lion holding an uplifted sword in its right paw and the rising sun
dominating from its back. Persians from their earliest history have
worshipped the sun. The lion was added about eight hundred years ago,
it being the emblem of one of the Nomadic tribes who were conquered by
the Persians. The sword signifies the absolute power of the Persian
rulers. This emblem is used on their flag and coins as well as in
decoration.
COAT OF ARMS, RUSSIAN (see illustration on p. 253).--The Russian double
eagle is occasionally found in old Kazaks.
COAT OF ARMS, TURKISH (see illustration on p. 217).--Rudely represents
a left hand, originated, it is said, by a Sultan who sealed the treaty
of Ragusa with the imprint of his hand after dipping it in blood. It
now appears on the Turkish stamps, coins and many of their public
documents.
COBRA, see Serpent.
COCK, crowing, see Rooster.
[Illustration: Comb design]
COMB.--An emblem of the Mohammedan faith to remind the devout that
cleanliness is next to godliness. For this reason it appears in its
various forms near the niche of many prayer rugs, especially in the
Daghestans.
COMPASS.--Carried by the Mohammedans to determine the location so that
the niche of their prayer rugs might be pointed in the right direction,
towards Mecca.
CONCH SHELL.--A Chinese Buddhist symbol.
CONE, FIR, see Pear.
CORNUCOPIA.--Represented by a ram's horn filled with flowers and fruit.
It symbolizes peace and prosperity.
CRAB.--A border design having the appearance of a series of crabs with
their claws extended. Very common in the Caucasian fabrics, especially
the Kazaks. (See doubletone at p. 186.)
[Illustration: Crab design]
CRANE.--In India the crane is symbolic of a rogue, a cheat, a
false prophet, a religious hypocrite. Crane-like (bakavrata) means
hypocrisy. A poet addressing a crane said, "You stand on one leg like
a devotee performing austerities, but you can only cheat senseless
fishes. Your hypocrisy is well known to the learned; they are aware of
it."
CRESCENT.--In China the crescent is symbolic of coming events. In India
it signifies descent in the lunar line of kings of the warrior race
(Kehatriya) or it indicates Mohammedan faith. When used as a tattoo
mark it is associated with a little star below it and it means the
devoted love of Rohini (Venus) to the moon (who is masculine in Indian
mythology).
CROCODILE.--In Indian mythology, when drawn with a female figure seated
on it, it signifies the Goddess Ganga (personification of the river
Ganges); when drawn as holding an elephant in its tremendous jaws, it
shows distress and tenacity.
[Illustration: Cross design]
CROSS, GREEK (sometimes called the Square Cross).--A plain cross with
four equal arms. Most of the Eastern churches are built in the form
of this cross. The cross is never found in rugs that are woven by the
orthodox Mohammedans.
CROSS, SQUARE, see Cross, Greek.
CROW.--Chinese, harbinger of bad luck; Indian, an evil foreboder among
the Hindus and a good omen among the Mohammedans. It is said that Sir
Salar Jang, the late Minister of Hyderabad, always looked at a crow the
first thing in the morning and that one of his attendants was told oft
to stand with a crow in a cage facing his window.
CROWING COCK, see Rooster.
CROWN JEWEL, see Pear.
DAVID'S SHIELD, see Star, six-pointed.
DAVID'S SIGNET OR SHIELD, see Star, six-pointed.
DEER.--In China it is symbolic of longevity and success. In India a doe
is symbolic of love towards animals because of its association with
Shakuntala in the Lost Ring, a very popular drama by Kalidas.
DIAMOND.--Found in rugs of most every class, but more especially in
those of the Caucasus. As far as we are able to learn the diamond has
no special symbolic significance. (See doubletone at p. 110.)
DIAPER, see Lattice.
DISC, Winged, see Winged Globe or Disc.
DOG.--The dog is considered a sacred animal for the reason that one
preceded Mohammed the prophet, when he made his first triumphal entry
into Mecca.
[Illustration: HAMADAN RUG
Size 6'10" × 3'4"
PROPERTY OF MR. J. H. STANTON, AUBURN, N. Y.
(See page 194)]
DOVE.--Chinese, companionship; Indian, no significance except through
British associations for innocence.
DRAGON.--The Imperial Chinese dragon is represented with five claws
and no wings, also with scales like a crocodile. It is frequently
represented as either holding or looking towards a round object which
is said to represent a pearl. In India the dragon is the symbol for
death. The Japanese dragon has but three claws. (See color plate at p.
300, and doubletone at p. 332.)
DUCK.--In China the duck is the symbol of connubial felicity.
EAGLE.--In Indian Mythology, Garud, the Eagle of Heaven, is the charger
of Vishnu and the destroyer of venomous snakes.
EGG.--In China it is symbolic of productiveness, plenty. In India, an
egg with the figure of a babe inside of it indicates the universe.
ELEPHANT.--Chinese, high official rank; Indian, sign of royalty, as
kings possess them.
FEATHER, see Pear.
FERAGHAN, see Herati.
FIR CONE, see Pear.
FISH, see Herati.
FISH BONES.--Sometimes called Indian fish bone, suggests the skeleton
of a fish. It is sometimes arranged somewhat similar to the Herati.
(See doubletone at p. 284.)
[Illustration: Fish bones design]
FLAME, see Pear.
FLOWER OF HENNA, see Guli Henna.
FLOWER AND KNOP, see Knop and Flower.
FLY.--With the Chinese the fly is symbolic of worthlessness.
FOUR FLOWERS, see Roses, four.
FOUR ROSES, see Roses, four.
FRET, CHINESE, see Chinese fret.
FRET, GREEK, see Chinese fret.
[Illustration: Galley border design]
GALLEY (a border design).--Originated among the people who inhabit the
section of country between the shores of the Mediterranean, Black and
Caspian Seas.
[Illustration: Georgian border design]
GEORGIAN BORDER DESIGN.--Generally found in Caucasian fabrics,
especially the Daghestan and Shemakha, occasionally in the Saruk. There
are several forms of this design, the two most common ones being
herewith illustrated. (See color plate at p. 84 and doubletone at p.
266.)
[Illustration: Ghiordes border stripe]
GHIORDES BORDER STRIPE.--Several forms, the two most commonly used are
herewith illustrated, one being two rosettes one above the other, each
joined by a long, narrow stem to a leaf form on the right, while the
other has but half of a rosette, which is similarly joined to a leaf
form below. (See color plate at p. 84 and doubletone at p. 266.)
GOURD.--Chinese, receptacle of mysteries; Indian, when shaped like a
bowl it represents the drinking vessel of a Sanyasi or recluse.
GREEK CROSS, see Cross, Greek.
GREEK FRET (border design), see Chinese fret.
GREEK KEY, see Chinese fret.
GULI HENNA (see field design of illustration at p. 202).--Consists
of the small yellow henna flowers arranged in rows with floral forms
connecting them similarly in arrangements to the Herati design. It is
common in Persian rugs, especially old Feraghans.
HAND, see Coat of Arms, Turkish; also Pear.
HARE.--Chinese, in connection with the moon.
HENNA FLOWER, see Guli Henna.
[Illustration: Herati design]
[Illustration: Herati design]
HERATI.--Also known as the fish, twin fish and Feraghan designs.
Better known as the Herati. It originated in the old city of Herat.
It consists of a rosette between two lancet-shaped leaves which very
much resemble fish. On account of this resemblance it is often called
the fish pattern. It has been utilized with many modifications in
half of the rug-making sections of the Orient. It may be found in its
original form in many of the Persian fabrics, especially the Herat,
the Feraghan, the Khorasan, and the Senna. When in the body of the rug
it is generally arranged as a diaper, covering all or a considerable
portion of it. Sometimes it appears in combination with square or
diamond-shaped figures. The Herati border is found in a great many of
the Persian and in some of the Caucasian fabrics. (See color plate at
p. 22, and doubletones at pp. 114, 190 and 312.)
[Illustration: FERAGHAN RUG
(HERATI DESIGN)
Size 7'6" × 4'
LOANED BY MR. EDW. HOMMEL
(See page 192)]
HEXAGON.--Found in rugs of most every class, but more especially
in those of the Caucasus. It apparently has no special symbolic
significance.
HOG.--In China the hog is symbolic of depravity and imbecility.
HOM, see Anthemion.
HOOK, Angular, see Angular hook.
HOOK, Latch, see Angular hook.
HORSE SHOE.--Emblem of good luck. Frequently used in combination with
cloud forms.
HOUND.--Chinese, fidelity or loyalty.
HOUR-GLASS.--Formed by the joining of two triangles at their apices; is
symbolic of fire and water.
INDIAN FISH BONE, see Fish bone.
JEWEL, see Pear.
JUG.--In India the jug with the bust of a woman on the top represents
the sacred water of the Ganges.
KEY, GREEK, see Chinese fret.
KNOP AND FLOWER.--A closed bud alternating with a rosette or a
palmette. It is supposed to have had its origin in the Egyptian lotus.
It is used chiefly in border designs.
KNOT.--A Buddhist symbol.
[Illustration: Knot of destiny]
KNOT OF DESTINY.--Dates back to Solomon's time. It is one of the
Chinese Buddhist ornaments and is therefore quite commonly found in
the Samarkand, Yarkand, Kashgar, and the various Chinese products.
Also used more or less throughout the Caucasus and especially in the
Shemakha; in fact, it is present somewhere in most rugs of the latter
class, as a talismanic design. In some of the Persian fabrics it
partakes of a floral character.
KONIEH FIELD, see Rhodian.
KORAN is a sacred design and few rugs with it ever leave Persia.
[Illustration: Kulah border design]
KULAH BORDER DESIGN.--Claimed by some to have originally been intended
to represent an alligator. There are exceedingly few Kulah rugs that do
not show it and seldom is it seen in any other class of fabrics. (See
doubletone at p. 240.)
LAMP.--Crude figures of lamps, like miniature tea-pots, often hang from
the prayer niche of the Turkish prayer rugs, especially those of the
Konieh, Ghiordes, and Ladik varieties. They are usually of a floral
design and are generally accompanied by a column on either side which
is intended to represent the two huge altar candles of the mosque.
[Illustration: Lamp design]
LATCH HOOK, see Angular Hook.
LATTICE.--Also known as trellis, diaper, and network. These names
are applied to any design which is repeated in such a way as to form
a lattice arrangement. It is more or less common in all classes of
rugs, especially the Persians. A peculiar compact lattice pattern
known as the "mirror design" is frequently found in the Hamadans. (See
doubletone at p. 258.)
[Illustration: Lattice design]
LEAF, see Pear.
LEOPARD.--The Chinese symbol for ferocity.
LILY, see Rhodian.
LINK.--Link in Lozenge or Spiral is a combination of two triangles
with one side of each parallel with the other and sometimes joined
by a diagonal line. It is found in the borders of Asia Minor rugs,
also in the field of many Nomad productions. Especially common in the
Kurdistans and Shirvans.
[Illustration: Link]
LION.--Chinese, strength, power, authority; Indian, a lion's figure on
the arms of a chair indicates that it is a throne. A throne is called
"Sivasan," which means a lion seat. A lion is also one of the chargers
of the goddess Durga.
LOOP, see Pear.
[Illustration: Lotus design]
[Illustration: MODERN KERMANSHAH RUG
LOANED BY H. B. CLAFLIN & CO
(See page 188)]
LOTUS.--Very much resembles our pond lily with the exception that the
color is of a brilliant purple on the border petals with a heart of
deep orange and the stem stands high out of the water. It is commonly
found on the banks of the Nile and is the first flower to spring up
after the overflowing waters of that river have subsided. For this
reason and because it preserves its chaste beauty while growing from
such impure surroundings it has always figured among the Egyptians as
an emblem of immortality and purity. With the Chinese it is symbolic of
many descendants and in India it is especially sacred to the Buddhists
and is the national flower of that country. In ornament the lotus is
handled by many different nations, being used in both circular and
profile forms, figuring as flowers, wheels, medallions, etc.
[Illustration: Lotus design]
MAGPIE.--The Chinese harbinger of good luck.
MEANDER, GREEK (a border design).--Also known as the zigzag, the wave
crest, or the water motif. It consists of a series of diagonal lines at
regular intervals representing waves or running water. Found in nearly
all classes, especially the Caucasian.
[Illustration: Meander design]
MEDALLION.--A Mongolian element which no doubt originated from the
lotus. Found in most Chinese and many Persian rugs, especially
the Gorevans, Serapi, Hamadans, Kirmans, Shiraz, and Khorasans. A
modification known as the "pole medallion," in which the ends of the
design project out like a pole, is especially common to the rugs of
Hamadan and Shiraz. In the Chinese rugs the medallion is usually of the
form known as the Circle of Happiness. (See doubletones at pp. 180,
188, 192, and 222; also color plates at pp. 52 and 166.)
[Illustration: Medaillon design]
MINA KHANI (see field design of plates at pp. 214 and 296).--Named
after Mina Khan, one of the ancient rulers in Western Persia. It is
a combination of red, yellow, and parti-colored red and blue florals
joined by rhomboidal vines of olive green in such a manner as to form a
lattice arrangement. It is distinctly a Kurdish design, although it is
found frequently in the Persian fabrics, especially in those from the
province of Khorasan.
[Illustration: Mir design]
[Illustration: KHIVA BOKHARA PRAYER RUG
Size 4' × 2'6"
PROPERTY OF MR. L. A. SHORTELL, BOSTON, MASS.
(See page 280)]
MIR (a border design).--So called after the village where it is said to
have originated. It consists of small rectilinear flowers connected by
an undulating vine and is an almost universal design of the Sarabands.
Seldom seen in other fabrics. (See doubletone at p. 198.)
MIRROR DESIGN, see Trellis.
MONKEY.--Symbolic in China of high official rank.
MOSQUE DESIGN.--Found in many prayer rugs. It consists of a column on
each side of the prayer niche and a floral lamp hanging from the niche,
usually in a field of solid color such as dark red or blue.
MOUNTAINS are represented with from one to five peaks. Of Mongolian
origin, although they are occasionally found in some of the Caucasian,
Turkestan, and Persian fabrics. The ancient Mongolians believed that
the souls of the righteous mounted to heaven from the mountain tops and
for this reason they are revered.
NETWORK, see Lattice.
NICHE OR MIHRAB (see plate at p. 322).--The name applied to the pointed
design at one end of a prayer rug. It is supposed to imitate the form
of the Mihrab in the temple at Mecca. When a prayer rug is used the
niche is invariably pointed towards the holy city of Mecca.
OCTAGON.--Represents the eight directions of location and is found in
Turkoman, Chinese, and Caucasian products. It is characteristic of
the Turkestan rugs. (See doubletones at pp. 162, 264 and 278; also
frontispiece.)
[Illustration: Octagon]
OWL.--Chinese, a bird of ill-omen. In Eastern India the owl is
considered auspicious because it is the charger of Laxni, the Goddess
of Wealth, but in Western India it is considered an ominous bird.
OX.--Chinese, friend of man, agriculture; Indian, the charger of Shiva.
The sacred nature of the humped bull in India is well known.
PALACE OR SUNBURST.--Known by the latter name inasmuch as its shape
suggests the radii around the sun. A very common design in Kazaks and
Shirvans, especially the antiques. Never found in any but the Caucasian
products. (See doubletone at p. 272.)
[Illustration: Palace or sunburst]
PALMETTE.--A little cup-shaped object with fan-shaped leaves around it.
Believed by some to have had its derivation from the human hand with
all the digits extended; by others it is believed to have been derived
from the palm growth.
PANEL.--Supposed to have been intended to represent mosque windows.
They usually vary in number from one to three and are found in the
Shiraz more than in any other class. (See doubletone at p. 246.)
PARROT.--In India this bird is symbolized as a messenger of love.
PEACOCK.--Chinese, beauty; Indian, it is always auspicious because it
is the royal bird. Its feathers supply material for the morchel brushes
held by pages on each side of a Maharajah or king.
[Illustration: Pear design]
[Illustration: Pear design]
PEAR.--Also known as the cone, the palm leaf, the river loop, the
crown jewel, the seal, the almond, the feather, the bouquet, and the
flame. There is a vast difference of opinion as to the origin and
meaning of this motif. Some authorities claim it was intended for the
fir cone, which served as an emblem of immortality and was revered by
the ancients; some say it was intended for the palm leaf, which has
been handed down by the Greeks as a symbol of victory; others say it
was intended to represent a loop which the river Indus makes on a vast
plain in upper Cashmere as seen from the Mosque. By some it is said
to represent the crown jewels or chief ornament in the old Iranian
crown, which is a composite jewel of pear shape. A great many believe
it to represent an ancient seal which was made by the closed hand
after dipping it in human blood. Tradition tells us that the signing
of documents in such a manner was a custom well known in the East.
This design has also been called the almond, the feather, the bouquet,
and the flame on account of its fancied resemblance to these objects.
We have selected the name "pear" because the image it conveys is more
clearly recognized by the western mind. It is that which its shape most
suggests. The Pear design is common in many kinds of rugs, especially
in those of Persia and Kurdistan, but it varies greatly in varieties
of form and size. The large size is usually employed in the Caucasus
and Southern Persia, while the small size is used more frequently in
Central and Western Persia. In the Saraband, Shiraz, Herat, Khorasan,
and Senna, it frequently covers the whole field. In the two former
alternate rows usually have the stems of the pears turned in opposite
directions, while in the three latter the stems are usually turned in
the same direction. (See doubletones at pp. 198, 204, 208 and 262; also
color plate at p. 292.)
[Illustration: A KURDISH GUARD]
PEARL OR CHIN.--A Mongolian design. Frequently found in Chinese,
Tibetan, and Turkoman rugs. It stands for purity and is generally
associated with the dragon, which is supposed to be guarding it from
the grasp of the demons.
PEONY.--Symbol in China of wealth and official position.
PERSIAN COAT OF ARMS, see Coat of Arms, Persian.
PHŒNIX.--Chinese, prosperity, a bride. (See doubletone at p. 332.)
PINEAPPLE has furnished many designs. It is even claimed by some
authorities that the palmette of the famous Shah Abbas design was
originally suggested by the pineapple.
PINE TREE, see Tree.
POLE MEDALLION, see Medallion.
POMEGRANATE.--Many descendants. The pomegranate takes a prominent place
in Mohammedan art, especially in the Anatolian provinces. It is highly
regarded as a food and from its juice a delicious drink is made.
RAM, INDIAN.--If drawn with a four-headed figure riding it, it means
Mars.
RECIPROCAL SAW-TEETH is sometimes called by the Persians "sechrudisih,"
meaning teeth of the rat. Almost distinctive of Caucasian fabrics,
especially the Kazaks. Occasionally present in the Turkish and Turkoman
rugs also. (See doubletone at p. 242.)
[Illustration: Reciprocal saw-teeth design]
RECIPROCAL TREFOIL.--So named by European experts who claim it to be
an essential mark of the Polish carpets. Like the barber pole stripe
it is found in rugs of nearly all classes, but more especially the
Caucasians. Probably found more frequently in the Karabaghs than in any
other rug. (See color plate at p. 166.)
[Illustration: Reciprocal trefoil]
[Illustration: Rhodian or lily design]
RHODIAN OR LILY.--Composed of small flowers with three triangular
petals and a long stem. Has the appearance somewhat of a shamrock
leaf. It may be found in any of the Asia Minor rugs, especially in
the field of the Konieh and Ladik. In the former it is nearly always
present and for this reason is sometimes known as the Konieh design.
(See color plate at p. 60 and doubletones at pp. 138 and 236.)
RHOMBOID.--Common in rugs of most every country, but more especially in
those of the Caucasus. It carries no special symbolic significance.
RIBBON.--Representation of a twisted ribbon. Like the barber pole
stripe, the reciprocal trefoil, and the Greek meander, it is found in
nearly all classes of rugs. (See color plate at p. 145 and doubletone
at p. 130.)
[Illustration: Ribbon design]
RICE.--Sometimes referred to as the "grains of rice" pattern; consists
of pinkish brown colored spots sprinkled on a field of dull white.
Often arranged in a network. Found only in Samarkand and Chinese
products.
RIVER LOOP, see Pear.
[Illustration: Rooster]
ROOSTER.--The people of Shiraz personify the Devil in the form of a
rooster, which they weave in some of their choicest rugs in order to
avert the evil eye. Some forms of the "crowing cock," so called, are
easily confused with the Pear pattern.
ROSARY, see Beads.
ROSES, FOUR.--An ancient design appearing in many forms. Common in the
Kurdish products and it is thought by some to be a Kurdish form of the
tree of life. It appears in several different forms.
ROSETTE.--A floral-shaped design which is said to resemble the "Star
of Bethlehem," an early spring flower of Persia. It is much used in
border designs and it alternates with the palmette in forming the Shah
Abbas pattern. It also forms the design known as the Knop and Flower
by alternating with a closed bud. Some authorities claim that it
originated from the lotus.
[Illustration: Rosette design]
RUSSIAN COAT OR ARMS, see Coat of Arms, Russian.
S FORMS, especially repeated in the form of a border, are very common
in the Caucasian fabrics, especially in the Kabistans and Shirvans.
Also found to some extent in the Turkish and Persian weaves. (See
doubletone at p. 220.)
[Illustration: S forms]
SARABAND BORDER DESIGN, see Mir.
SARDAR.--Named after the Sardar Aziz Khan, who was at one time governor
of Azerbijan. This design consists of narrow leaf forms, which are
connected by vines and relieved by bold floral shapes. Quite commonly
used in modern fabrics, especially the large-sized ones.
SAW-TEETH, RECIPROCAL, see Reciprocal Saw-teeth.
SCARABÆUS, see Beetle.
SCEPTRE.--One of the most distinctive and famous of the Mongolian
patterns.
[Illustration: Scorpion or spider]
SCORPION OR SPIDER.--Chinese, viciousness, poison. In India it is
believed that if a scorpion creeps over the body it causes leprosy
and that if one bears the tattooed image of a scorpion he is free
from leprosy as well as from the bite of that insect. As a design it
is quite common in the borders of Caucasian fabrics, especially the
Shirvans.
SCROLL.--One of the distinctive Mongolian patterns which is said to
represent the sun. Found in the Turkestan, Chinese, and Tibetan fabrics.
SEAL, see Pear.
SEAL OF SOLOMON, see Solomon's Seal.
SERPENT.--In India it is inauspicious because it reminds one of death.
SHAH ABBAS (see border design in cut of Ispahan rug at p. 194).--Named
after the most revered of monarchs, who was born in 1586 and died
in 1628. It is one of the most beautiful of the ancient designs. It
consists of yellow, red, and blue flowers with connecting vines upon a
background of blue. The so-called Shah Abbas design of to-day has very
little resemblance to the ancient design. (See color plate at p. 32 and
doubletone at p. 194.)
SHAUL DESIGN, see Pear.
SHIELD OF DAVID, see Star, six-pointed.
[Illustration: Shirvan design]
SHIRVAN DESIGN is composed of a diamond figure, each side of which is
formed by a series of steps. Frequently the centre is filled with small
geometrical figures. This design is found more or less in the majority
of the Caucasian products, but more especially in the Shirvans.
[Illustration: KIR SHEHR PRAYER RUG
Size 3'10" × 5'5"
PROPERTY OF MR. J. H. STANTON, AUBURN, N. Y.
(See page 222)]
SHOU appears in many forms, but the three forms illustrated herewith
are the most common, not only in Chinese rugs but also as decoration in
old porcelain and as embroidered designs on silk.
[Illustration: Shou design]
SIGNET OF DAVID.--Based upon the equilateral triangle and from it have
originated many of the Turkish designs. See Star, six-pointed.
SILIBIK OR APPLE.--A Kurdish design which bears very little resemblance
to the fruit after which it is named. It is usually arranged in
perpendicular rows throughout the field.
SIXTEEN LUCKY SQUARES, see Knot of Destiny.
SNAKE, see Serpent.
SOLOMON'S SEAL.--Built on the right angle triangle and, like the Signet
of David, it is found in many of the Turkish and Caucasian fabrics and
to it scores of patterns may be traced.
[Illustration: Solomon's seal]
SPARROW.--In India it indicates bumper crops.
SPIDER, see Scorpion.
SPIRAL, see Link.
SQUARE.--Found in the rugs of nearly every class, but more especially
in those of the Caucasus. It apparently has no special symbolic
significance.
SQUARE CROSS, see Cross, Greek.
SQUIRREL.--In India it is sacred to Rana, the seventh incarnation of
Vishnu, because while his monkey army was building a bridge for him
to go over to Ceylon this little creature was seen repeatedly rolling
into the sand of the beach and washing the grains, which adhered to its
bushy coat, into the sea. Rana inquired why it took so much trouble
and the reply was that it was taking sand down to the sea to reclaim
the land or fill up the gap between Ceylon and India and to facilitate
the construction of the bridge. Rana was so pleased that he passed his
fingers coaxingly over its body and said that the sacred marks thus
produced on its back would protect it. The stripes on the squirrel's
back are still believed to be Rana's finger marks and no good Hindu,
therefore, will kill a squirrel. Its presence is auspicious, signifying
Divine protection.
STAR.--An emblem seen the world over in decoration, especially in
synagogues. It is common in the Caucasian and Turkoman products,
especially in the form of the elongated eight-pointed star. This
eight-pointed star in the centre of an octagon is said to have
represented the Deity of the ancient Medes. In all probability the
six-pointed star was an adaptation of the Shield of David. It is
supposed to have been symbolic of divinity. To it may be traced scores
of Turkish patterns. (See doubletone at p. 162 and color plate at p.
94.)
[Illustration: Star]
STORK.--Chinese, longevity. Indian--the Indian heron has been
associated with cunning and deceit. It is said that it stands on one
leg like an Indian ascetic as if it had been performing austerities,
but as soon as a fish comes within reach it pounces on it and devours
it. People who assume the garb of religious men and cheat others are
called (bak) storks, herons.
SUNBURST, see Palace.
SWAN.--In India the swan is the charger of Brahma.
SWASTIKA.--Derived from the Sanscrit word Svasti, which means good
pretence. It dates back three or four thousand years B.C. and has been
found in nearly all excavations of prehistoric times and among the
relics of primitive people all over the world. It has been known alike
to Ancient Greeks, Egyptians, Chinese, Japanese, East Indians, Aztecs,
mound builders, and the North and South American Indians, with all of
whom it has a similar meaning, viz., good luck and happiness. In India
it is drawn below the seats intended for bridegrooms, below the plates
containing food to be offered to gods and is tattooed on the arms. It
is drawn on the scalp at the thread ceremony and on the dorsum of the
feet on all auspicious ceremonies, such as marriages, etc. The usual
figure consists of four arms with the cross at right angles and the
arms pointing in the direction of motion of a clock's hand, although
it has been given different forms, as shown by the accompanying
illustrations. It is very commonly used as a rug design, especially
in the Chinese, Caucasian, Turkish, and Turkoman products. (See color
plate at p. 306 and doubletone at p. 290.)
[Illustration: Swastika]
T FORMS (a border design) figure largely in the decoration of Samarkand
and Chinese rugs. Similar to the Chinese fret.
[Illustration. T forms]
[Illustration: THE EMIR OF BOKHARA AND HIS MINISTERS]
[Illustration: TURKOMANS AT HOME]
TAE-KIEH OR YANG AND YIN is a circle separated by two semicircles
into comet-shaped halves. Distinctly a Chinese symbol and found in
Chinese, Tibetan, and Turkoman textiles. Used as a charm and found in
decorations on all sorts of articles.
[Illustration: Yang and Yin]
TARANTULA.--A design which has been so modified as to almost obscure
the resemblance. It is almost omnipresent in all of the Caucasian
fabrics, especially the Kazaks, Kabistans, and Shirvans. (See
doubletone at p. 248.)
[Illustration: Tarantula]
TEKKE BORDER DESIGNS.--Two forms, one a sort of a double T border, the
other a diagonal arrangement of the Indian fish bone. (See doubletones
at pp. 280 and 284.)
[Illustration: Tekke border design]
TEKKE FIELD DESIGN.--A repetition of a Y-shaped design. Found only in
the Tekke rugs, especially those of the prayer variety. (See doubletone
at p. 284.)
[Illustration: Tekke field design]
TOMOYE owes its origin to some ancient conception of elemental forces.
It has been adopted by Korea and Japan as a national and heraldic
crest. Frequently used in Mongolian ornament.
[Illustration: Tomoye]
TORTOISE OR TURTLE BORDER DESIGN.--A design in which the figure of the
tortoise is arrayed in a manner similar to that of the Herati border
design. In China the tortoise stands for longevity and immortality.
In India it is also auspicious inasmuch as it represents the second
incarnation of Vishnu where it supports the earth on its back. (See
doubletones at pp. 178 and 202.)
[Illustration: Tortoise of turtle border design]
TREE.--Sometimes called the tree of life. Always associated with
religious belief. It symbolizes Divine power and perpetual life. It
has furnished more different art motives than any other object and
is almost omnipresent in Persian prayer rugs. The palm signifies a
blessing or benediction, the weeping willow stands for death, and the
cypress, while being an emblem of mourning, in its perennial freshness
and the durability of its wood, is also a very practical symbol of
the life to come. It is an Oriental custom to plant cypress trees
on the graves of the dead, to place its twigs in the coffins of the
dead, and to use its branches to indicate the houses of mourning. (See
frontispiece and doubletone at p. 99.) In India the cocoanut palm
is considered "the tree of desire" or one that fulfils all desires.
Its stem serves as a pillar or beam, as a water conduit and as fuel;
its leaves supply mats for roofing the houses; its kernel supplies
oil; its shell makes water bowls, and the oil of the shell is used as
an external application in certain skin affections, etc. It is all
useful and supplies all the primitive wants and therefore was much
cultivated by the Rishis (Saints) of old, who called it "kalpa taru,"
literally the tree that supplies all desires. Its presence therefore is
auspicious. (See color plate at p. 22; also doubletones at pp. 48, 98,
210, 220, and 222.)
[Illustration: Tree]
TREFOIL, RECIPROCAL, see Reciprocal Trefoil.
TRELLIS, see Lattice.
TRIANGLE.--Scores of Turkish patterns may be traced from the triangle.
It is frequently found tattooed upon the body of the Turks as a
talisman. Frequently appears as a design in the Daghestans. In India
it represents mother earth and is very auspicious.
TURKISH COAT OF ARMS, see Coat of Arms, Turkish.
TURTLE, see Tortoise.
TWIN FISH, see Herati.
UMBRELLA.--A Buddhist symbol which is occasionally found in Chinese
rugs.
URN, see Vase.
VASE OR URN.--A Buddhist symbol occasionally found in Chinese
decoration. (See doubletone at pp. 210 and 212; also color plate at p.
22.)
VULTURE.--Indian, death.
WATER CREST, see Meander, Greek.
WHEEL.--A Buddhist symbol which is sacred to Vishnu, who holds it in
his hand. It also symbolizes the "wheel of the law." Found in Chinese
ornament.
[Illustration: Wine-glass border design]
WINE-GLASS BORDER.--A border which resembles a wine glass and is
especially common in the Caucasian textiles, particularly the Kazaks
and Shirvans. It appears in various forms, but the most common is the
one in combination with the fish-bone design. (See color plate at p.
292.)
[Illustration: KONIEH PRAYER RUG
Size 5'6" × 3'8"
PROPERTY OF DR. A. CLIFFORD MERCER, SYRACUSE, N. Y.
(See page 226)]
WINGED GLOBE OR DISC.--An Egyptian design consisting of a small ball,
on the sides of which are two asps with extended wings, expressing by
these extended wings the power of protection afforded by the Egyptian
government. Also an emblem of religious sincerity and appreciation of
benefits derived from God.
[Illustration: Winged globe]
WOLF.--Chinese, ingratitude, heartlessness. In India it is inauspicious
and is never drawn or embroidered on fabrics.
Y FORM (a border design).--One of the most famous of the Mongolian
patterns and figures largely in the decoration of Chinese rugs. See
also Tekke Field Design.
[Illustration: Y form]
YANG AND YIN, see Tae-kieh.
ZIGZAG, see Meander, Greek.
[Illustration: 1-18, Some nameless Persian border designs.]
[Illustration: 19-36, Some nameless Turkish border designs.]
[Illustration: 37-54, Some nameless Caucasian border designs.]
[Illustration: 55, 56, 57 Turkoman border designs.]
[Illustration: 58, 59 Chinese border designs.]
[Illustration: 60, A Chinese field design.]
[Illustration: 61, Kurdish field designs.]
[Illustration: 62, Caucasian field designs.]
[Illustration: 63, Turkish field designs.]
[Illustration: 64, Persian field designs.]
[Illustration: KAZAK RUG
Size 6'3" × 4'8"
PROPERTY OF S. F. HIPES, TRINIDAD, COL.
Knot: Ghiordes. Nine to the inch vertically and eight horizontally,
making seventy-two to the square inch.
One will seldom see a more beautiful and more glossy piece,
especially among the Caucasian fabrics, and neither the material nor
dyes can be excelled.
The black in the background is of natural black sheep's wool covered
with all sorts of animals, birds and symbols, most of which are in a
rich rose color. The main border stripe consists of the crab design
in subdued tones of yellow, blue and red with more or less white.
(See page 272)]
THE IDENTIFICATION OF RUGS
The one thing desired by those who are just beginning the study of
Oriental rugs is the ability to readily identify them. Realizing this,
the author has included a chapter on the identification of rugs which
contains many features new to rug literature and which, he trusts,
will greatly simplify and render easy the process of identification;
but it must be borne in mind that certain rugs are much more easily
distinguished than others and that at times even the connoisseur is
puzzled.
Oriental rugs are identified not alone by their designs and colors,
but by their material, texture and finish, therefore, there is given
first, a list of those which are distinguishable by their outstanding
or prominent characteristics; second, reproductions of the backs of
those rugs which are characteristic in their appearance, and third, an
exhaustive chart giving complete details as to weave, material, texture
and finish of each variety of rug.
The chapter on Design, which precedes this, is the most complete
consideration ever given to this detail of rug making, and its
numerous descriptions and drawings will enable the reader to identify,
with reasonable certainty, rugs by this feature alone.
The numerous pictures of the representative types of rugs will also
familiarize the readers with many distinguishing patterns, while the
chapters in Part II take up and gather together all of the various
features of each kind of rug upon the market, so arranged and described
that a clear and comprehensive idea of it will be formed in the mind of
the reader.
A FEW CHARACTERISTIC FEATURES OF CERTAIN RUGS
Named in the order of their importance and given to assist the reader in
differentiating, although few are absolute criterions.
HEREZ.--Characteristic angular ornamentation; shaded background
(see doubletone, page 172).
KARA DAGH.--The pile contains considerable natural colored camels'
hair.
TABRIZ.--Almost invariably a medallion centre (see doubletone,
page 182). Very frequently curl on the sides.
BIJAR.--Considerable camels' hair in the field.
KERMANSHAH.--Colors soft and light; sides overcast with dark wool.
SENNA.--Characteristic weave (see plate on weaves, page 152); pear
design and Herati field and border design very common; pole
medallion (see doubletone, page 188).
FERAGHAN.--Herati border and field design in the great majority
(see doubletones, pages 114 and 190).
HAMADAN.--Broad outside band of natural colored camels' hair; pole
medallion nearly always a prominent feature (see doubletones,
pages 110 and 192).
SARABAND (MIR).--The characteristic Saraband border stripe; field
consisting of the pear design in rows with the stems of alternate
rows turned in the opposite direction; light blue web (see
doubletone, page 198).
SARUK.--Overcast with silk or dark wool; Herati border designs;
intricate floral designs; frequently curled on the sides (see
color plate, page 166).
SULTANABAD.--Generally large scroll and floral pattern (see
doubletone of Mahal, page 202).
NIRIS.--Madder red predominates; pear pattern common.
SHIRAZ.--Sides overcast with wool of two colors; pole medallion a
prominent feature; little tassels of wool frequently along the
sides; strand of colored yarn in web (see color plate, page 52,
and doubletones, pages 206 and 208).
HERAT.--Herati border and field designs common; pear designs in
field with stems all turned in the same direction.
KHORASAN (MESHED).--Uneven distribution of woof threads (see plate
on weave, page 152). Two small pears resting their stems upon a
larger one is one of the common designs. Herati border and field
also common. Magenta a prominent color (see color plates, pages 22
and 32).
KIRMAN.--Bouquets and vases in design most frequent (see
doubletone, page 212).
KURDISTAN.--One or two strands of colored wool in web of one end;
overcast with yarn of different colors; shading of colors.
KIR SHEHR.---Many have several tufts of wool composed of all the
different colored yarns which are used in the body of the rug.
GHIORDES.--The fringe on the upper end, as a rule, instead of
being a continuation of the warp threads, is a separate piece
sewed on. It also usually has two cross panels, one above and one
below the prayer field (see color plate, page 66).
LADIK.--Wide red web striped with yellow or blue; figures large in
comparison to the size of the rug; magenta freely employed.
YURUK.--Border narrow in proportion to size of rug.
BERGAMA.--Designs generally broad and large in proportion to rug
(see doubletones, pages 46 and 236); frequently small tassels of
wool along the sides of the rug; several woof threads between each
row of knots and a wide web which frequently carries a design or
rosettes which are woven in.
KULAH.--The Kulah border design nearly always in one or more of
the stripes; the ends are generally dyed yellow; a large number of
narrow border stripes which are filled with minute designs,
usually the "fleck." A filled or partly filled centre field;
usually one cross panel (see doubletone, page 240).
MELES.--Field is frequently composed of perpendicular stripes of
yellow, red and blue with zigzag lines or peculiar angular designs
running through them (see doubletone, page 242).
MOSUL.--One or more strands of colored yarn run through the
selvage, usually red and blue.
DAGHESTAN.--Diagonal ornamentations of both field and border; all
spaces well filled with a small geometrical design (see color
plates, pages 84 and 292, also doubletones, pages 254 and 256).
DERBEND.--Yellow lavishly used; field likely to consist of a
repetition of designs in alternate colors.
TCHETCHEN.--The characteristic Tchetchen (Chichi) border design is
nearly always found (see doubletone, page 260).
BAKU.--Small strand of camels' hair crosses one end.
SHEMAKHA.--Pileless; loose shaggy yarn ends on the under side (see
plate of weaves at page 153).
GENGHIS.---Field often filled with the pear design, each row
alternating in color (see design on page 268).
KAZAK.--From two to six woof threads between each row of knots;
diagonal position of pile (see plate on weaves, page 152). Palace
design commonly employed. Bold figures and bright colors (see
doubletone, page 272).
[Illustration: TEKKE BOKHARA STRIP
Size 1'2" X 4'11"
PROPERTY OF THE AUTHOR
(See page 284)]
KHIVA.--Large detached octagon and diamond forms; goats' hair warp
(see doubletone, page 278).
TEKKE.--Small detached octagon and diamond forms (see doubletone,
page 282).
YOMUD.--Checker-board effect of selvage on the sides; strands of
colored wool in the web (see doubletone, page 286).
YARKAND.--Generally four strands of woof between each row of
knots.
SAMARKAND.--One or more "circles of happiness"; three or four woof
threads between each row of knots; lavish use of yellow and
Bokhara red; designs mostly Chinese (see doubletone, page 290).
BELUCHISTAN.--Sides frequently finished in horse hair; dark
subdued colors. If there is any white it is nearly always in one
of the border stripes (see doubletone, page 296).
By carefully consulting these characteristics and the chart of
distinguishing features it ought to be a comparatively easy matter to
take up almost any rug and name it after a few moments' reflection. To
illustrate, try your skill on the following description: Knot--Senna,
weave close and rows of knots very uneven; warp and woof both of undyed
cotton. Pile of very fine wool, short and upright; ends both have
narrow white webs through which runs a strand of parti-colored yarn.
There is also a fringe of loose warp ends. The sides are overcast with
silk. There is a diamond-shaped pole medallion upon a field which is
covered with a minute Herati design; the colors are subdued shades of
red, blue, green, yellow and old rose with more or less white.
After consulting the table of distinguishing features you will find
that the Senna knot excludes all Caucasian and Turkish fabrics; the
cotton warp and woof excludes all Turkoman fabrics excepting the
Kashgar and the Yarkand. The overcasting of the sides, as well as the
Herati design, excludes these two, therefore it must belong to the
Persian class. A great many of this class are tied with the Senna knot;
have cotton warp and woof; a short, upright wool pile and narrow webs
with loose warp ends, but only two are ever overcast with silk, namely
the Senna and the Saruk. Upon referring to the characteristic features
mentioned in the first part of this chapter (page 148) you will see
that the Herati design is common to both of these rugs, but that the
uneven weave, the pole medallion and the strand of colored yarn in the
web are all Senna features, therefore you have a Senna.
A thorough knowledge of designs and colors would have enabled you to
name the piece at first sight, as would also the character of the weave
in this particular instance.
Most of the prayer rugs may be accurately classified by consulting
the chart illustrating rug niches (page 322), while the distinguishing
characteristics of the different Ghileems may be found in the chapter
on Ghileems.
[Illustration: Characteristic Backs of Rugs]
[Illustration: CHARACTERISTIC BACKS OF RUGS]
ILLUSTRATIONS OF THE BACKS OF SOME RUGS SHOWING THEIR CHARACTERISTIC
WEAVES
The author has endeavored to include in this group of pictures one of
every rug which has a distinct characteristic weave. There are many
rugs, the weaves of which differ so minutely that their reproduction on
paper would be of no material help.
The details of each picture are of the same size as the rug from which
it was taken and each one is presented with the warp threads running up
and down. This idea of comparison would be even more valuable were it
possible to procure pictures of pieces only which have the same number
of knots to the square inch. A magnifying glass will aid materially in
bringing out the minute details.
NO. 1. KHORASAN.--Twelve knots to the inch vertically, and six
horizontally. This peculiar weave is due to the fact that several
rows of knots are tied with no woof thread to separate them; then
two or three strands of the woof are thrown in, one after the
other, followed by several more rows of knots. This method of
weaving is a Khorasan feature.
NO. 2. SENNA.--Eighteen Senna knots to the inch vertically, and
eighteen horizontally. Notice the closeness and irregularity of
the rows of knots. Contrast the appearance of this with that of
the Saruk (No. 3) which is tied with the same kind of knot and has
very nearly the same number to the square inch.
NO. 3. SARUK.--Fifteen Senna knots to the inch vertically, and
sixteen horizontally. One of the most closely and most
evenly woven of the Oriental fabrics. In this illustration the rows
of knots can easily be counted horizontally, but it is almost
impossible to count them vertically unless we follow the
stripe-like arrangement in the straight oblique outlines of some of
the designs.
NO. 4. KAZAK.--Six Ghiordes knots to the inch vertically, and nine
horizontally. Notice the wide spacing between each row. This is due
to the great number of woof threads between each row, a
characteristic of the Kazak. This cut beautifully illustrates the
appearance of the Ghiordes knot on the back. Note that each one has
two loops as compared with the one loop in the Senna knot, as
illustrated in No. 3.
NO. 5. SARABAND.--Ten Senna knots to the inch vertically and ten
horizontally. The white or light blue woof threads are distinctly
seen in each row, even in those which are closely woven. The
spaces between the rows vary a little in places, giving it an
appearance somewhat similar to the Khorasan weave.
NO. 6. DAGHESTAN.--Eight Ghiordes knots to the inch vertically,
and eight horizontally. This piece has the same number of knots to
the square inch as does the Chinese (No. 7), and, although of a
different kind, the appearance of the weave is quite similar.
NO. 7. CHINESE.--Nine knots to the inch vertically, and nine
horizontally. The spiral appearance of the colored rows of knots
and the white woof threads give it a look quite similar to that of
the Daghestan (No. 6).
NO. 8. MERVE GHILEEM.--Eight stitches to the inch. Compare the
difference in weave to that of the Kurdish ghileem (No. 9). The
colors of the latter are always at right angles to or with the
warp and woof threads, while that of the former is diagonal to the
warp and woof threads. This method of weaving gives the Merve
fewer and smaller open spaces.
NO. 9. KURDISH GHILEEM.--Notice the many open spaces, also the
loose yarn ends, a characteristic of this class of ghileems.
NO. 10. SHEMAKHA (coarse).--Eight stitches to the inch. Showing
the front of the rug in order to illustrate the Shemakha weave,
which is a flat weave and yet quite different from that of the
ghileems. Note its braided appearance.
NO. 11. SHEMAKHA (coarse).--Back of the same rug as shown in No.
10. Note the quantity of loose yarn ends.
NO. 12. SHEMAKHA (fine).--Ten stitches to the inch. Note the
difference in the number of loose yarn ends in this piece compared
with those in the coarsely woven fabrics (No. 11).
CHART SHOWING THE DISTINGUISHING FEATURES OF THE DIFFERENT RUGS
(left side)
Column Key
----------
A) Ghiordes J) Wool
B) Senna K) Cotton
C) Wool L) Goat's Hair
D) Cotton M) Camel's Hair
E) Goat's Hair N) Silk
F) Camel's Hair O) Linen
G) Silk P) Dyed
H) Linen Q) Extra Thr'ds
I) Dyed
+-------------+---------+------------------------------+-------------------------+
| | Knot | Warp | Woof |
+ +---------+------------------------------+-------------------------+
| | A | B | C | D | E |F| G |H| I | J | K |L|M|N|O| Q |R|
+-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+
|PERSIAN | | | | | | | | | | | | | | | | | |
| BAKHSHIS | O | R | | A | | | | | | | A | | | | | Ob | |
| GOREVAN | O | R | | A | | | | | | | A | | | | | Ob | |
| Serapi | O | R | | A | | | | | | | A | | | | | Ob | |
| KARA DAGH | A | | A | | | | | | R | R | | | | | | Or |R|
| | | | | | | | | | | | | | | | | | |
| KASHAN | A | | | R | | | O |O| | | R | | |O|O| | |
| SOUJ BULAK | A | | R | O | | | | | | R | O | | | | | | |
| TABRIZ | S | R | | R | | | O |O| | O | R | | | |O| | |
| | | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | | | | |
| BIJAR | A | | Ah | | | | | | | Rh | | |O| | | | |
| KERMANSHAH | S | R | | A | | | | | | | A | | | | | Ob | |
| SENNA | | A | | R | | | O |O| | O | R | | |O|O| | |
| FERAGHAN |Mo.O|An.A| | A | | | | | | S | R | | | | | O | |
| | |Mo.R| | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | | | | |
| HAMADAN | A | | | A | | | | | | O | R | |O| | | | |
| ISPAHAN | | A | | A | | | | | | | A | | | | | | |
| JOSHAGHAN | A | | A | | | | | | | A | | | | | | | |
| SARABAND |Mo.R|An.A| | A | | | | | | | A | | | | | Flb | |
| | |Mo.O| | | | | | | | | | | | | | | |
| SARUK | | A | | R | | | |O| | | R | | | |O| | |
| | | | | | | | | | | | | | | | | | |
| SULTANABAD | R | O | | A | | | | | | | A | | | | | | |
| MAHAL | R | O | | A | | | | | | | A | | | | | | |
| MUSKABAD | R | O | | A | | | | | | | A | | | | | | |
| NIRIS | A | | A | | | | | | | A | | | | | | | |
| SHIRAZ | F | R |An.A| |Mo.F| | | | | A | | | | | | R |F|
| | | |Mo.R| | | | | | | | | | | | | | |
| HERAT | R | S | O | R | | | An. | | | O | R | | | | | Rb | |
| | | | | | | | Rs | | | | | | | | | | |
| KHORASAN | | A | | A | | | | | | O | R | | | | | |A|
| MESHED | S | R | O | R | | | | | | R | O | | | | | | |
| KIRMAN | | A | | A | | | | | | R | O | | | | | | |
| KURDISTAN | A | | R | | O | | | | Rg | R | |O|O| | |Rborg| |
+-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+
|TURKISH | | | | | | | | | | | | | | | | | |
| KIR SHEHR | A | | A | | | | | | R | A | | | | | | R | |
| OUSHAK | A | | A | | | | | | R | A | | | | | | R | |
| | | | | | | | | | | | | | | | | | |
| KARAMAN | A | | Ac| | | | | | Rr | A | | | | | | Rr | |
| KONIEH | A | | A | | | | | | Rpc | A | | | | | | | |
| | | | | | | | | | | | | | | | | | |
| MUJUR | A | | A | | | | | | | A | | | | | | Ar | |
| LADIK | A | | A | | | | | | Rr | A | | | | | | R | |
| | | | | | | | | | | | | | | | | | |
| YURUK | A | | R | | O | | | | Rb | R | |O| | | | Rb | |
| | | | | | | | | | | | | | | | | | |
| AK HISSAR | A | | Ac| | | | | | | Ac | | | | | | | |
| | | | | | | | | | | | | | | | | | |
| ANATOLIAN | A | | A | | | | | | | A | | | | | | R | |
| BERGAMA | A | | A | | | | | | Rr | A | | | | | | Rw | |
| GHIORDES | A | |An.R|An.O| | |An. O| | | O | R | | | |S| | |
| | | |Mo.A| | | | | | | | | | | | | | |
| KULAH | A | | A | | | | | | |An.A|Mo.O| | | | | | |
| | | | | | | | | | |Mo.R| | | | | | | |
| | | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | | | | |
| MELES | A | | A | | | | | | R | O | R | | | | | | |
| | | | | | | | | | | | | | | | | | |
| MAKRI | A | | A | | | | | | | A | | | | | | | |
| SMYRNA | A | | Ac| | | | | | | Ac | | | | | | R | |
| MOSUL | A | | R | O | O | | | | Rd | Rc | O | | | | |Rgorb| |
+-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+
|CAUCASIAN | | | | | | | | | | | | | | | | | |
| DAGHESTAN | A | | R | O | | | | | Rg |An.R|Mo.R| | | | | F | |
| | | | | | | | | | |Mo.O|An.O| | | | | | |
| DERBEND | A | | R | | F | | | | Rb | A | | | | | | |R|
| KABISTAN | A | | R | O | | | | | | O | R | | | | | | |
| TCHETCHEN | A | | R | O | | | | | | A | | | | | | Rb | |
| BAKU | A | | R | O | |F| | | | O | R | | | | | | |
| SHEMAKHA | | | A | | | | | | | A | | | | | | | |
| SHIRVAN | A | | R | O | O | | | | Mo.b| R | O | | | | | | |
| | | | | | | | | | g or| | | | | | | | |
| | | | | | | | | | pc | | | | | | | | |
| GENGHIS | A | | R | | F | | | | b.g | A | | | | | | Fb,r|R|
| | | | | | | | | | or r| | | | | | | or g| |
| KARABAGH | A | | A | | | | | | | A | | | | | | Fr |R|
| | | | | | | | | | | | | | | | | | |
| KAZAK | A | | A | | | | | | | A | | | | | | Rr |R|
| | | | | | | | | | | | | | | | | or b| |
+-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+
|TURKOMAN | | | | | | | | | | | | | | | | | |
| KHIVA | | A | R | | F | | | | Rd | R | |F| | | |Rg or| |
| BESHIR | O | R | R | | O | | | | | R | |O| | | | d | |
| TEKKE | | A | A | | | | | | | A | | | | | |Rr or| |
| | | | | | | | | | | | | | | | | b | |
| YOMUD | O | R | R | | F | | | | Rb | R | |F| | | | Rr | |
| | | | | | | | | | | | | | | | | | |
| KASHGAR | | A | | A | | | | | | | A | | | | | | |
| YARKAND | | A | O | R | | | | | | O | R | | | | | |R|
| SAMARKAND | S | R | R | O | | | O | |Rb or| R | O | | |O| |Rb or|R|
| | | | | | | | | | y | | | | | | | y | |
+-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+
| BELUCHISTAN | | A | R | | O | | | | | A | | | | | | Rd | |
| | | | | | | | | | | | | | | | | | |
+-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+
| CHINESE | O | R | O | R | | | | | | R | O | | | | | Rd |R|
+-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+
CHART SHOWING THE DISTINGUISHING FEATURES OF THE DIFFERENT RUGS
(right side)
Column Key
----------
a) Wool j) Narrow Web r) Overcast
b) Cotton k) Wide Web s) Selvaged
c) Goat's Hair l) Hemmed Web
d) Camel's Hair m) Parti-colored Strands in Web
e) Silk n) Dyed Web
f) Short o) Loose Warp Ends
g) Medium p) Braided Warp Ends
h) Long q) Knotted Warp Ends
i) Texture
+--------------------------------------+--------------------------------+---------+
| Pile | Ends | Sides |
+----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+
| a |b| c | d |e| f | g | h | i |j | k | l |m| n | o |p| q | r | s |
+----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+
| | | | | | | | | | | | | | | | | | | |
| A | | | | | F | R | | C |A | | | | | R | | O | R | S |
| A | | | | | F | R | | C |A | | | | | R | | O | R | S |
| A | | | | | F | R | | C |A | | | | | R | | O | R | S |
| R | | | O | | O | R | | f |R | |R oe| | Rr | R | | | O | R |
| | | | | | | | | | | | | | | | | | | |
| R | | | |O| A | | | f |A | | | | | A | | | A | |
| A | | | | | O | R | |fl tu|R | | R | | |R oe| | | A | |
| A | | | | | A | | | fu |A | | O |O| | A | | |An.R|An.S|
| | | | | | | | | | | | | | | | | |Mo.O|Mo.R|
| | | | | | | | | | | | | | | | | | | |
| R | | | O | | | R | F | tu |A | |R oe| | |R oe| | | A | |
| A | | | | | R | O | | f |A | | | | | A | | | A | |
| A | | | | | A | | | fu |A | | |O| | A | | |A Fs| |
| R | | | F | |An.R|Mo.R| | |A | | O | | |A oe| | | A | |
| | | | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | | | | | |
| R | | |Fpa| | | R | F | | | |R oe| | |R oe| | F | A | |
| A | | | | | A | | | f |A | | | | | A | | | A | |
| A | | | | | O | R | | |A | | | | | A | | | A | |
| A | | | | | A | | | fu |A | | O | | Rlb |A oe| | | A | |
| | | | | | | | | | | | | | | | | | | |
| A | | | | | A | | | fu |A | | |O| | A | | | A | |
| | | | | | | | | | | | | | | | | | Fds| |
| A | | | | | O | R | | C |A | | | | | A | | | A | |
| A | | | | | O | R | | C |A | | | | | A | | | A | |
| A | | | | | O | R | | C |A | | | | | A | | | A | |
| A | | | | | R | O | | |O | R | | | | R | | | A | |
| A | | | | | R | F | | Rh | |A Em| | | Rr | A | | | A | |
| | | | | | | | | | | | | | | | | | Rpc| |
| A | | | | | O | R | | |A | | | | Rb | A | | | A | |
| | | | | | | | | | | | | | | | | | | |
| A | | | | | F | R | | fl |A | | | | | A | | | R | Oad|
| A | | | | | R | F | | fl |A | | | | | A | | | A | |
| A | | | | | A | | | fu |A | | | | | A | | | A | |
| R | | O | O | | | O | R | tu |A | |F oe|A| gorb|R oe| | R | iw| |
+----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+
| | | | | | | | | | | | | | | | | | | |
| A | | | | | S | O | R | fl |A | | | | R | R |O| | R |O ad|
| A | | | | | | R | O | fl |R | | | |Rg or| R | | | R | O |
| | | | | | | | | | | | | | r | | | | | |
| A | | | | | | R | O | C |R | O | | | Rr | R | | | R | O |
| A | | | | | O |An.R|Mo.R| fl |A | | | | | A | | |Mo.R|An.R|
| | | | | | | | | | | | | | | | | |An.O|Mo.O|
| A | | | | | R | | | | | R | | | Rr | R | | | | A |
| A | | | | | R | O | | fl | | A | | | Rr | R | | | | A |
| | | | | | | | | | | | | | | | | | |w ad|
| R | | Fha| | | | R | O | fl |A | | | | Rb | F |R| | O | Rh|
| | | | | | | | | | | | | | | | | | Rgh| Rgh|
|Mo.R| |Mo.F| | | F | R | | fl |A | | | | | A | | | R | O |
| | |An.A| | | | | | | | | | | | | | | | |
| R | | O | | | | R | O | fl |O | R | | | Rw | O |R| | | Ah |
| A | | | | | | O | R | fl | | A | | | Rr | O |R| | | Aw |
| R |O| | | |Mo.A| |An.R| f |A | | | | |An.R| |Mo.R| |A ad|
| | | | | | | | | | | | | | |Mo.S| | | | s |
| R | | O | | |An.R| O |Mo.R| |A | | | | Ry | A | | |Mo.R|An.A|
| | | | | | | | | | | | | | | | | | | ad |
| | | | | | | | | | | | | | | | | | |Mo.O|
| A | | | | | R | O | O | |A | | | | | A | | | |A ad|
| | | | | | | | | | | | | | | | | | | ic|
| A | | | | | | O | R | |O | R | | | | R | | O | O | R |
| A | | | | | | R | F | fl |A | | | | | R | | | R | O |
| R | | F | O | | | R | F | fl |A | | O |R| |A oe|O| O | R | O |
+----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+
| | | | | | | | | | | | | | | | | | | |
| A | | | | | O | R | | |A | | | | Rg | R | | R | O | R |
| | | | | | | | | | | | | | | | | | | |
| A | | | | | O | R | | |R | O | | | Rb | R | | R | R | O |
| A | | | | | R | O | | |A | | | | |R ic| |R iw| R | O |
| A | | | | | R | O | | |A | | | | Rb | R | | R | O | R |
| R | | O |Fpa| | F | R | | |A | | | | | R | | | R | O |
| p | | | | | | | | |R | | | | | R | | R | O | R |
| A | | | | | R | O | | |R | | | | Rb | R | | R | R | O |
| | | | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | | | | | |
| R | | O | | | F | R | O | |Rh| O | | |g. r.| | | R | O | Rh |
| | | | | | | | | | | | | |or b | | | | | |
| R | | | O | | O | R | | |A | | R | | Rr |R oe| | |Mo.R|An.R|
| | | | | | | | | | | | oe | |or b | | | |An O| |
| A | | | | | | O | R | fl |A | | O | | Rr |R oe| | O | O | R w|
| | | | | | | | | | | | oe | |or b | | | | | |
+----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+
| | | | | | | | | | | | | | | | | | | |
| R | | O | | | F | R | | f |O | R | |R| Rd | A | | | | Ah |
| R | | O | | | | | | | | R | |R| Rr | R | | O | | A |
| R | | O | |O| R | O | | fu |F | R | | | Rd | A | | | R | O |
| | | | | | | | | | | | | | | | | | | |
| R | | O | | | F | R | | | | A | |R| Rr | A | | | | A |
| | | | | | | | | | | | | |or b | | | | | Rpc|
| R | | | |O| O | R | | |R | O | | | | A | | | |A ad|
| R | | | |O| O | R | | |R | O | | | | A | | | |A ad|
| R | | | |O| R | O | | C |O | R | | |Rb or| O |R| R |Mo.R|An.R|
| | | | | | | | | | | | | | y | | | |An.O|Mo.O|
+----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+
| R | | F | O | | O | R | O | | | A | |F| Rd | | | |Mo.O|An.A|
| | | | | | | | | | | | | | | | | | |O hh|
+----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+
| R | | | |O| F | R | | C |A | | | | | R | | |Mo.R|An.R|
+----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+
Explanation of Symbols: A = always; R = as a rule; F = frequently;
O = occasionally; S = seldom; An. = antiques; Mo. = moderns; em =
embroidered; ad = added; c = coarse; f = fine; fl = fluffy; h =
heavy; t = thick; w = wide; u = upright; oe = one end; pa = part; p
= pileless; pc = parti-colored; g = gray; lb = light blue; y =
yellow; r = red; d = dark; b = brown; bl = black; ic = if cotton;
iw = if wool; gh = goats' hair; hh = horse hair; s = silk.
From the foregoing table the following facts may be advantageously
emphasized, viz: (1) Comparatively few rugs are tied with the
Senna knot, and these are mostly of the Persian and Turkoman
classes. (2) _All_ Persian and Caucasian rugs are tied with the
Ghiordes knot. (3) Most of the finest Persian rugs have cotton
warp and woof, and are tied with the Senna knot. (4) The Kurdistan
is the only one of the Persian classification which ever has a
dyed warp, but many of them have a dyed woof. (6) The Turkish and
Caucasian rugs, as a rule, have a wool warp and woof. (7) The
Persians nearly all have narrow webs, with the exception of the
Niris and the Shiraz, which have wide ones. (8) All Turkish rugs
have narrow webs, with the exception of the Karaman, the Ladik and
the Bergama, which have wide ones. (9) As a rule the Caucasians
have narrow webs, and the Turkoman have wide ones. (10) The
knotted warp ends are found especially among the Caucasian rugs.
(11) As a rule the Persians are overcast on the sides, and the
Turkish and Turkoman are selvaged, while the Caucasians are as
much one way as the other. (12) The length of the pile is of very
little assistance in classifying.