110, 121, 123, 126, 134,
138, 139, 145, 149, 169, 183, 189, 200, 212, 214, 215, 220, 267,
269, 271, 272, 273;
moon, 65, 69;
octagonal disc, 66, 92, 180, 200, 206, 213, 220, 275; palm, 70;
palmette, 70, 71, 89, 90, 94, 106, 121, 177;
peacock, 71;
pear, 70, 106, 109, 110, 116, 129, 142, 145, 153, 165, 191, 200, 201,
207, 218, 219;
peony, 104, 270;
phœnix, 72;
pole-medallion, 117, 152, 179;
pomegranate, 69, 167;
reciprocal sawtooth, 78, 121, 130, 209, 221, 231;
reciprocal trefoil, 121, 130, 160, 165, 208, 215, 221, 249;
river loop, 70;
rose, 62, 69, 139, 193;
rosette, 70, 94, 104, 121, 188, 193, 201, 207, 208, 221, 226, 230,
290, 292;
running latch-hook, 67, 242;
sacred mountain, 265;
scorpion, 71;
S design, 64, 91, 92, 170, 195, 206, 208, 211, 213, 220;
serpent, 71;
serrated leaf and wine cup, 64;
shield of David, 66;
Shou, 266, 272;
star, 62, 65, 71, 93, 112, 183, 200, 203;
effulgent star, 201, 211;
eight-pointed star, 177, 179, 180, 182, 187, 193, 206, 207, 208, 210,
213, 220, 236, 244, 246, 250;
stork, 71, 266;
sun, 65, 66, 69;
sunburst, 209, 220, 292;
sunflower, 69, 271;
swastika, 64, 65, 194, 229, 246, 248, 271, 273;
tarantula, 71, 209, 220, 221;
tiger, 95;
tree, 137;
tree of life, 60, 68, 182, 186, 189, 219, 237;
tri-cleft leaf, 78, 91, 184, 199, 208, 211, 215, 226;
turtle, 71;
vandyke, 179, 183, 184, 187, 189, 290;
wheel of law, 266;
zigzag line, 66, 67.
Diaper pattern, 102, 263.
Diarbekr, 141.
Die Persische NadelmalereiSusandschird,76.
Distaff, 36.
Dix, Stewart, quoted, 16.
Djinni. _See_ Designs.
Djushaghan. _See_ Joshaghan.
Domenico di Bartolo, painting of, 92.
Dragon and Phoenix carpet, 65, 231.
Dragon carpets, 91, 298.
Dravidians, 28.
Dyeing, 37; process of, 42, 43.
Dyes, 30;
of Sultanabad, 131;
of Oushak, 174;
of Amritsar rugs, 256;
Aniline dyes introduced into India, 254, into China, 265;
objection to, 299;
how to distinguish, 299, 300.
E
East India Company, 254.
Ecbatana, 103, 122.
Elburz Mts., 103.
Eleanor, Queen, Spanish rugs sent to, 25.
Elizabeth, Queen, 29.
Elizabethpol, 224.
Ellore, 259, 260.
Ellore rugs described, 260.
El Mirz li alla, Caliph, 77.
Elwund Mt., 120, 122, 129.
Encyclopedia Britannica quoted, 140.
Ends, finish of, 57.
Esther, Queen, 122.
Evil eye, superstition of, 59, 168.
F
Fairs, Oriental, 99.
Farsistan, wool of, 31;
antique carpets from Shiraz, capital of, 115.
Fatimid Caliphs, 90.
Feraghan district, 125, 129, 131.
Feraghan rugs, 100, 132, 133, 142, 147, 153, 156, 285, 305;
technicalities in weave of, 51, 55;
small designs in, 60;
illustration of prayer arch of, 61;
turtle border of, 79;
Guli Hinnai pattern of, 105;
pattern of Herat rugs compared with that of, 106.
Rugs described, 120, 121, 122;
border stripes, 157, 159.
Filling, 52.
Firdousi, 110.
Fish pattern. _See_ Designs.
Flame design. _See_ Designs.
Flax used in weaving, 30, 33.
Floral design. _See_ Designs.
Friedhofteppiche, 172.
G
Gall nuts used as a dye, 39.
Ganges river, 17, 258.
Ganja. _See_ Gengha.
Gehrous district, 136.
Gengha, 224.
Gengha rugs, 101, 290, 292;
technicalities in weave of, 52, 53, 54.
Rugs described, 224, 225;
border stripes, 227.
Genghis Khan, 26, 78, 198, 234.
Geok Teppe, 238.
Geometric pattern. _See_ Designs.
Georgian pattern, 213, 215, 228, 230, 292.
Ghiordes, 164, 168, 175, 176, 206.
Ghiordes rugs, 65, 101, 183, 184, 191, 289, 289, 290, 304;
illustration of prayer arch of, 63;
Karabaghs compared with, 225.
Rugs described, 168, 169, 170, 171;
border stripes, 192, 193, 194, 195.
Gibbon cited, 25.
Gilan, cloud-band in antique carpets of, 67.
Girdler’s Company, India carpet presented to, 94, 256.
Goat’s hair. _See_ Wool.
Gobi desert, 21, 26, 29.
Goodyear, Prof., cited, 69.
Gorevan rugs, 100, 285, 286, 287, 301, 305;
technicalities in weave of, 51;
turtle border of, 79;
patterns of Muskabads resembling those of, 131;
relation of Bakshis rugs to, 148;
relation of Herez rugs to, 149.
Rugs described, 146, 147, 148;
border stripes, 157, 158.
Gotcha lake, 224.
Gozene, 156.
Gozene rugs, 100, 154, 289;
technicalities in weave of, 54.
Rugs described, 54.
“Grain of rice” pattern in Chinese rugs, 271.
Granada, 25.
Guebres, in Kirman, 113;
temple at Baku of, 210.
Guli Hinnai pattern, 104, 120, 121;
illustrated, 291.
Gulistan rugs, 100, 154, 286.
Rugs described, 155.
Gulistan treaty, 203.
Gyze, Georg, 92.
H
Hafiz, 115.
Hair, of cow, 30, 33; of horse, 33.
Hamadan, 122, 129, 136, 143, 155.
Hamadan rugs, 100, 286, 287;
technicalities in weave of, 52, 53, 54, 55;
similarity of some Irans to, 125;
similarity of Karajes to, 144;
similarity of weave of Kara-Geuz rugs to, 155.
Rugs described, 122, 123, 124;
border stripes, 157, 159, 160.
Hang Chow, 266.
Harris, Henry T., quoted, 40, 260.
Havell, E. B., cited, 260.
Hegira, 296.
Hemp used in weaving, 30, 33, 261, 263.
Herat, 105, 110, 244, 285;
captured by Nadir Shah, 29;
so-called Ispahans probably made at, 89, 112.
Herat rugs, 69, 89, 100;
technicalities in weave of, 54, 55;
cloud-band in antique rugs of, 67;
ground colour of, 95;
influence on Indian weaving of, 255.
Rugs described, 105, 106;
border stripes, 156.
Herati pattern, 89, 94, 104, 106, 108, 109, 112, 120, 121, 129, 132,
134, 142, 152,153, 157, 165, 170, 201;
illustrated, 291.
Hereke, 181.
Hereke rugs described, 181.
Herez, 149.
Herez rugs, 101, 286, 287;
technicalities in weave of, 55.
Rugs described, 149, 150;
border stripes, 157.
Herodotus, 74.
Herring bone weave, described, 47;
in Shemakhas, 216, 217, 292.
Himalayas, 41.
Hindu Koosh Mts., 244.
Hoa, 183.
Holbein, Hans, 92, 93.
Holbein rugs, 298;
octagonal disc in, 66.
Rugs described, 92, 93.
Homer, 69, 74, 110, 163.
Hulaku Khan, conquered Persia, 26;
Mongolian capital established in Persia by, 78.
Hunting carpets, 298;
symbolism in, 72.
Carpets described, 82.
Hurst, Dr. John, quoted, 257.
Hyderabad, 259, 262.
Hyderabad rugs described, 262.
Hyder Ali, 261.
I
Ibn Batutah, Meshed visited by, 110.
Iconium, 181.
Imari ware, 17.
Imeritia, 218.
India Museum, 122.
Indigo used as a dye, 38, 40.
Indigofera used as a dye, 38.
Indus river, 17, 24, 29.
Irak-Ajemi, 124, 127, 129.
Iran rugs, 100;
similarity in some rugs of the Kara-Geuz district to, 155.
Rugs described, 124, 125;
border stripes, 157.
Irtish river, 26.
Isbarta, 178.
Iskenderoon gulf, 163.
Ismael, Shah, established capital at Ardebil, 82;
Ardebil Mosque carpet made during reign of, 84;
carpets made at Herat during reign of, 89;
Ardebil Mosque carpet made by order of, 127.
Ispahan, sacked by Tamerlane, 27;
Shah Abbas transferred his court to, 29;
probability that some of the so-called Ispahans were made at, 89;
description of city, 111.
Ispahan blue, 42.
Ispahan rugs, lotus design in, 69;
made at Ispahan, 89;
sombre tones of, 90;
red fields of, 95;
blues and reds of the antique, 127;
palmettes of the antique, 145.
Modern rugs described, 111, 112, 113.
J
Jahan, Shah, 28; builder of Taj Mahal, 94;
Indian rug-weaving declined after death of, 253.
Jail system of India, 254.
Jaipur, 255, 259.
Jaipur rugs described, 259.
Japan, 17.
Jhelum river, suggested as origin of pear design, 70;
Srinagar on the, 255.
Joshaghan district, 132.
Joshaghan rugs, 100, 286, 298;
technicalities in weave of, 50.
Rugs described, 132, 133;
border stripes, 157.
Jubbulpur, 255, 258.
Jubbulpur rugs described, 258, 259.
Jute, used in weaving, 30, 33;
in Kulahs, 174;
in Vellore rugs, 261;
in Bangalore rugs, 262.
K
Kaaba, 117.
Kabistan, 199.
Kabistan rugs, 101, 204, 290, 292, 293, 304;
technicalities in weave of, 54;
illustration of prayer arch of, 61;
effulgent stars of, 91;
Cufic borders of, 92;
patterns of some Shirvans similar to those of, 213.
Rugs described, 200, 201, 202;
border stripes, 226, 228, 229.
Kain, 108.
Kaisariyeh, 190.
Kaisariyeh rugs described, 190, 191.
Kaiser Friedrich Museum, 79, 92.
Kang-hi rugs, 78, 101.
Rugs described, 268, 269;
border stripes, 274;
medallions, 273.
Karabacek, Dr., quoted, 74.
Karabagh district, 222, 224.
Karabagh rugs, 101, 290, 292;
technicalities in weave of, 51, 53;
illustration of prayer arch of, 61;
Karadaghs compared with, 151;
Shushas compared with, 224.
Rugs described, 222, 223.
Karadagh district, 151.
Karadagh rugs, 100, 286, 289.
Rugs described; border stripes, 157, 158.
Kara-Geuz district, 155.
Kara-Geuz rugs, 100, 154.
Rugs described, 155.
Karaje rugs, 100, 286;
technicalities in weave of, 53.
Rugs described, 143, 144.
Kara Kum desert, 241.
Karaman, 188.
Karaman rugs, 101, 289.
Rugs described, 188.
Kilims, 278, 279.
Kashan, 115, 127, 155.
Kashan rugs, 100, 285, 286, 288, 301, 305;
technicalities in weave of, 35, 51, 55;
illustration of prayer arch of, 61;
pattern of Sarouks like that of, 134;
correspondence of some rugs of Tabriz with, 145.
Rugs described, 127, 128, 129;
border stripes, 160.
Kashgar, 247.
Kashgar rugs, 101, 234, 282, 292.
Rugs described, 247, 248.
Kashmir, 70, 255;
goat’s wool of, 32, 114.
Katchli, derivation of, 237;
pattern used in Tekkes, 239, 293.
Kazak rugs, 101, 290, 292, 304;
technicalities in weave of, 51, 53;
illustration of prayer arch of, 61;
Western Kurdistans compared with, 141;
Afshars compared with, 155;
Yuruks compared with, 191;
Tcherkess compared with, 209;
Kutais compared with, 222;
Genghas compared with, 224.
Rugs described, 219, 220, 221, 222;
border stripes, 226, 227, 228, 229.
Kazakje, 220.
Kea-king dynasty, 272.
Rugs described, 272.
Keen-lung dynasty. Rugs described, 270, 271, 272;
border stripes, 274, 275;
medallions, 273.
Kenares defined, 97.
Kerim, Khan, 115;
royal patronage of weaving at Shiraz under, 116.
Kermanshah, 83, 129, 138.
Kermanshah rugs, 134, 137, 147, 160, 285, 288, 301, 305;
technicalities in weave of, 52;
illustration of prayer arch of, 61;
corners of Khorassans compared with those of, 109;
Tabriz rugs compared with, 145, 146;
Amritsars mistaken for, 256.
Rugs described, 138, 139, 140;
border stripes, 38.
Kermes used as a dye, 38.
Key pattern, 27.
Khali defined, 97.
Khibitkas, defined, 238;
rugs made for doors of, 239.
Khiva, 110, 240, 241, 244.
Khiva rugs, 100, 233, 235, 242, 293;
illustration of prayer arch of, 61.
Rugs described, 240, 241;
border stripes, 250, 251.
Khorassan, 107, 115, 127;
wool of, 31;
Herats made in, 106;
Kurdistans in, 141;
Yomuds in, 241.
Khorassan rugs, 60, 100, 117, 288;
left-hand knots in, 48;
technicalities in weave of, 54, 55;
illustration of prayer arch of, 61;
resemblance of Mesheds to, 110.
Rugs described, 107, 108, 109, 110;
border stripes, 156.
Khotan, 278.
Kidderminster, 260.
Kilims, earliest rugs similar to, 75;
pattern in Shirvan, 227.
Kilims described, 276, 277, 278, 279, 280, 281.
King-te Chin, 300.
Kirghiz, steppes, 235;
tribes, 240.
Kirman, 113, 115, 203, 206, 248;
wool of, 31;
carpets made during Caliphate at, 90;
early weavers taken to Asia Minor from, 181.
Kirman rugs, 100, 285, 297, 304;
technicalities in weave of, 50, 51, 53;
resemblance of Kermanshahs to, 138;
flowers in Tabriz rugs compared with those of, 145;
some old Bergamos as valuable as, 167.
Rugs described, 113, 114, 115;
border stripes, 158.
Kirmans, Turkish, 174.
Kir-Shehr, 185.
Kir-Shehr rugs, 101, 289, 290;
illustration of prayer arch of, 63;
prayer arches of Bergamos compared with those of, 167;
prayer arches of Ladiks compared with those of, 183;
often called Anatolian, 187;
prayer arches of Mudjars compared with those of, 189;
prayer arches of Tuzlas compared with those of, 190.
Rugs described, 185, 186;
border stripes, 193.
Kis-kilims, 280.
Kizil Arvat, 241.
Kizil Irmak river, 185, 189.
Kizil Kum, “desert of red sands,” 235.
Knights of St. John, 28, 179.
Knots, Ghiordes, 48;
Sehna, 48;
right-hand, 48;
left-hand, 48;
peculiarities of, 48;
illustrated, 49.
Konieh, 188, 190.
Konieh rugs, 101, 289, 290;
technicalities in weave of, 55;
illustration of prayer arch of, 63;
resemblance in pattern of Kir-Shehrs to that of, 186;
prayer arches of Anatolians compared with those of, 187.
Rugs described, 181, 182, 183;
border stripes, 193, 195.
Koran, 72.
Kuba, 199, 202.
Kuba rugs, 101, 290, 292.
Rugs described, 202, 203, 204;
border stripes, 228.
Kublai Khan, 266.
Kulah, 164, 171, 174.
Kulah rugs, 101, 289, 290;
technicalities in weave of, 51, 52, 53, 54;
illustration of prayer arch of, 64;
lily pattern in, 167;
Ghiordes rugs adopting border of, 171;
geometric leaf of, 180;
prayer arch of Koniehs compared with those of, 186.
Rugs described, 171, 172, 173, 174;
border stripes, 193, 194.
Kur valley, 207, 214.
Kurdistan, Persian, rugs, 100, 286, 287;
technicalities in weave of, 51;
Mina Khani pattern characteristic of, 105;
Western Kurdistans compared with, 141.
Rugs described, 142, 143;
border stripes, 157, 159.
Kurdistan rugs, 286;
technicalities in weave of, 51, 53, 57;
Karajes compared with, 143;
ground colour of some Mosuls similar to that of, 154;
some Kara-Geuz rugs similar to, 155.
Kurdistan, Western, rugs, 100, 286;
described, 140, 141, 142.
Kilims, 280.
Kurds, 134, 136, 138, 140, 141, 145, 187, 191;
located at Ak-kal by Shah of Persia, 238.
Kutais, 218.
Kutais rugs, technicalities in weave of, 53.
Rugs described, 218, 219;
border stripes, 227, 229.
Kutayah, 176.
Kutayah rugs described, 176.
L
Lacquer, 17.
Ladik rugs, 101, 167, 289, 290, 304;
illustration of prayer arch of, 63;
pomegranate design in, 70;
border stripe of Melez rugs similar to that of, 177;
vandykes of Rhodian rugs resembling those of, 179;
nap of, 186;
Kir-Shehr panels compared with those of, 187;
vandykes in Mudjars borrowed from, 189.
Rugs described, 183, 184;
border stripes, 193, 194.
Lahore, 255, 256;
royal factory at, 94.
Lahore rugs, 101, 305.
Rugs described, 256, 257.
Landor, Henry Savage, quoted, 300.
Laristan border stripe, 157.
Latch-hooks. _See_ Designs.
Latimer, C., quoted, 281.
Lattice-work pattern, 119, 121, 133, 134, 137, 204.
Lemons used as a mordant, 40.
Lesghian rugs, 101, 199, 290.
Rugs described, 206, 207.
Lesghian tribes, 206, 207.
Limes used as a mordant, 40.
Linen, in Sehnas, 135;
in Tabriz, 146;
in Ghiordes, 171;
in Sarouks, 127;
in Kashans, 128.
Loom, described, 44;
illustrated, 45.
Lotus. _See_ Designs.
Luristan rugs, 286;
technicalities in weave of, 55.
M
Madder used as a dye, 38.
Madras, 259.
Madras rugs described, 259, 260.
Mahal rugs, 286, 288, 301, 305;
similar to Muskabads, 131, 132.
Maharajah, 259.
Makimonos, 180.
Makri rugs, 180.
Maksoud, 84, 127, 128.
Malek Shah made Ispahan the capital of Persia, 26.
Malgaran, 246.
Manchoos, 268.
Mangishlar peninsula, 238.
Marco Polo, referred to Armenian carpets, 91;
referred to Kirman weavings, 113;
visited Kashgar, 247.
Marsulipatam, 259, 260.
Marsulipatam rugs described, 260.
Martin, Dr. F. R., quoted and cited, 74, 77, 79, 81, 82, 89, 90, 116,
227.
Maya ruins, swastika on, 65.
Mecca, 77, 98;
pilgrimages to, 99;
bit of earth from, 221, 223.
Mecca rugs, 117, 118.
Medallions. _See_ Designs.
Medes, 23, 24, 66, 234.
Medina, 77, 296.
Melez rugs, 101, 290;
technicalities in weave of, 51;
illustration of prayer arch of, 63;
sometimes called Anatolians, 187.
Rugs described, 176, 177, 178;
border stripes, 193, 195.
Mersherski, 88.
Merv Kilims, 280, 281.
Meshed, pilgrimages to, 99, 108.
Meshed rugs, 100, 147, 217, 288, 301.
Rugs described, 110, 111;
border stripes, 158.
Metropolitan Museum of Art, New York; rugs exhibited in, 78, 79, 80,
82, 85, 86, 91, 93.
Michelangelo, 16.
Mina Khan, 105.
Mina Khani pattern, 105, 142, 152, 249;
illustrated, 291.
Ming dynasty, 78, 81, 266, 268;
coat of arms of, 92.
Ming rugs, 101, 298.
Rugs described, 266.
Mirabad, 130.
Mirror backs in Chinese rugs, 267, 272, 273.
Mir-Sarabend. _See_ Sarabend.
Mirzapur, 255, 258.
Mirzapur rugs described, 258.
Mohair, 174.
Mohammed, 24;
epithet applied to Guli Hinnaiby, 104.
Mohammedans, 98, 103, 113, 237, 257;
dominant in Southwestern Asia, 25;
invaded India, 28;
Meshed sacred to, 110;
prejudice against depicting animals by Sunnite, 165;
Caucasia invaded by, 198;
influence on weaving by, 58, 270.
Mongols, captured Bagdad, 26;
gained foothold in India, 28;
in Persia, 62;
in Caucasia, 198;
overran Turkestan, 234.
Mordants, 40.
Mordecai, 122.
Moslems, 70;
preserved art treasures, 76;
green sacred to, 85.
Mosul district, 152.
Mosul rugs, 101, 286, 287, 302, 304, 305;
technicalities in weave of, 51, 52;
Western Kurdistans confused with, 141;
Persian Kurdistan and Bijar rugs compared with, 143;
resemblance of weave of some Gozene rugs with that of, 156.
Rugs described, 152, 153, 154;
border stripes, 157, 158, 159.
Mt. Ararat, 103, 219.
Mt. Ida, 163.
Mt. Kazbek, 206.
Mt. Olympus, 181, 191.
Mudjar, 189.
Mudjar rugs, 101, 290;
illustration of prayer arch of, 63;
frequently classed as Anatolians, 187.
Rugs described, 189, 190;
border stripes, 193.
Multan, 255.
Multan rugs described, 257.
Mumford, John Kimberly, cited, v, 67.
Musée des Arts Decoratifs, 79.
Muskabad district, 131.
Muskabad rugs, 100, 286, 288, 301, 305;
turtle border in, 71.
Rugs described, 131, 132;
border stripes, 157, 159.
N
Nadir Shah, Afghans defeated by, 29;
influence of, 103;
art decadence following capture of Herat by, 106;
destruction of Herat by, 110;
weavers removed to Northern Persia by, 113, 132;
Shemakha almost destroyed by, 214;
Shusha built by, 224;
overthrow of Mogul dominion by, 254.
Namads, 115, 122.
Namazlik, 98, 150.
Netsukés, 17.
Nigde, 190.
Nigde rugs, 101;
classed as Anatolians, 187.
Rugs described, 190.
Nijni Novgorod, 235.
Nimrod, 23.
Nineveh, 23, 102;
drawings on walls of, 74;
Mosul near ruins of, 152.
Niris lake, wool obtained near, 31.
Niris rugs, 100, 204, 286, 287, 304.
Rugs described, 119, 120.
Nizami manuscript determining age of Hunting Carpets, 82.
Nomadic influence, 106;
characteristics in rugs, 134; rugs, 58, 153.
O
Oak gall, used as a dye, 40.
Odjalik, 97.
Omar Khayyam, 108, 110.
Onosma echioides used as a dye, 41.
Orenburg, 235, 240.
Oriental art, 16.
Ottoman Turks, 27, 28.
Oushak, city and district, 164, 176.
Oushak rugs, type of modern, 94;
evidences of Persian treatment in, 166.
Rugs described, 174, 175.
Outer edging in Kirmans, 114;
in Hamadans, 123;
in Sarouks, 126;
in Bijars, 137;
in Kermanshahs, 139;
in Mosuls, 153.
Overcasting of sides; weft overcasting described, 55, 56;
illustrated, 49;
double overcasting described, 55, 56;
illustrated, 49.
Oxus river (Amu Daria), 23, 24, 235, 238, 240, 243, 244.
P
Palais de Commerce at Lyons, 80.
Palm design. _See_ Designs.
Pamir plateau, sheep of, 31;
mountains of, 235.
Paropamisus Mts., 235.
Parsees, 103;
symbolism derived from fire worship of, 58, 71;
at Baku, 211.
Parthians, 24.
Patna rugs, 101.
Paul, St., 166, 181.
Pear design. _See_ Designs.
Pergamus, 166, 168.
Persepolis, 103.
Phasis river, 197.
Pile of rugs, 47.
Pliny, 74.
Polish silk carpets, reciprocal trefoils in, 65;
Chinese cloud-bands in, 67;
lotus in, 69.
Carpets described, 88;
bright hues of, 90.
Polonaise carpets. _See_ Polish silk.
Pomegranate. _See_ Designs.
Pomegranate rind used as a mordant, 40.
Porter, Sir Robert Kerr, quoted, 106, 138.
Prayer arches, 60, 62;
illustrated, 61, 63.
Prayer rugs. _See_ Namazlik.
Priam, 166.
Prometheus, 197.
Punjab, 255, 256, 257.
R
Ratanjot used as a dye, 16.
Rembrandt, 16.
Rhodes, Isle of, 28, 178.
Rhodian rugs, 101, 289.
Rugs described, 178, 179, 180;
border stripes, 193.
Rion river, 218.
River loop. _See_ Designs.
Robinson, Vincent, cited, 80, 81, 86, 88, 254, 258, 259.
Rubens, 16.
Rubia cordifolia used as a dye, 41.
Rubia tinctorum used as a dye, 38.
Runners, 97.
Ruskin, John, quoted, 18.
S
Saadi, 115.
Saddle-bags, 117, 135, 249.
Safavid dynasty, 29, 81, 83, 84, 85, 89, 103.
Saffron used as a dye, 39.
Salors, 233.
Samarkand, capital of Tamerlane, 27;
the “Mirror of the World,” 245.
Samarkand rugs, 101, 233, 265, 282, 293;
technicalities in weave of, 50;
swastika in, 65.
Rugs described, 245, 246, 247;
border stripes, 251.
Samo-Kien, 246.
Sarabend rugs, 285, 304;
technicalities in weave of, 51;
pear design of, 70, 116, 119, 144, 153;
turtle border in, 71;
pile of, 133.
Rugs described, 129, 130;
border stripes, 158, 160.
Mir-Sarabends, 130.
Royal Sarabends, 130.
Saracenic art, 21;
influence, 58, 80, 88, 166.
Saracens, carpet weaving introduced into India by, 94;
Persia under dominion of, 103;
Baku in possession of, 210.
Saraks, town of, 136, 238.
Sarawan district, 129, 131.
Sarouk, 125.
Sarouk rugs, 134, 285, 286, 288, 301, 305;
technicalities in weave of, 51, 52, 53, 55;
illustration of prayer arch of, 61;
animal carpet with weave similar to that of, 86;
corners of Khorassans compared with those of, 109;
patterns of Bijars compared with those of, 137.
Tabriz rugs compared with, 145, 146.
Rugs described, 125, 126, 127;
border stripes, 160.
Sassanides, Kingdom of, 24;
elaborate carpets made during rule of, 74;
capture of capital of, 75.
Savalans, 131.
Sedjadeh, 97.
Sehna, 48, 129, 133.
Sehna rugs, 100, 286, 304;
technicalities in weave of, 51, 54;
medallions of, 60;
turtle border in, 71.
Herati design in Persian Kurdistans borrowed from, 142.
Rugs described, 133, 134, 135;
border stripes, 157, 158, 159.
Sehna kilims, 278.
Seljukian Turks, effect on art, 26;
powerful in Asia Minor, 27;
overthrow by Genghis Khan, 78;
invasion of Southern Persia by, 90;
monuments in Armenia of, 91;
dominion in Persia of, 103;
Konieh surrendered to, 181.
Selvage, weft selvage described, 55, 56;
illustrated, 49;
double selvage described, 55, 56;
illustrated, 49;
mixed selvage described, 56.
Serapi rugs, 285;
turtle border in, 71.
Rugs described, 148, 149;
border stripes, 157.
Shah Abbas pattern, 198, 206.
Shemakha, city of, 214.
Shemakha rugs, 101, 290, 292.
Rugs described, 216, 217;
border-stripes, 228.
Shield of David. _See_ Designs.
Shiites, 58;
animal designs permitted by, 72;
Meshed sacred to, 110.
Shiraz, wool of, 31;
city of, 115.
Shiraz rugs, 100, 286, 288, 297, 301, 305;
technicalities in weave of, 51;
illustration of prayer arch of, 61;
latch-hooks in, 67;
resemblance of Niris rugs to, 119;
pear design of Kabistans similar to those of, 201;
wool of Tiflis rugs suggests that of, 217.
Rugs described, 115, 116, 117, 118;
border stripes, 158;
saddle-bags, 117.
Shirvan district conquered by Solyman the Magnificent, 28.
Shirvan rugs, 101, 290, 292, 293, 305;
technicalities in weave of, 54;
illustration of prayer arch of, 61;
design of Shiraz rugs similar to that of, 117;
weave of Kabistans compared with that of, 201;
pattern of Chichis resembling that of, 207;
geometric design of Bakus seen in, 211;
some patterns of Genghas similar to those of, 225.
Rugs described, 212, 213, 214;
border stripes, 226, 227, 228, 229, 231.
Kilims, 278.
Shusha, 224.
Shusha rugs, 101, 290.
Rugs described, 224.
Sides, finish of, 55; illustrated, 49.
Silk, used for weaving, 33;
indigenous to Asia, 33;
cultivated at Kashgar and Yarkand, 247;
used in Kirmans, 114;
in Yezd rugs, 115;
in Hamadans, 122;
in Kashans, 128;
in Sehnas, 134, 135;
in Ghiordes, 178;
in Hereke rugs, 181;
in Kaisariyeh rugs, 190;
in Royal Bokharas, 236.
Silk carpets, sent to Sultan of Constantinople, 87;
made at Kashan, 128.
Sindh, 255, 259.
Sindh rugs described, 259.
Sirab, village of, 148.
Sivas, Seljukian gate at, 170;
city of, 188.
Sivas rugs described, 188, 189.
Smyrna, 164, 175, 176;
Yuruks at, 191.
Smyrna rugs, 101;
Broussa rugs compared with those of, 181;
Indian rugs compared with those of, 254.
Rugs described, 176.
Solyman, King, the ring of, 66;
pomegranates cultivated in days of, 69;
his emblem of an eight-pointed star, 158.
Solyman the Magnificent, Iran threatened by, 28;
weavers taken to Asia Minor by, 94, 175.
Soumak rugs, 290, 292;
weave of, 47;
designs of cross in, 67;
tri-cleft leaf in, 91, 209;
Kubas and Shemakhas compared with, 203;
patterns of Shirvans compared with those of, 213.
Rugs described, 214, 215, 216;
border stripes, 228, 230.
Sousa, reciprocal sawtooth on monuments of, 231.
South Kensington Museum, 15, 83, 259.
Spanish rugs sent to Queen Eleanor, 25.
Sparta rugs. _See_ Isbarta.
Spindle, 34, 35.
Spinning, 34, 35.
Spring of Chosroes carpet described, 76.
Srinagar, 70, 255.
Srinagar rugs described, 255.
Stebbing, Edward, cited, 82;
quoted, 83, 84.
St. Sophia, 19, 28.
Star design. _See_ Designs.
Stein, Dr. M. A., cited, 278.
Strabo, 74.
Stripes. _See_ Border.
Suj-Bulak, town of, 150.
Suj-Bulak rugs, 286.
Rugs described, 150, 151.
Sulphate of iron used as a mordant, 40.
Sulphate of tin used as a mordant, 40.
Sultanabad, 129, 131, 132.
Sultanabad rugs, 286;
Indian rugs compared with those of, 254, 256.
Rugs described, 131.
Sumach used as a dye, 38.
Sumerians, 23.
Sung dynasty, 266.
Sunnites opposed to depicting animal figures, 58, 72, 91, 99, 165, 254.
Swastika. Illustrated, 291. _See_ Designs.
Symbols in colours and designs, 18, 19, 20, 58, 59, 72.
T
Tabriz, 136, 145, 148, 151, 227;
captured by Solyman the Magnificent, 28, 94;
dyers from, 40;
an important art centre, 89;
a mart for rugs, 99;
Herat carpets in hall of governor at, 106.
Tabriz rugs, 286, 287, 288, 297, 301, 305;
technicalities in weave of, 53, 55;
Chinese cloud-band in, 67;
medallions of Herez rugs similar to those of, 149.
Rugs described, 145, 146.
Taj Mahal, 94, 257.
Tak-i-Bostan, rock-carved sculptures of, 83.
Tamara, Queen, 197, 198.
Tamarind used as a mordant, 40.
Tamasp, Shah, 28, 82, 169;
Ardebil carpet finished during reign of, 84;
silk rugs made during reign of, 87;
Herat an important art centre during time of, 89;
Tabriz carpets woven during reign of, 145.
Tamerlane, 172, 254;
Mongols united by, 27;
Ispahan sacked by, 111;
artists gathered at Samarkand by, 234;
Samarkand made capital by, 246;
Multan captured by, 257.
Tang dynasty, 266.
Tanjore district, 259.
Taoist symbols, 271.
Tao-Kwang, 272. Rugs described, 272.
“Tapis de l’Asie Centrale” quoted, 233.
Tartars, 26, 220;
Turkestan conquered by, 234.
Tartary, 31, 32.
Tchechen. _See_ Chichi.
Tcherkess (Circassian) rugs, 290, 292, 304, 305;
technicalities in weave of, 54;
tri-cleft leaf in, 91;
long nap of Western Kurdistans similar to that of, 141;
sunburst pattern of Kazaks similar to that of, 220.
Rugs described, 208, 209, 210;
border stripes, 227.
Tcherkess tribes, 209.
Teheran, 138;
caravans to Meshed from, 110.
Teheran rugs described, 154, 155.
Tekke, derivation of name, 238.
Tekke rugs, 101, 233, 293;
illustration of prayer arch of, 61;
S design in, 65;
selvage at sides of Beluchistans similar to that of, 235;
similarity in colours of Yomuds and those of, 242;
designs in Afghans and Yomuds similar to those of, 244.
Rugs described, 238, 239, 240;
border stripes, 250, 251.
Terek valley, 207, 208.
Terminalia citrina used as a dye, 40.
Tiflis, overrun by Seljukian Turks, 26;
mart for rugs, 99;
caravans from Tabriz to, 145;
capital of Georgia, 217.
Tiflis rugs, 298;
technicalities in weave of, 53;
resemblance between weave of Kutais and that of, 219.
Rugs described, 217, 218;
border stripes, 227.
Tiger skin pattern, 267.
Timurids, invasion of, 103, 136;
designs due to, 80, 166.
Titian, 16.
Toledo, 17.
Toon, 108.
Trebizond, 145, 163.
Turanian races, geometric designs among, 62.
Turkish Kilims, 280.
Turmeric used as a dye, 41.
Turtle border, 121, 132, 157;
probable origin of, 71, 79.
Tuz Gul, lake, 187, 190.
Tuzla rugs sometimes classed as Anatolians, 187.
Rugs described, 190.
Type characteristics, not invariable, v;
term defined, 107.
U
Urumiah lake, 150, 155, 224.
Uzbeck Tartars, care of sheep by, 31.
V
Valonia used as a mordant, 40.
Value of antique carpets, 15, 16, 304.
Vambery, Prof., cited, 241.
Van lake, 141, 152, 224.
Vandykes. _See_ Designs.
Vellore, 259, 261.
Vellore rugs described, 261.
Victoria and Albert Museum, 93.
Vienna publication of Oriental carpets, 80, 259.
W
Warangal, 259, 262.
Warangal rugs described, 262.
Warp, arrangement on loom, 46;
characteristics of, 51, 52;
illustrated, 49.
Washing, materials for weaving, 33, 34, 36;
artificial, 300, 301.
Weaving described, 46, 47;
illustrated, 49.
“Wedding of the Foundling,” 92.
Weft, arrangement of, 47;
technical characteristics of, 52, 53, 54, 55.
Whirling Dervishes, at Konieh, 181.
Williams, C. F., 78, 79, 93.
Whistler cited, 17.
Wise men of the East, 127.
Wool, of the camel, 30, 32, 124, 153, 249;
of the goat, 30, 31, 142, 241, 245, 249;
of sheep, 30, 31;
of the yak, 30, 33;
spinning, 33;
washing, 33, 36.
X
Xenophon, 99, 140, 181.
Xerxes, 115.
Y
Yak’s hair. _See_ Wool.
Yaprak, 175.
Yarkand, 247.
Yarkand rugs, 234, 265, 282, 293.
Rugs described, 247, 248;
border stripes, 251.
Yarn, 35.
Yerkes sale, 15, 82, 86, 304, 306.
Yezd, 110, 115, 222.
Yezd rugs described, 115.
Yomud rugs, 205, 233, 235, 293, 304;
colour scheme of Beshires similar to that of, 243.
Rugs described, 241, 242;
border stripes, 250, 251;
saddle-bags, 242.
Yomud tribes, 235;
robbed of their land by Tekkes, 231, 241.
Yuan dynasty, 266.
Yung-ching, 269.
Yung-ching rugs described, 269, 270;
border stripes, 274;
medallions, 273.
Yuruk rugs, 289, 290, 304;
technicalities in weave of, 51.
Rugs described, 191, 192;
border stripes, 194.
Yuruk tribes, 155, 163, 191, 220.
Z
Zabalpur rugs, 101.
Zagros Mts., 21, 103, 140.
Zarafshan river, 245.
Zoroaster, 18, 58, 210.
Zoroastrians, 69.