in Southwestern Asia Minor, near the coast, opposite the island of
Rhodes.
The design and coloring are archaic in simplicity and suggest the
interests of a people dwelling by the sea. Observe the turtle
figures interspersed between the curves of vine in the panels;
also the fin-like appearance of the leaf-forms attached to the
vine, the line of fish-hook heads bordering the panels and wave
design on either side of same. The striped character of the field
is a feature to be noted in this rug, also the introduction of an
exceptional design in the fourth stripe.
The border is seen to be very inconspicuous and of remarkably few
stripes for a product of the Anatolian country. The simple nature
of the small detached floral forms indicates an early origin,
before the enriching influence of the Persian invasion.
Brilliant colors were chosen for use in the rug, though of such
mellow tone as to be in excellent, subdued harmony. The
predominating colors are golden canary-yellow, madder red, and
green, with blue, violet and white as secondary tones.
The shades in which these colors appear are quite indescribable,
doubtless on account of careless methods of dyeing or the chances
of home-made mixtures. Thus the green is of a bluish cast, the
blue is mottled with lighter shades (a well-known characteristic
of this variety of rug) and the violet, which, as the most typical
and exclusive of Meles colors, should be pure in tone, is of dingy
look, apparently having succeeded brown in the dye-pot.
All the colors have remained absolutely fast, despite the long
exposure of time. The kaleidoscopic effect which has been noted as
a quality in many old Meles rug patterns, may be easily detected
in this specimen.
STANTON RUG.--A much finer weave than the average rug of this
class and a very attractive design. Note the peculiar shape of the
field which is notched in instead of out, as in the majority of
hearth rugs. The yellow and the plum colors in the main border
stripe are seldom found in any other class of rugs.
[Illustration: MELES RUG
Size 3'3" × 4'7"
PROPERTY OF MR. J. H. STANTON, AUBURN, N.Y.]
MAKRI
SYNONYM.--Megri.
WHY SO NAMED.--After the Gulf of Makri.
WHERE MADE.--On the islands in the Gulf of Makri and in the towns along
its coast.
KNOT.--Always the Ghiordes. Number vertically four to eight; number
horizontally four to eight; number to the square inch sixteen to
sixty-four.
WEAVE.--Quite similar to that of the Meles, but a trifle coarser.
WARP.--White or gray wool.
WOOF.--White or gray wool.
NAP.--Of long wool, usually from 3/8 to 3/4 of an inch long.
SIDES.--Usually finished with a three or four corded selvage.
ENDS.--A wide web through which generally run blue and red stripes with
or without a knotted mesh and loose warp ends.
BORDERS.--Usually three stripes, the designs of which are, as a rule,
less floral in character than are those of the Meles.
PREVAILING COLORS.--Quite similar to those employed in the Meles,
especially the yellows, reds, blues and plum color. Unlike the Meles,
they usually carry green.
DESIGNS.--A sort of a mixture of the Meles and Caucasian designs. The
field is most frequently composed of two or three panels which very much
resemble those of cathedral windows.
SIZES.--From three and a half to four and a half feet wide by five to
seven feet long.
PRICES.--As they are seldom found in the market it is difficult to place
any stated value on them.
REMARKS.--One of the rarest rugs in existence.
THE EXAMPLE ILLUSTRATED
The weave, the tawny yellow and the motives in the right hand panel
are typically Meles; the motives in the left hand panel are more
like those found in the Bergama products; and the cross panel at
the upper end of the field is a Kulah or Ghiordes feature. The wide
web at either end with the varicolored stripes is a feature quite
foreign to the Anatolian products.
SMYRNA
WHY SO NAMED.--Because they are marketed at Smyrna. Smyrna itself is not
a centre of rug weaving, but these rugs come from the towns of the
western provinces of Turkey in Asia, namely, Aidin and Brousa.
[Illustration: MAKRI RUG
Size 3'11" x 5'10"
PROPERTY OF MR. J. H. STANTON, AUBURN, N. Y.]
KNOT.--Ghiordes. Number vertically four to eight; number horizontally
four to ten; number to square inch sixteen to eighty.
WARP.--Coarse wool.
WOOF.--Coarse wool, generally dyed.
NAP.--Loosely woven.
WEAVE.--Loosely woven and carelessly tied.
SIDES.--No rule, most frequently short web with loose warp ends.
BORDER.--No rule; generally three border stripes, one wide one with a
narrow one on each side.
PREVAILING COLORS.--No rule. Bright reds, blues, and greens are commonly
employed.
DYES.--Generally chemical.
DESIGNS.--Anything and everything, largely European and seldom artistic.
SIZES.--Carpet sizes only.
PRICES.--From $1.00 to $1.50 per square foot.
REMARKS.--No antiques. The modern ones are purely commercial creations.
MOSUL
SYNONYMS.--Mousoul, Moussoul.
WHY SO NAMED.--After the town of that name in Mesopotamia, where they
are marketed. They are made by the Kurds who inhabit the mountainous
districts north of Mosul around Lake Van.
KNOT.--Ghiordes. Number vertically six to eight; number horizontally six
to ten; number to square inch thirty-six to eighty.
WARP.--Usually coarse, dark wool or goats' hair. Occasionally cotton.
WOOF.--Usually coarse, dyed wool.
NAP.--Excellent, long, lustrous wool, camels' or goats' hair.
WEAVE.--Some closely and tightly woven, but the majority are rather
loosely woven.
SIDES.--Corded edges overcast with dark wool. Frequently overcast with
wool of different colors after the Kurdish fashion. Occasionally
selvaged.
ENDS.--At each end a narrow selvage with one or more stripes of colored
yarn running through, usually red and blue. As a rule one of these
selvages is turned over and hemmed, while the other is finished with
braided warp threads which are knotted at the ends.
BORDER.--From three to six border stripes, usually three, which are
separated by lines of dark blue or brown. Frequently there is
considerable camels' hair in the border. The Saraband pattern is
sometimes copied.
PREVAILING COLORS.--Usually dark, rich blues, yellows, greens, reds, and
browns. The browns and yellows predominate as a rule. These colors are
shaded as only the Kurds know how.
[Illustration: MOSUL RUG
Size 4' × 7'2"
PROPERTY OF MRS. LIEBER WHITTIC]
DYES.--As a rule excellent except in a small proportion of the modern
pieces.
DESIGNS.--A multitude of designs which are usually rather striking in
character. Probably patterned more after the Persian designs than any
others. The Saraband and the Herati patterns are frequently used.
Medallions filled with the pear or other small designs.
SIZES.--Usually three to four by four to seven feet, runners from two to
four by eight to twenty feet. Saddle bags.
PRICES.--Among the best moderate priced rugs. From $1.00 to $2.00 per
square foot.
REMARKS.--Best in the market for very hard service. Quite thick and
heavy and generally lie well.
THE EXAMPLE ILLUSTRATED
OWNER'S DESCRIPTION.--This type of rug comes from the largest
rug-producing centre of Eastern Asia Minor. The specimen shown
illustrates the Mosul at its best, as to closeness of weave, length
of pile, symmetry of design and richness of coloring.
The superb lustre of the wool, comparable only to a silk plush,
and the great softness of the long pile--features which have made
famous the rugs from this region--are here conspicuous.
In shape and design also the specimen is typical. The field is
composed of diamond-shaped sections outlined in black and
decorated with the conventionalized tarantula. By placing these
sections diagonally a latticed effect is produced.
The usual border plan of three stripes, two narrow ones separated
by a broader, appears here. The narrow stripes are in the familiar
flower-and-vine design, the broad stripe in a formal arrangement of
rosette and hour-glass, all conforming to the geometrical and
rectangular lines of Turkish design.
The color scheme of the piece is remarkable for its harmony. The
dominant color is wine, introduced in many beautifully blended
shades, and relieved with correspondingly soft tones of old blue
and green, the whole illuminated with well-arranged bands of
white.
[Illustration: SHIRVAN RUG
Size 7'3" × 4'
FROM THE COLLECTION OF THE AUTHOR
Knot: Ghiordes. Seven to the inch horizontally and nine vertically,
making sixty-three to the square inch.
A splendid specimen of Caucasian weaving, being a perfect gem for
color, quality and sheen, although in design it differs somewhat from
the ordinary Shirvan.
The field is covered with octagons each of which contains an
eight-petaled flower, no two of which are alike in color. Upon close
inspection it is noticeable that the ends of some of the petals are
finished in a color entirely different from that of the rest of the
petal.
Between the octagons are strewn various floral, pear and goat forms
and the weaver has indulged in the Kurdish trick of shading the
background, which shows no less than three distinct shades of green.
The main border stripe consists of a meandering vine with a leaf form
at each turn and on each side of this is a narrow stripe carrying the
Greek meander, the outer one on a field of yellow and the inner one
on a field of red.
This is a very old piece with dyes equal to those found in any part
of the Orient, even in olden times, and although the colors are
rather pronounced they are very pleasing to the eye.
(See page 265)]
[Illustration: RUSSIA]
THE CAUCASIAN CLASSIFICATION
Caucasia and Transcaucasia form an isthmus connecting Europe and Asia.
It is bounded on the west by the Black Sea and on the east by the
Caspian Sea and it has an area of about 166,500 square miles, with a
population of nearly ten million. It was once Persian territory, but was
acquired by Russia in 1813. Nowhere in the world is there such a mixture
of races and languages, the number of dialects being estimated at about
seventy. The carpets of the Caucasians are in coloring and in design
identical with those of Ancient Assyria and Babylon and they have
preserved their original characteristics, but alas, not their original
dyes, for here too the coal-tar products have been well received by
these wild mountaineers.
The Caucasian rugs are characterized by their prominent borders and
their purely geometrical patterns with sharp outlines. Both warp and
woof are usually of wool excepting in some of the Kabistans and Shirvans
and, as a rule, the ends are finished with loose or braided warp
threads. The predominating colors are the blues and yellows. They are
seldom made in large sizes. Some of the most characteristic designs are
the eight-pointed star of the Medes, the six-pointed star of the
Mohammedans, the triangle, the diamond, the latch hook, the barber-pole
stripe, the tarantula, the swastika, the reciprocal trefoil, the
link-in-lozenge and the tree of life.
DAGHESTAN
WHY SO NAMED.--Daghestan means "mountain land" and is the name of a
district in Caucasian Russia on the Caspian Sea. It has a population of
600,000.
KNOT.--Ghiordes. Number vertically ten to fifteen; number horizontally
eight to fourteen; number to square inch eighty to two hundred ten.
WARP.--Usually wool, being as a rule a dark brown or natural color in
the antiques and white or gray in the moderns. Some of the moderns have
a combination of cotton and wool. The warp threads may be composed of
one strand of cotton and one of wool in such a way as to cause a
puckering of the fabric, especially after it has been wet.
[Illustration: DAGHESTAN RUG
OWNED BY A. U. DILLEY & CO.]
WOOF.--In the moderns nearly always cotton. In the antiques usually
white or gray wool or a mixture of the two.
NAP.--Fine silky wool cut short.
WEAVE.--As a rule finely and closely woven.
SIDES.--Selvaged or overcast with colored wool.
ENDS.--A narrow selvage with loose or knotted warp threads at each end.
BORDER.--Three or more border stripes, usually three, carrying small
figures and separated by narrow stripes of solid colors. The main border
stripe most frequently has a cream colored ground. The lobster, the
crab, the reciprocal trefoil, the reciprocal saw-teeth, the wine glass,
the barber-pole stripe, and the Georgian border designs are frequently
employed.
PREVAILING COLORS.--The central ground is usually ivory with figures in
the different tints of red, blue, green, and yellow.
DYES.--In the antiques all good. Some of the moderns are aniline dyed.
DESIGNS.--The same patterns are employed as were in vogue centuries ago.
Diagonal ornamentation of both border and field is frequently employed
as in many of the Kabistans. Floral forms seldom used. The centre is
never plain, but is always filled with small geometrical figures. The
tarantula, the swastika, the link, S forms, octagon, eight-pointed star,
and the latch hook variations are common. The Greek cross is almost
omnipresent.
SIZES.--From two and one-half to seven by four to ten feet.
PRICES.--Antiques rare; moderns cheap, from $1.00 to $3.00 per square
foot.
REMARKS.--Frequently crooked. The Shirvan and Kabistans are often sold
as Daghestans.
THE EXAMPLES ILLUSTRATED
COLOR PLATES
with accompanying descriptions at pages 84 and 292.
DOUBLETONES
DAGHESTAN RUG (page 254)
Like most rugs of its class this piece consists wholly of
geometrical devices such as the latch hook, star, octagon,
barber-pole stripe, etc., all spaces being filled with designs of
various sizes. Each motif consists of three eight-pointed star
forms, one within another. The second and third borders are purely
Caucasian and represent a twig with two leaves and a flower. This
motif is seldom found in any but the Caucasian fabrics.
DAGHESTAN PRAYER RUG (see page 256)
The most common form of Daghestan prayer rug with its Caucasian
niche and lattice field, each square of which is filled with a
peculiar rectilineal floral form. All of the border designs are
characteristically Caucasian.
[Illustration: DAGHESTAN PRAYER RUG
PROPERTY OF H. B. CLAFLIN & CO.
(Description on page 256)]
DERBEND
SYNONYM.--Derbent.
WHY SO NAMED.--Derbend, meaning "a fortified gate," is the name of the
chief city and capital of the province of Daghestan, in the neighborhood
of which these rugs are made by the Tartars and Turkomans.
KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally
five to ten; number to square inch forty to one hundred twenty.
WARP.--Brown wool or goats' hair.
WOOF.--Good wool. Usually more than two woof threads between each row of
knots.
NAP.--Good, soft, thick, long, lustrous wool.
WEAVE.--Very good, but not as close as that of the Daghestans.
SIDES.--Generally overcast. Occasionally selvaged.
ENDS.--Like the Daghestans, a short web with knotted fringe at each end.
Sometimes the web is wide as in the Turkoman products.
BORDER.--From two to four border stripes, carrying large geometrical
patterns separated by narrow stripes of plain color.
PREVAILING COLORS.--Fewer colors than the Daghestans. Usually a field
of blue or red. Yellow is lavishly employed.
DYES.--Generally good.
DESIGNS.--Similar to those of the Daghestans and Kabistans, but of a
coarser nature and purely geometric, the latch hook and the
eight-pointed star devices being the most common. The field usually
consists of a repetition of the designs in alternate colors.
PRICES.--From $0.50 to $2.50 per square foot.
REMARKS.--Rather rare. Of little artistic value.
KABISTAN
SYNONYMS.--Cabistan, Kuban.
WHY SO NAMED.--After the district of Kuba, which lies southwest of
Daghestan near the Caspian Sea, where they are made.
KNOT.--Ghiordes. Number vertically ten to sixteen; number horizontally
eight to fourteen; number to square inch eighty to two hundred
twenty-four.
WARP.--Sometimes cotton, sometimes wool. They differ from the Daghestans
in that the latter always have wool warp.
WOOF.--Usually cotton. Occasionally wool.
NAP.--Short wool, closely clipped, seldom lustrous.
[Illustration: KABISTAN RUG
LOANED BY H. B. CLAFLIN & CO.]
WEAVE.--Closely woven, equal to the Daghestan in that respect.
SIDES.--Nearly always overcast with cotton threads or selvaged with
cotton. Some of the modern ones are finished with a cording.
ENDS.--Narrow web with loose or twisted warp threads.
BORDER.--From three to five border stripes. The carnation in profile is
one of the most commonly employed border designs.
PREVAILING COLORS.--Rich but not brilliant reds, greens, blues, and
yellows, with considerable white.
DYES.--Like all other Caucasian rugs many of the modern ones are more or
less chemically dyed.
DESIGNS.--Similar to the Shirvan. The floral forms are usually connected
by meander lines, in which respect they differ from those of the
Shirvan. An attempt to render geometrical ornament in a floral manner.
Small conventional flowers thrown broadcast. The tarantula, the
swastika, the link, S forms, diamonds, stars, birds, and animals are all
introduced. A field of large rectilineal pear designs arranged in
diagonal rows is common.
SIZES.--Usually oblong. Can be had in larger sizes than the Daghestan.
From two and one-half to five by five to twenty feet.
PRICES.--From $1.00 to $3.00 per square foot.
REMARKS.--Often sold for the Daghestan. The most durable of the moderate
priced rugs. They are thin and flexible and lie well.
THE EXAMPLE ILLUSTRATED
The field is filled with four peculiar oblong medallions and
geometrical devices of various kinds, such as the Greek key,
diamonds, crosses, etc. All of the border designs are
characteristically Caucasian.
TCHETCHEN
SYNONYMS.--Tzitzi, Chichi.
WHY SO NAMED.--The name of a powerful tribe of wandering mountaineers
who inhabit the mountains in the northwestern part of Daghestan and who
weave them.
KNOT.--Ghiordes. Number vertically six to ten; number horizontally five
to ten; number to square inch thirty to one hundred.
WARP.--Usually fine wool, occasionally cotton.
WOOF.--Fine wool. Frequently dyed brown.
NAP.--Fine wool, closely clipped.
WEAVE.--Usually well woven but looser than the Daghestan.
SIDES.--Narrow colored selvage, usually of extra yarns. Sometimes
overcast.
ENDS.--Web of varying widths at each end with a fringe of loose warp
ends.
[Illustration: TCHETCHEN OR CHICHI RUG
Size 5'8" × 3'11"
Property of Maj. L. B. Lawton, Seneca Falls, N. Y.]
BORDER.--From three to six border stripes carrying a combination of
floral and geometrical designs. The so-called Chichi border design is
nearly always present.
PREVAILING COLORS.--Usually dark colors with considerable dark blue and
white.
DYES.--As a rule good.
DESIGNS.--Rather indefinite. Usually a mixture of the Caucasian and
Persian designs repeated over the field so as to form a trellis.
Diamond-shaped figures, rosettes, trefoils, and tarantula forms. Field
rather narrow in comparison with the borders.
SIZES.--Nearly square, four to five by five to six feet.
PRICES.--From $0.75 to $2.50 per square foot.
REMARKS.--Resemble the Shirvan in texture, for which they are frequently
sold.
THE EXAMPLE ILLUSTRATED
MAJ. L. B. LAWTON'S DESCRIPTION.--A typical specimen of this weave,
with the many small Chinese figures in blue. A star border, an
interlocking border and a wide basket border. This specimen is
unusual in being lighter toned in the ground.
BAKU
WHY SO NAMED.--After the city of Baku, a seaport on the Caspian in the
district of Shirvan, from whence they are shipped.
KNOT.--Ghiordes. Number vertically eight to sixteen; number horizontally
eight to twelve; number to square inch sixty-four to one hundred
ninety-two.
WARP.--Cotton or wool. Frequently camels' hair.
WOOF.--Usually cotton. Sometimes wool.
NAP.--Wool with more or less camels' or goats' hair, cut short.
WEAVE.--Generally closely woven and well tied.
SIDES.--Usually overcast, occasionally selvaged.
ENDS.--A small streak of camels' hair is usually thrown across one end.
This is one of the characteristic Baku features.
BORDER.--From three to six border stripes, most frequently three, one
wide one with a narrow one on either side.
PREVAILING COLORS.--Similar to those of the Daghestan.
DYES.--Generally good.
DESIGNS.--The large-sized pear pattern is perhaps the most common. It is
generally of a rectilineal nature. Frequently there is a central
medallion with corners to match.
SIZES.--From three to seven by four to nine feet. The length is
generally double or more than the width.
[Illustration: BAKU RUG
PROPERTY OF A. U. DILLEY & CO.]
PRICES.--Rather high priced on account of their scarcity; $1.50 to $4.00
per square foot.
REMARKS.--Not very common in the United States.
THE EXAMPLE ILLUSTRATED
The design of this piece, the large pear motif with central
serrated medallion and corner pieces to match, is the most common
one employed in the Baku district. In contrast to the Persian
rendition of the pear design those in the Baku are larger and more
rectilineal. Like the Saraband the stems point in the opposite
direction in alternate rows. All of the border stripes are purely
Caucasian, the central one being a form of latch hook border.
SHEMAKHA
SYNONYMS.--Soumak, Sumak, Kashmir, Cashmere.
WHY SO NAMED.--After the city of Shemakha, the capital and principal
commercial city of the ancient Khanate of Shirvan, which was ceded to
Persia in 1813. Soumak is a corruption of the word Shemakha. Sometimes
called Kashmir or Cashmere on account of the resemblance of the weave to
that of the Cashmere shawl.
BY WHOM MADE.--By the Nomadic tribes of Shirvan.
STITCHES.--In antiques ten to twelve rows of stitches to the inch. In
moderns seven is the average.
WARP.--Always wool. Usually white in the antiques and coarse grayish
brown in the moderns.
WOOF.--Always wool.
WEAVE.--Woven in the same primitive fashion as of old. The only pileless
Oriental rug besides the Ghileems. The different colored woof threads
are twisted over and under the warp threads by means of a needle in such
a way that each stitch is made diagonally, taking in two of the warp
threads and leaving every alternate row of stitches to face in the
opposite direction after the herring-bone pattern. On the under side the
shaggy ends of the colored woof threads are left loose. They never have
any lustre.
SIDES.--Usually overcast in dark wool, sometimes selvaged.
ENDS.--A long fringe at both ends formed by the loose warp ends. Usually
white in the antiques and grayish brown in the moderns.
BORDER.--From two to five border stripes, usually four, the main one
carrying a zigzag design. The Georgian border design is common, as is
also the Chinese fret.
PREVAILING COLORS.--Light and dark blue, green, yellow, red, orange,
black, and white. The field is most frequently of dark blue or red.
DYES.--Good in antiques and poor in moderns.
[Illustration: SHEMAKHA, SUMAK OR CASHMERE RUG
Size 6'2" × 4'9"
Property of Mr. H. J. Gaylord, Syracuse, N. Y.]
DESIGNS.--Similar to those of the Daghestan and Shirvan and have
remained unchanged for centuries. All designs are outlined in black
and the Mongolian influence is quite perceptible, the knot of destiny,
mountains, etc., being very frequently used, together with the usual
Caucasian designs such as the latch hook, octagon, and various other
geometrical devices. Animals are frequently portrayed.
SIZES.--From three to seven by four to twelve feet. Seldom larger than
seven by ten. Antiques were not made in carpet sizes.
PRICES.--From $0.75 to $1.75 per square foot.
REMARKS.--Durable, but they lack animation compared with other rugs.
THE EXAMPLE ILLUSTRATED
Unlike other classes, the Shemakha has no pile but has a flat
stitch made by winding the dyed woof thread around the warp yarn.
This piece is one of the finest, having thirteen stitches to the
inch. Like in most rugs of its class, the designs are typically
Caucasian, among which are freely interspersed plenty of
eight-pointed stars, swastikas and knots of destiny. The latter
motif is nearly always present in this variety.
SHIRVAN
WHY SO NAMED.--After the district of Shirvan, south of Daghestan and
extending from the Caspian Sea to the river Kur. Marketed at Baku, the
trade centre of the district.
BY WHOM MADE.--Woven by the Lesgie tribes.
KNOT.--Ghiordes. Number vertically six to twelve; number horizontally
five to nine; number to square inch thirty to one hundred eight.
WARP.--Generally white or gray wool or a mixture of the two in the
antiques, while the moderns are of brown or white wool or a mixture of
the two. Sometimes the warp is of cotton or goats' hair.
WOOF.--Usually wool in the antiques. In modern pieces, usually of wool,
occasionally of cotton and sometimes cotton and wool strands will be
twisted together in such a manner as to cause more or less puckering of
the fabric, especially after same has been wet.
NAP.--Wool, cut short.
WEAVE.--Cheaply and roughly woven.
SIDES.--Overcast or selvaged.
ENDS.--Usually both ends are finished alike with a short web and an
extra large fringe of loose or knotted warp threads.
BORDER.--Three to five border stripes, generally four, one wide one and
several narrow ones. As a rule they carry small designs either of a
Caucasian or Persian character. The latch hook, the tarantula, the
scorpion, and the wine glass designs are common.
PREVAILING COLORS.--Quiet tints of red, blue, yellow, and salmon, with
considerable white.
DYES.--Moderns very apt to be chemical.
DESIGNS.--Quite similar to those of the Daghestan and Kabistan, but more
inclined to imitate the Persian designs without the connecting vine or
meander effect and inclined to be rather large in proportion to the size
of the rug. The tarantula, the swastika, the link, the S form, and the
palace patterns are commonly employed.
[Illustration: SHIRVAN RUG
Size 5'6" × 3'6"
PROPERTY OF DR. E. B. GUILE, UTICA, N. Y.]
SIZES.--From three to five by four to seven feet. No carpet sizes.
PRICES.--Among the cheapest of the Caucasian products. From $0.50 to
$2.00 per square foot.
REMARKS.--Moderns made only to sell.
THE EXAMPLES ILLUSTRATED
COLOR PLATES
with accompanying description at pages 158 and 250.
DOUBLETONE
OWNER'S DESCRIPTION.--Unusually fine for Shirvan. This rug is in
the century class. The three borders are not often seen, but are
characteristic of the older rugs of the Daghestan district. The
glory of this rug is in the marvelous centre. At first sight one
might think of the famous "rose" Kirmans. The treatment of the
roses, lilies, peonies, etc., merit more than a passing glance. No
weaver could possibly show greater fidelity to nature in the
shading of leaf and petal than did the now forgotten factor of this
unusual rug. The erosion of time has given the surface an
appearance of brocade velvet. Casual examination would indicate a
green background, but in reality it is black, the profusion of
green being an intricate and realistic arrangement of leaves.
GENGHIS
SYNONYMS.--Guenja, Guendja, Guenges, Turkman.
WHY SO NAMED.--Authorities differ greatly as to the origin of the name.
Some say that the proper name should be Guenja, which was the ancient
name of Elizabethpol, from whence they came. Others insist they should
be called Genghis, which is the name of the tribe of Nomads living in
the vicinity of Elizabethpol who weave them.
KNOT.--Ghiordes. Number vertically six to ten; number horizontally five
to eight; number to square inch thirty to eighty.
WARP.--A three-strand thread of brown wool or goats' hair.
WOOF.--Gray or brown wool, frequently dyed. Generally several woof
threads between each row of knots.
NAP.--Usually rather long wool or goats' hair. Of a much finer quality
in the antiques.
WEAVE.--As a rule coarsely woven.
SIDES.--Selvaged or overcast, with different colored wool, most
frequently the former.
ENDS.--Web with small knotted fringe on one or both ends. Sometimes the
web is wide as in the Turkoman rugs.
BORDER.--From two to five border stripes, most frequently three, one
wide one with a narrow one on each side, all carrying geometrical
designs.
PREVAILING COLORS.--Similar to those of the Kazaks. Usually considerable
white with rather bright red, light and dark blue.
[Illustration: GENGHIS RUNNER
Size 8'9" × 2'8"
PROPERTY OF THE AUTHOR]
DYES.--Apt to be inferior.
DESIGNS.--Similar to those of the Kazaks and Karabaghs. Geometrical as a
rule, sometimes flowers and vines. The pear is frequently employed,
usually in alternate rows of red and blue. Birds and animals.
SIZES.--Seldom square, mostly runners three to five by four to nineteen
feet.
PRICES.--The lowest priced Caucasian rug as a rule. From $0.50 to $2.00
per square foot.
REMARKS.--Durable. Often sold as Karabaghs.
THE EXAMPLE ILLUSTRATED
KNOT: Ghiordes. Nine to the inch vertically and seven horizontally,
making sixty-three to the square inch.
This is a very old piece. Note that the outer border appears in
the ends and is lacking on the sides, having been cut off on
account of its worn-out condition.
The field is covered with the pear design in alternating rows of
light and dark colors upon a rich red ground. The inner border
carries the Greek meander in red and white upon a blue ground,
while the main stripe is filled with the octagon and the
eight-pointed star of the Medes in different colors upon a white
ground. The third border, which remains on the ends only, carries
the Greek meander in blue and white upon a red ground. Both warp
and woof are of wool.
KARABAGH
SYNONYM.--Carabagh.
WHY SO NAMED.--After Karabagh, the name of a province in Transcaucasia
just across the Persian border north of Tabriz, where they are made.
KNOT.--Ghiordes. Number vertically six to twelve; number horizontally
five to ten; number to square inch thirty to one hundred twenty.
WARP.--Coarse white or brown wool.
WOOF.--Coarse wool, sometimes dyed. Generally several strands between
each row of knots.
NAP.--Long, heavy wool or camels' hair.
WEAVE.--Coarsely woven and carelessly knotted.
SIDES.--Antiques usually selvaged. Moderns nearly always overcast with
colored wool.
ENDS.--Short webs, one of which is generally turned back and hemmed. The
other end has a fringe of loose or twisted warp threads.
BORDER.--From two to fourteen border stripes with a large range of
geometrical designs. The reciprocal trefoil is especially common.
Frequently a border of camels' hair.
PREVAILING COLORS.--More subdued in antiques than in the moderns.
Magenta is used lavishly. Strong reds, yellows, and blues, with
considerable white.
DYES.--Nearly all of the modern pieces are chemically dyed.
[Illustration: KARABAGH RUG
Size 5' × 3'3"
PROPERTY OF DR. E. B. GUILE, UTICA, N. Y.]
DESIGNS.--Similar to the Kazaks, only a trifle more Persian in
character, that is, more Persian floral forms are introduced. Sometimes
the field is plain, sometimes it is filled with some tree patterns or
with numerous floral and geometrical figures. In some of the antiques
the field is covered with black and tan spots, giving it the appearance
of a leopard's skin, which no doubt it was intended to represent.
SIZES.--Two to six by four to eight feet. Usually small. Never in carpet
sizes.
PRICES.--Antiques rare and rather costly. Moderns among the cheapest of
the Oriental weave. From $0.50 to $1.50 per square foot.
REMARKS.--One of the most inferior products of the Eastern loom, but
artistic. Have deteriorated considerably of late years.
THE EXAMPLE ILLUSTRATED
OWNER'S DESCRIPTION.--An exceptional Karabagh. The design shows
evident attempt at Persian elaboration, this weave being about the
only Caucasian that shows such tendency. The floral display in the
centre; the beautiful old ivory of the corner pieces, and the
exquisite canary, coral and blue of the three borders, evidence
that the artisan that wrought this fabric had thoroughly mastered
the harmony of color. The blacks in this piece have gone fully down
to the knot. Such Karabaghs have not been made for a hundred years.
KAZAK
SYNONYM.--Small Kazaks are called Kazakdjie.
WHY SO NAMED.--A corruption of the word Cossack.
WHERE MADE.--In the Transcaucasian district of Erivan, near Mt. Ararat,
where Russia, Persia, and Turkey meet.
BY WHOM MADE.--By the Cossack Nomads, whose origin seems to be unknown.
They were probably related to the Cossacks of Russia.
KNOT.--Ghiordes. Number vertically six to twelve; number horizontally
six to ten; number to square inch thirty-six to one hundred twenty.
Fewer than any of the other Caucasian fabrics.
WARP.--Always wool.
WOOF.--Nearly always wool, usually dyed. A characteristic feature is
the number of woof threads between each row of knots, usually four or
more.
NAP.--Fine lustrous wool, which is usually cut long. The great number
of woof threads causes the nap to lie so that the side of the yarn is
exposed more than the ends.
SIDES.--Usually a wide selvage in colored wool. Occasionally overcast.
[Illustration: KAZAK RUG
(PALACE DESIGN)
PROPERTY OF MR. FREDERIC P. WARFIELD, NEW YORK CITY]
ENDS.--Usually a short colored selvage at each end, one of which is
sometimes turned back and hemmed. A fringe of knotted or braided warp
ends. When braided the ends of the rug are apt to be drawn and twisted
so that it does not lie well.
BORDER.--From three to four border stripes, usually three. The crab,
wine glass, reciprocal saw-teeth, reciprocal trefoil, tarantula, and
latch hook variations are common.
PREVAILING COLORS.--Rather bright shades of red, green, yellow, brown,
and rose, with more or less ivory or white. These colors are more
subdued in the antiques.
DYES.--Poor in some of the modern pieces.
DESIGNS.--Similar to those of the Shirvan and Genghis. Bold geometrical
figures which are characteristic of the people who weave them. The
tarantula, diamond, palm, animals, and human beings are profusely
portrayed. The Greek cross is almost always present and the Russian
coat of arms common.
SIZES.--Small and medium, three to six by five to eight feet. Usually
square or nearly so.
PRICES.--Antiques few and valuable. The moderns are among the cheapest
of the Oriental products. From $0.75 to $2.00 per square foot.
REMARKS.--As a rule thick and heavy though soft and durable.
THE EXAMPLES ILLUSTRATED
COLOR PLATES
with accompanying descriptions at pages 94 and 144.
DOUBLETONE (page 272)
The field design is known as the Palace or Sunburst. It is common
in the Kazaks and Shirvans, but never used in any other rugs. This
piece shows the most common form of Kazak with the Palace design in
the centre and the Crab border, on each side of which is the
reciprocal saw-teeth.
[Illustration: BESHIR BOKHARA PRAYER RUG
PROPERTY OF LIBERTY & CO., LONDON, ENGLAND
Quite dissimilar to any other form of prayer rug although the niche
resembles very closely that of the Meles. The designs are unlike
those used in the other Turkoman products and the color combination
is quite pleasing. This piece is evidently of some age as the woof
threads in the lower end are gone, leaving a fringe of loose warp
threads instead of a variegated webbing as on the other end.
(See page 280)]
THE TURKOMAN CLASSIFICATION
[Illustration: TURKOMANS]
The territory from which the so-called "Turkoman" rugs come is that part
of Central Asia consisting of Turkestan, Eastern Turkestan and Russian
Turkestan lying north of Persia and Afghanistan and west of the Caspian
Sea.
It comprises thousands upon thousands of square miles and is inhabited
by numerous rug-making tribes of Nomads. The distinguishing marks of the
Turkoman products are their wide web, their octagon and medallion
designs and their old traditional colors of predominating red with
patches of white, brown, and green. The dyes are usually fast and the
knot is always Persian with the exception of an occasional Yomud or
Samarkand, which may be tied with the Turkish knot. The rugs of Eastern
and Russian Turkestan are really Chinese, but geographically should be
classed with the other Turkoman products. Having been in the past less
accessible they are now found in relative abundance and are therefore
the least costly.
KHIVA BOKHARA
SYNONYM.--Afghan.
WHY SO NAMED.--After the city of Khiva, in the province of Bokhara, from
the vicinity of which they come. The name Afghan is sometimes used
because some of the inhabitants of northern Afghanistan contribute to
the supply.
BY WHOM MADE.--By the Kirzig tribe of Nomads living in the province of
Bokhara and in Northern Afghanistan.
KNOT.--Senna. Number vertically seven to twelve; number horizontally six
to eight; number to square inch forty-two to ninety-six.
WARP.--Dark wool or goats' hair.
WOOF.--Black or gray wool or goats' hair.
NAP.--Fine lustrous wool or goats' hair of various lengths.
WEAVE.--Loosely tied so that on the back it has the appearance of the
Ghiordes knot.
SIDES.--Usually a wide selvage of black or dark brown goats' hair,
sometimes containing as many as seven cords.
ENDS.--Wide selvage at each end in plain red or striped with blue lines.
The long, shaggy fringe of the loose goats' hair warp is a
characteristic feature.
[Illustration: KHIVA BOKHARA (AFGHAN) CARPET
PROPERTY OF PROF. DELMAR HAWKINS]
BORDER.--From two to four narrow border stripes, usually three.
PREVAILING COLORS.--A lavish use of the Turkoman reds in the field with
designs in blue, orange, brown, green, and white.
DYES.--Good in the antiques. Nearly all of the new pieces are chemically
dyed.
DESIGNS.--The octagon is almost universally employed and is quartered by
alternating colors. Animal forms are seldom seen. The prayer form is
also seldom found.
PRICES.--$1.25 to $2.00 per square foot.
SIZES.--They are the largest of the Turkoman rugs, being nearly always
in carpet sizes and almost square, six to nine by eight to eleven feet.
REMARKS.--One of the best inexpensive rugs on the market. Coarser and
heavier than the other Turkoman products and in damp weather they are
liable to have more or less of the smell of goats. The Khiva is about
the only antique carpet now on the market.
THE EXAMPLES ILLUSTRATED
KNOT: Senna. Ten to the inch vertically and seven horizontally,
making seventy to the square inch; unusually close for a rug of
this class.
This piece is of an unusually fine grade with a long nap and
beautiful colors. The field, like that of nearly all Khivas, is
filled with conventional octagon and diamond forms with a small
eight-pointed star between each.
SHORTELL RUG (page 120).--Prayer rugs of this particular class are
extremely rare and the peculiar prayer niche in this one is
certainly most unique and unusual. Note the hands in the two upper
corners of the field. It is on these that the worshipper is
supposed to place his hands while prostrating himself in the act of
prayer.
BESHIR
WHY SO NAMED.--After the words "Bech Schehr," meaning "Five Villages,"
being woven in five adjoining villages west of Khiva on the shores of
the Amour Daria River in Turkestan.
KNOT.--Either the Senna or the Ghiordes, usually the former. Number
vertically five to ten; number horizontally six to twelve; number to the
square inch thirty to one hundred twenty.
WARP.--Wool or goat's hair.
WOOF.--Wool or goat's hair.
NAP.--Wool.
BORDERS.--Few stripes and narrow in proportion to the size of the rug.
The designs are usually Tekke in character. The reciprocal saw teeth
design is a feature.
ENDS.--A fairly wide web which is usually dyed red through which
generally pass blue stripes or strands of colored yarn. Knotted or loose
warp ends.
SIDES.--A three or four corded selvage.
[Illustration: BESHIR BOKHARA RUG
PROPERTY OF MR. L. A. SHORTELL, BOSTON, MASS.]
PREVAILING COLORS.--The free use of yellow is characteristic. Browns,
brownish reds and blue with very little white, as a rule.
DESIGNS.--Those of the border are Tekke in character while those of the
field are usually composed of tree motifs arranged in strips with
alternating colored background. Caucasian and Mongol designs are
commonly employed. Occasionally the field is filled with Chinese cloud
bands.
SIZES.--From three to eight feet in width by five to twelve feet in
length.
PRICES.--From $1.75 to $5.00 a square foot.
REMARKS.--One of the rarest of the Turkoman products. Most of those
brought to this country are antiques.
THE EXAMPLE ILLUSTRATED
OWNER'S DESCRIPTION.--This rug differs from the Bokhara commonly
seen, as it has the Tree of Life pattern drawn in the conventional
form of the Bokhara weavers, but very artistically done, the wool
used being the very best, very silky, and the selvage is finished
in a very workmanlike manner. It was a skilful weaver who made this
rug and it probably was his masterpiece. See also color plate at
page 274.
TEKKE BOKHARA
WHY SO NAMED.--Because they are made by the Tekke Turkoman tribes of
Nomads, one of the most numerous and powerful of the Turkoman tribes,
who inhabit the country extending to Afghanistan on the south and
Khorasan on the west.
KNOT.--Senna. Number vertically eight to twenty-eight; number
horizontally five to twenty-five; number to square inch forty to four
hundred.
WARP.--Splendid wool.
WOOF.--Wool, dyed red or brown.
NAP.--Splendid soft, velvety, closely clipped wool. Sometimes some
goats' hair or silk.
WEAVE.--Renowned for its close texture.
SIDES.--Overcast in wool which is dyed the predominating color of the
rug. Occasionally selvaged.
ENDS.--A web from ten to twelve inches in width at each end which is
colored the same as the body of the rug. This is finished with a fringe
of loose warp ends. Sometimes there are twisted ropes at one end,
showing that it was intended for hanging. This is especially common in
the prayer Tekke.
BORDER.--One to five border stripes, usually three.
[Illustration: TEKKE BOKHARA RUG
BY COURTESY NAHIGIAN BROS., CHICAGO, ILL.]
DESIGNS.--Elongated octagon forms arranged in rows alternating with
rows of diamond forms with straight lines connecting the centres of the
octagon, each of which is divided into four equal parts. In the centre
of each octagon is frequently found the eight-pointed star. Sometimes
the field is covered with octagon or the diamond forms alone without the
alternate arrangement. In the prayer rug the field is covered with
little candlestick patterns and divided into four sections by a large
cross, the arms of which carry designs similar to those found in the
border stripes.
PREVAILING COLORS.--Ground usually of a rich dark mahogany red with
designs in blue, green, orange, old rose, wine, and pink, with more or
less white or cream.
DYES.--Usually good. Of late years some aniline has been used.
PRICES.--The antiques are rather scarce and are of good value. From
$2.00 to $5.00 per square foot.
SIZES.--Mats to carpet size. Two to eight by three to eighteen feet. The
prayer rugs are nearly square, from four to four and one-half by five
feet.
REMARKS.--Their durability is phenomenal. The modern pieces are vastly
inferior to the antiques. The prayer rugs differ so greatly from the
others of their class that they might almost be arranged under a
separate heading, in fact they are separately classed by some
authorities under the name of Hardjli or Princess Bokhara. The
Armenians call them Khatchlie Bokhara for the reason that the bands that
divide the field into four sections form a cross, and the word
"khatchlie" in the Armenian language means a cross. This class of rugs
is growing rapidly scarce.
THE EXAMPLES ILLUSTRATED
Page 284. This is the prayer Tekke, the so-called Hardjli,
Khatchlie or Princess Bokhara. The Greek cross divides the field
into quarters, each one of which is filled with rows of candle
sticks. The niche, the "Tekke border design" and the "Indian fish
bone" are here employed as in most prayer rugs of the class.
Page 282. In design this piece is quite characteristic of its
class. The octagon is invariably present, sometimes alone,
sometimes in an alternate arrangement with diamond forms or with
smaller octagons as in this example. Here the smaller octagons
only are quartered. The peculiar arrangement of the "fish bone"
design, the wide web and the loose warp threads at each end are
also characteristic features.
Page 150. KNOT: Senna. Number to the inch horizontally sixteen,
vertically eighteen, to the square inch two hundred eighty-eight.
The predominating color throughout is a beautiful terracotta. The
four diamond forms through the centre are filled with geometrical
figures in buff and terracotta upon a dark blue ground. Of the
semi-diamond forms the first and third upper and the second lower
have an old ivory background, while the second upper and the first
and third lower have a background of a most beautiful buff shade.
The figures on all of these are in blue, terracotta and white. The
first and third border stripes carry an S form on the top and
bottom, while on the sides they carry a form of barber-pole
stripe, all upon a dark blue background. The main border stripe
carries a peculiar rectilineal eight-petaled flower in different
colors upon an old ivory background; the loose yarn ends hanging
alternate in red and blue every four inches. The color combination
and sheen of this piece are unexcelled.
STANTON RUG (page 162).--The predominating dark mahogany color and
long thick nap, together with a touch of blue in the octagons,
makes this piece most attractive. See also frontispiece.
[Illustration: TEKKE BOKHARA PRAYER RUG
(PRINCESS BOKHARA, KHATCHLIE)
BY COURTESY OF NAHIGIAN BROS., CHICAGO, ILL.]
YOMUD
SYNONYMS.--Yamoud, Yamut. Sometimes called yellow or brown Bokhara.
WHY SO NAMED.--After a tribe of Nomadic Turkomans by that name who dwell
in the western part of Turkestan on the plains along the shores of the
Caspian.
KNOT.--Either the Senna or the Ghiordes. Number vertically eight to
fifteen; number horizontally seven to twelve; number to square inch
fifty-six to one hundred eighty.
WARP.--Brown wool or goats' hair.
WOOF.--Good wool of medium length or goats' hair. Frequently dyed red.
NAP.--Fine wool of medium length or goats' hair.
SIDES.--A coarse selvage of two cords which are colored in alternate
squares of red and blue, red and brown, or two shades of red, giving it
a checker-board effect.
ENDS.--A wide web at each end in plain red or with blue stripes.
Frequently stripes of colored wool are worked into the web with
apparently as much care and skill as that given to the body of the rug.
Finished with a fringe of loose warp threads which are occasionally
twisted at irregular intervals.
BORDER.--There are usually three border stripes, one medium sized one
with a narrow one on each side. The barber-pole stripe, the reciprocal
saw-teeth, and the latch hook variations are the predominating border
designs.
PREVAILING COLORS.--Ground almost invariably of a rich brownish red
which is softer and deeper in tone than that of the Khivas and Tekkes.
Figures in drab, blue, green, and yellow.
DYES.--Usually the best.
DESIGNS.--The tribal patterns show great individuality and combine the
Turkoman octagon with many of the Caucasian designs. A common
arrangement is that of octagons and elongated diamond forms in alternate
rows with plenty of latch hook variations. Very frequently the field is
covered with the diamond forms alone.
PRICES.--From $0.75 to $2.50 per square foot.
SIZES.--Seldom smaller than five by eight or larger than eight by eleven
feet.
REMARKS.--They resemble the Bokharas in some respects and the Caucasian
products in others. About the only antique, in carpet sizes, now found
in the market.
THE EXAMPLE ILLUSTRATED
MAJ. L. B. LAWTON'S DESCRIPTION.--This weave is the rarest of the
Turkomans. So rare is it that Mr. Mumford in his article in the
_Century Magazine_, January, 1910, states that to his knowledge no
bales of antique Yomuds had been imported for seven years. Nearly
all Yomuds have the cross pattern, are usually deeper in tone than
their cousins the prayer Bokharas, and lack the little niche.
Yomuds are silkier than prayer Bokharas, and have the color of the
Delaware grape. This specimen has an unique pattern as a panel
across the end, otherwise it is typical. Yomuds adhere more closely
to their type than do any other weave.
[Illustration: YOMUD RUG
Size 5'7" × 4'4"
PROPERTY OF COLONEL GEORGE G. BRIGGS, GRAND RAPIDS,
MICH.]
KASHGAR
WHY SO NAMED.--After the city of Kashgar, a city of Eastern Turkestan
which enjoys a great caravan trade and is one of the richest markets in
Central Asia.
KNOT.--Senna. Number vertically five to nine; number horizontally four
to seven; number to square inch twenty to sixty-three.
WARP.--Coarse cotton.
WOOF.--Four-stranded cotton.
NAP.--Wool of medium length, frequently part silk.
WEAVE.--Coarse and poorly tied.
SIDES.--An added yarn selvage.
ENDS.--Selvage of varying lengths with a fringe of loose warp threads at
each end.
BORDER.--Chinese in character. Swastika border common.
PREVAILING COLORS.--Usually strong yellow, blue, red, pink, green, and
orange with white or old ivory. Pale terracotta is common.
DYES.--Good as a rule.
DESIGNS.--Chinese in character. Generally fretted grounds or trellis
covered with figures of bats, butterflies, cranes, dragons, fish, and
trees. The knot of destiny is very commonly employed.
PRICES.--$1.00 to $3.00 per square foot.
SIZES.--From three to six by six to twelve feet.
REMARKS.--Not very many found in the markets.
YARKAND
WHY SO NAMED.--After a city of that name in Eastern Turkestan, in the
vicinity of which they are made.
KNOT.--Senna. Number vertically five to nine; number horizontally four
to seven; number to square inch twenty to sixty-three.
WARP.--Coarse wool or cotton.
WOOF.--Coarse wool or cotton. Generally four strands between each row of
knots.
NAP.--Coarse wool of medium length, sometimes more or less silk.
SIDES.--A selvage of two cords.
ENDS.--Web of varying lengths with loose warp threads at each end.
BORDER.--Usually three border stripes, one of medium width with a narrow
one on each side.
[Illustration: HAVING A POT OF TEA AT BOKHARA]
[Illustration: A STREET IN SAMARKAND]
As a rule the borders are small in proportion to the size of the rug.
The swastika border design is commonly employed.
PREVAILING COLORS.--Resemble those of the Bokhara with a field of rich
brownish reds. Sometimes the field is of tan color. The designs may be
in blue, red, green, yellow, pink, and terracotta.
DESIGNS.--Resemble those of the Bokhara and Kashgar. Fretted grounds
with figures of animals, dragons, bats, butterflies, circles, and
octagons. A common design is the arrangement of four dragons in the form
of a swastika.
PRICES.--$0.75 to $2.50 per square foot.
SIZES.--From three to six by six to twelve feet.
REMARKS.--Quite similar to the Kashgar. The modern ones are not
attractive.
SAMARKAND
SYNONYM.--The trade name of "Malgaran" is given to an inferior grade.
WHY SO NAMED.--After the city of Samarkand, a city of Western Turkestan
in the valley of Zarab-Shan, one hundred miles east of Bokhara, which
was once the centre of learning in Asia, having had several universities
there.
WHERE MADE.--In the vicinity of Samarkand.
KNOT.--Nearly always the Senna, seldom the Ghiordes. Number vertically
five to seven; number horizontally six to ten; number to square inch
thirty to seventy.
WARP.--Wool, cotton or silk, usually dyed blue or yellow.
WOOF.--In the antiques cotton or wool. In the moderns cotton. Like the
Kazaks there are three or four woof threads between each row of knots.
NAP.--Good, heavy, loose, lustrous wool. Sometimes silk or a mixture of
silk and wool.
WEAVE.--Loosely woven.
SIDES.--Antiques have a narrow selvage added sometimes with two colors
like the Yomuds. Modern pieces are overcast.
ENDS.--Similar to those of the Turkoman products. Wide web with fringe
of loose or twisted warp threads.
BORDER.--From three to five border stripes, usually three. The inner
border usually carries the Greek meander, the outer one floral designs
and the middle one figures corresponding to the central designs. The
undulating vine and lotus pattern are frequently used.
PREVAILING COLORS.--Field usually blue, red, or golden brown. Bokhara
reds and yellows are lavishly used.
[Illustration: SAMARKAND RUG
PROPERTY OF MR. A. U. DILLEY]
DYES.--Of the best.
DESIGNS.--There are usually five medallions (circles of happiness), one
at each corner of the field and one in the centre bearing some dragons,
animal, or floral forms. Very little trace of Persian, Turkish, or
Caucasian influence; Mongolian characteristics predominate with some
trace of Turkoman. Chinese fret, swastika, dragon, fish, and floral
forms.
SIZES.--From three to nine by nine to fifteen feet.
PRICES.--Antiques rare and costly, moderns from $1.00 to $2.50 per
square foot.
REMARKS.--The moderns are much inferior to the antiques. They are
suitable for library and hall use.
THE EXAMPLE ILLUSTRATED
Although made in Russian Turkestan, Samarkand weavings are Chinese
in every respect.
This particular piece displays three round medallions or circles
of happiness, also butterflies and various Chinese plant forms.
The first and third border stripes are composed of one of the
Chinese lotus bud border designs, while the central stripe
consists of the swastika fret.
[Illustration: DAGHESTAN PRAYER RUG
Size, 4'8" × 4'2".
BY COURTESY OF NAHIGIAN BROS., CHICAGO, ILL.
OWNERS' DESCRIPTION.--In all the rugs that we have imported from the
Caucasian provinces we do not recollect having seen one with a finer
texture than this Daghestan. It has as many knots to the square inch
as the finest Kashan rugs, which, as is well understood, are the
finest products of the Persian looms.
The "barber pole" stripes in the border, the reciprocal Van Dyke
design, and the "wine glass" figure in the widest border are all
characteristic designs found in Caucasian rugs. Even the niche is
similar to other Daghestan prayer rugs. But we see at once Persian
influences in the field of the rug.
The "flame" design as it is called here, which is in reality a
variation of the familiar "river loop" or "El-Ayassi" pattern, and
which is distinctly a Persian figure, is here used throughout the
field. As if to emphasize the theory that the flame, which the early
Persians worshipped, is represented by this design, each individual
figure is made to give off rays of light and warmth.
Another interesting and noticeable feature in this rug is that while
in Persian fabrics like the Sereband, where this or a very similar
design is used, the figures are almost all exactly alike, whereas here
they differ considerably and no two are alike in detail.
(See page 254)]
THE BELUCHISTAN RUGS
Beluchistan is a vast, wild and mountainous country extending from
Kirman to India and from Afghanistan to the South Arabian Sea, partly
under Persian rule and partly under the protection of Great Britain. It
has an area of about 146,000 square miles with but 800,000 population.
The capital, Kelat, has a population of 15,000. The inhabitants are
principally Nomad tribes of primitive habits and of the Mohammedan
faith. The rugs of Beluchistan are taken way across Afghanistan to
Bokhara to be marketed. On this account and also because of their great
likeness to the Turkoman products they are classified as such by several
prominent writers. Like the latter they invariably have a wide web at
each end, usually with a woven design. The colors and designs are
similar to those of the Turkoman class and the dyes are good, but
nowadays unwashed ones are extremely scarce.
BELUCHISTAN
SYNONYMS.--Balooch, Baloochee, Bilooz, Bilouche, etc. Sometimes wrongly
called "Blue Bokhara."
BY WHOM MADE.--By the Nomadic tribes of Beluchistan and by Beluches
residing in Afghanistan and Eastern Persia.
KNOT.--Always Senna. Number vertically six to ten; number horizontally
five to twelve; number to square inch thirty to one hundred twenty.
WARP.--Usually wool, frequently goats' hair.
WOOF.--Always dark wool.
NAP.--Fine, long, compact, lustrous wool, goats' and camels' hair.
SIDES.--Overcast or selvaged, usually with goats' or horses' hair.
ENDS.--Wide ornamented selvage with loose or twisted warp ends. Often a
row of colored yarns run through the web.
BORDER.--From three to four border stripes, usually one wide one and two
narrow ones.
PREVAILING COLORS.--Usually dark reds and dark browns with a sprinkling
of white. Tan is frequently employed in the field and is generally the
undyed camel's hair.
[Illustration: BELUCHISTAN RUG
Size 6'8" × 3'4"
(Without the webbing, which is one foot long at each
end)
(MINA KHANI DESIGN)
FROM THE COLLECTION OF THE AUTHOR]
DESIGNS.--Geometrical devices, hexagons, octagons, etc. Occasionally
stiff floral patterns.
SIZES.--Mostly small, two to seven by three to eleven feet.
COST.--From $1.00 to $2.50 per square foot.
REMARKS.--One of the last rugs to be affected by outside influences.
Although scarcely any chemical dyes are used, the "doctoring" process
has been adopted so that nowadays an unwashed Beluchistan is a scarce
article. The modern ones are inferior to the antiques, although all wear
well.
THE EXAMPLE ILLUSTRATED
KNOT: Senna. Eight to the inch vertically and thirteen
horizontally, making one hundred eight to the square inch. The
centre field of dark blue is covered with the Mina Khani design,
which, being a Kurdish design, is seldom found in Beluchistan
products. The two narrow border stripes in white are of the Greek
key design upon a background of dark brown, while the main border
stripe consists of rectilineal vines and flowers arranged similarly
to the Herati border design upon a varying background of light and
dark Turkoman red. The webbing at each end is covered with fine
designs and stripes and in several places are talismanic tufts of
wool.
CHINESE RUGS
[Illustration: CHINESE RUG
Size, 23' × 24'
BY COURTESY OF COSTIKYAN & CO., NEW YORK CITY.
Presented by the late Mr. J. Pierpont Morgan to the Metropolitan
Museum of Art, New York City. A very unique and beautiful piece. It
is one of the most celebrated and costly rugs in America. The cloud
bands and the five clawed Chinese dragons are framed in by the Chinese
fret.
(See page 301)]
CHINA
CHINESE RUGS.
It is practically within the last decade or so that the artistic merits
of the Chinese rugs have been fully appreciated. Previous to that time
they were promptly laid aside to make place for the other Oriental
weaves. A few wise connoisseurs were in the meantime securing all the
choice pieces available and some have made themselves independently
wealthy by their sagacious forethought. At the present time Chinese rugs
are eagerly sought and treasured more than those of any other class,
good ones bringing fabulous prices.
To illustrate the rapid advance in the value of choice pieces the writer
will relate one incident out of many similar ones which to his knowledge
have occurred.
About eighteen years ago a wealthy horseman of Central New York died
leaving a stable which, together with its furnishings, was worth many
thousands of dollars. Sometime after his death the furnishings were sold
at public auction. Among the articles thus disposed of was a Chinese rug
10 × 12 which was bid in by a New York man for $150.00. Two years ago it
was resold for $25,000.
Excluding those of recent make, Chinese rugs are of good workmanship and
honest dyes, the weavers being little influenced by modern ideas,
consequently they are durable and, on account of their original
Mongolian designs, can easily be distinguished from the other Oriental
products. Unfortunately, on account of the growing scarcity of wool in
China and on account of foreign invasion, the rug industry seems to be
dying out.
The classification of Chinese rugs is a difficult matter, in fact
anything like an accurate classification is impossible even for a
connoisseur for they cannot be assigned to the different provinces by
the finish of their sides and ends as are the other Oriental weaves, but
the classification must depend mostly upon the colors, materials and
workmanship, which were in vogue at certain periods, as well as the
effect of time upon these colors and materials.
Those which reach our own shores are generally divided into three
classes according to the districts from which they came, namely, Pekin,
Tientsin and Thibet, the latter being practically Chinese although not
geographically so. The above are named in order of their excellence, the
finest pieces, as a rule, coming from northern China.
Unlike other Oriental textiles those of China may be interestingly
classified according to the symbolism of their designs, thus we may have
the longevity rug in which are depicted the crane, the stork, the deer,
or the tortoise, all of which are symbols of longevity. The literary rug
is decorated with books, ink stands, pencils, brushes, scrolls, and
sceptres. The bat, the gourd, the circle of happiness, and the shou
denote happiness; the dragon, the lion, the phœnix, and the sword
authority and power; the swastika, the knot of destiny, the swallow, and
the magpie are symbols of good luck, while in the religious rugs are
found the rosary, the incense burner and various altar implements.
The Chinese weaver is fond of filling every available space with objects
with which he comes in daily contact, thus among the animate things may
be mentioned butterflies, dogs, doves, ducks and swans. Among the
inanimate things are vases, chess boards, jars, stands, baskets, wheels,
ribbons, shells, pots and plates, while among the flowers are the peony,
the primrose, the peach, the magnolia and tea blossom, the lotus, the
orchid, the chrysanthemum, the sun flower and the aster.
There are seven designs, which on account of the great frequency with
which they are used, are worthy of special mention. Named in order of
their employment, they are the circle of happiness, the Chinese fret,
the swastika, the butterfly, the bat, the shou, and the dragon.
The circle of happiness which is found in nearly all classes of Chinese
rugs is a circle or ovoid within which are worked various Mongolian
designs. The Chinese, or Greek fret, as it is sometimes called, is a
border design suggested by the overlapping of the sea waves and is found
in fully two-thirds of the Chinese products. The swastika needs little
explanation other than the statement that for centuries it has
symbolized good luck to many tribes in distant parts of the world.
Butterflies, symbols of vanity, are frequently found intermingled with
flowers or bats, the latter being symbolic of happiness. The shou, which
stands for prosperity, has nearly a hundred different forms, many of
which are similar in shape to the Egyptian scarab. The dragon, the
Chinese symbol for sovereignty, always has five claws, unlike the
Japanese dragon, which has but three. It is frequently represented as
holding or looking towards a round object, the so-called "chin" or
jewel.
The materials from which the Chinese make their rugs are practically the
same as are used in the other rug making countries with perhaps the
exception that the wool varies more in quality, being on an average
considerably coarser than that of Persia or Anatolia. The Chinese also
employ considerable hair, which in appearance very much resembles that
of a cow. Rugs made of this hair are known as Yak rugs.
Chinese weaving differs little from that of other parts of the Orient.
Both the Senna and the Ghiordes knots are employed, most frequently the
former, but the appearance is different on account of the size and
looseness of the warp and pile yarn, which, in many instances, makes it
impossible for the weaver to tie over eight to ten knots to the square
inch. During the early part of the eighteenth century, designs were
frequently made to stand out in relief by cutting somewhat shorter the
wool around them.
Chinese designs are characteristic and interesting, being similar to
those found in the old Chinese porcelains. As a rule they are simple,
with little detail and are outlined with a contrasting color. No family
or tribal designs are employed as in the other rug making countries.
Each rug being usually the work of one weaver, both in design and
execution, it is frequently symbolic of his creed.
During the 16th and 17th centuries the majority of Chinese rugs had a
field of solid color or were covered with the trellis design. They also
had but few narrow border stripes, either in plain colors or carrying
simple geometric designs, but about the middle of the 18th century, they
began to show Persian influence, floral patterns being adopted
especially for the borders.
Like the designs, the colors employed by the weavers are quite similar
to those used in the old porcelains. As a rule, they are dull, warm and
harmonious, but few shades being used in the same piece.
The colors and shades most frequently used in Chinese rugs, named in
order of their employment, are dark blue, yellow, light blue, apricot,
ivory white, dark brown, cream, old red, tan, fawn, robin's egg blue,
green, fruit red, persimmon red, ash white, sapphire blue, peach blow,
salmon pink, brownish red, brick red, greenish yellow, turquoise blue,
copper pink, and black.
[Illustration: ANTIQUE CHINESE RUG
Size 3'6" × 5'6"
PROPERTY OF A. U. DILLEY & CO.
OWNER'S DESCRIPTION
Color: Blue and gold.
Field: Elaborate peony leaf and flower decoration.
Border: Intricate swastika-fret motive.
Date: 1790.]
The different shades are of considerable assistance to the connoisseur
in estimating the age of a rug, for instance, robin's egg blue, golden
brown, and tan were mostly in vogue during the 17th century, and during
that period, green and lemon citron, greenish and reddish yellows were
never employed.
THE EXAMPLES ILLUSTRATED
Three color plates of these attractive rugs are given, with
accompanying descriptions (see pages 300, 306 and 318).
GHILEEMS, SILKS, AND FELTS
GHILEEMS
Also spelled Gileem, Gilim, Khilim, Kilim, Killim. A pileless rug which
is made by binding a dyed weft thread around the warp threads by means
of a shuttle or needle, making the fabric alike on both sides and
leaving open spaces between the warp threads where the changes of color
are made. This is the primitive mode of weaving and requires much more
skill than does the pile method. Ghileems are woven at the present day
more than ever all over the Caucasus, Anatolia, Kurdistan, Persia, and
in some parts of Turkestan. Those which are found in the Western markets
come mostly from Cæsarea, Senna, Shirvan, Kurdistan, and Merve.
As a rule each variety adopts the designs and colors which are in vogue
in the particular locality from which they come, but frequently the
border stripes do not extend around the whole fabric as is almost
invariably the rule with the pile carpets. By the Oriental the Ghileems
have been used as floor coverings from the earliest times; by the
Occidental they are used almost exclusively as portières, couch covers,
and table spreads. As a rule, they are sold in the Orient by weight,
and, like most of the other textiles, have of late years not been
extremely free from outside influences.
SENNA GHILEEM
Senna Ghileem is the finest quality of Ghileem produced, being much
finer in texture than any of the other Ghileems. As a rule they have
small intricate patterns, with an opening at each change of color, in
fact they are exact duplicates of the Senna pile rugs in design and have
the same finish on the sides and ends. The Herati design is commonly
used in the field but seldom in the border. In sizes they vary from
three and one-half to four and one-half by five and one-half to seven
feet, seldom larger or smaller.
THE EXAMPLE ILLUSTRATED
The main border stripe carries a meandering vine with a pear-shaped
leaf at each turn and on either side of it is a narrow stripe
consisting of floral forms which are connected by leaves arranged
in the form of a meander.
ANATOLIAN GHILEEM
Anatolian Ghileems are, as a rule, light in weight and coarse in
texture, with many open spaces and with bold geometrical Turkish designs
and bright colors. They are made of good wool and are finished with a
fringe at each end. As a rule they can be distinguished by their prayer
niche or by a seam through the centre, the larger sizes, which do not
come in the prayer design, usually being made by sewing two long, narrow
pieces together.
[Illustration: SENNA GHILEEM
(HERATI DESIGN)
PROPERTY OF A. U. DILLEY & CO.]
KIS GHILEEM
Kis Ghileem, which means "girl rug," are Turkish Ghileems made by the
Mohammedan girls for their suitors, it being a Turkish custom for a
girl, as soon as she becomes engaged, to weave one of these rugs to
present to her future husband in order to show the quality of her
handiwork; therefore, being judged to a certain extent by the grade of
her weaving, she naturally does her best. For this reason many of the
so-called Kis Ghileems are of excellent workmanship. They carry typical
Turkish designs and are finished with a fringe at each end. In size they
vary from two and one-half to seven by four to fifteen feet, the smaller
sizes usually being of the prayer style, while the larger ones are made
of two parts sewed together, little care being taken to make the
patterns of the two pieces match well. Frequently we will find small
tufts of wool, beads or a lock of the weaver's hair attached to the warp
threads as a talisman.
SHIRVAN GHILEEM
Shirvan Ghileems are always recognized by their designs, which are like
those of no other Ghileem, being composed of numerous stripes running
across the whole width of the rug and covered with geometrical devices
similar to those of the Daghestan. These stripes are from eight to
twelve inches wide with narrow plain blue, green, or red stripes
between. They are nearly always woven in one piece and of good wool, but
are heavy and coarse, with large openwork spaces. In size they vary from
three to eight by six to twelve feet, the average being five by nine
feet.
KURDISH GHILEEM
Kurdish Ghileems, like other Kurdish rugs, rank among the best of their
class, being made of the finest of wool and closely woven. They usually
consist of two or more pieces sewed together or joined by embroidered
geometrical designs and many yarn ends are left loose on the under side,
giving a shaggy appearance like the under side of the Shemakha rugs. In
this respect they are unlike any of the other Ghileems. The colors are
as a rule subdued, dark shades of crimson, blue, yellow, and green, with
more or less black and white. The prayer design is frequent, with a
niche like that of the Ghiordes. The ends are finished with a web upon
which an attractive design is woven or through which runs a
parti-colored thread similar to that in other Kurdish rugs. The antiques
are very scarce. In sizes they vary from four to six by seven to twelve
feet.
[Illustration: KURDISH GHILEEM
BY COURTESY OF NAHIGIAN BROS., CHICAGO, ILL.]
THE EXAMPLE ILLUSTRATED
This is one of two strips which were originally sewed together like
many of the Ghileems of this class. The predominating colors are
green, red, dark brown and white. Each end is finished with a short
web and braided warp threads. It also has many loose yarn ends on
the back side, which is a characteristic feature of the Kurdish
Ghileems.
MERVE GHILEEM
Merve Ghileems are made in the vicinity of Merve, in the Turkoman
district. They differ from all other Ghileems in that the colors are
divided diagonally instead of vertically or horizontally with the warp
or woof threads. For this reason no open spaces are left. The colors are
few and subdued, white especially being seldom used, and in design they
are most modest, the field as a rule being divided transversely into
three or four parts by ornate line patterns resembling in some respects
the Kurdish Ghileems. They frequently come in prayer form with designs
less striking than those of the Kurdish Ghileems and strongly resembling
those of the Beluchistan. Some are of great size.
THE EXAMPLE ILLUSTRATED
One of two strips which were originally sewed together. Like many
of its class the field of this piece is divided transversely into a
number of stripes, each about a foot wide. Each stripe is of a
different color, being tan, green, white and brown, and the whole
field is covered with a trellis of serrated latch hook designs in
red, the divisions of which contain diamond forms in different
colors. There is a short web at each end, one with loose warp
threads and the other knotted.
SILK RUGS
Silk rugs were first made in China and afterwards in Anatolia and
Northern Persia, where silk is produced in great quantities. They were
formerly made for mosques, for royalty, or for very rich people, expert
weavers being hired for the occasion and the material being furnished by
the one who ordered the work done.
Fine silk rugs are unsurpassed in beauty, rich, exquisite coloring, and
rare sheen, but they have never been practical as floor coverings;
first, because they require such luxurious surroundings, and second,
because the wearing quality of silk does not compare with that of wool.
The genuine Persian silk rugs are getting scarce and almost priceless.
Strange as it may seem, few of these pieces have been sought by either
the museums or collectors of America.
[Illustration: MERVE GHILEEM
Size 10' × 2'8"
KURDISH GHILEEM
Size 15'4" × 2'6"
PROPERTY OF MR. JOSEPH SHEHADI]
Those made at Kashan in Northern Persia are the best of the present day
products. As a rule they are made entirely of silk having a narrow web
and a fringe of loose warp threads at each end and with beautiful shades
of red, rose, turquoise, old ivory, and green.
In Persia they sell for from $10.00 to $15.00 per square foot and in the
United States for from $15.00 to several hundred dollars a square foot.
A much cheaper and a purely commercial product comes from Kaisarieh or
Cæsarea, in Asia Minor. These, as a rule, have a cotton warp and weft
and are copied after the old Persian and Ghiordes designs, especially
the so-called "Mosque design" with the hanging lamp. These rugs are
undesirable in color, dyes and workmanship and are invariably worth much
less than the prices asked for them. The great majority of them can be
detected by the direction in which the pile runs, it being inclined
towards the top instead of towards the bottom.
It is easy to go astray in the purchase of silk rugs on account of the
numerous mercerized and wool silk imitations, many of them not even
being hand-tied but machine made.
FELT RUGS
Felt rugs are made to a certain extent in nearly every part of Persia,
but chiefly at Ispahan, Astrabad, and Yezd. They are made of wool,
goats' hair or camels' hair or of a combination of two or all of these
substances, according to the color desired. As no dyes are employed and
the finished product is the same in color as that of the materials used,
they are usually gray, white or buff, most frequently the latter. The
material is matted together by being pounded, occasionally sprinkled
with water in which rapeseed-oil cakes have been soaked for a long time,
and then pounded more until it becomes compact and solid. The finished
product varies in thickness from three-quarters of an inch to three
inches and is as soft and pliable as cloth, but too heavy for
exportation, consequently few come to Western markets. In the Orient
they are used as floor coverings on top of which ordinary pile carpets
are placed. In this country they have been used in bedrooms, also as a
covering for dining tables, and as silence cloths, but they will not
stand the wear of chairs and are an easy mark for moths. They can be
purchased for from $7.00 to $10.00 per yard.
[Illustration: ANTIQUE CHINESE CUSHION RUG
Size 2'2" × 2'2"
FROM THE COLLECTION OF THE AUTHOR
KNOT: Senna. Eight to the inch horizontally and six vertically,
making only forty-eight to the square inch, but the pile wool is
so fluffy that it has the appearance of being quite closely woven.
This piece is undoubtedly a very old one. It has a long silky pile
with deep Chinese blue ground, displaying a central medallion of
floral forms, frets and swastikas woven in soft red, yellow, drab
and white. Also corner motifs in similar colors, all of which is
framed by three harmonious borders, an inner band consisting of
white dots on a blue background; the main border stripe composed
of graceful floral scrolls and blossoms in yellow, light blue,
drab, red and white on a blue ground, and the other border of plain
blue.
(See page 301)]
CLASSIFICATION ACCORDING TO THEIR INTENDED USE
PRAYER RUGS (NAMAZLIK)
In all ages fine rugs have been used for religious purposes by the
faithful followers of the prophet. Every Mohammedan has his prayer rug,
more or less valuable according to his means, which he always carries
with him and upon which he prostrates himself five times a day when the
appointed hour for prayer arrives.
By means of a small compass he spreads his rug so that the mihrab or
niche points towards Mecca, where Mohammed's body lies. Then after
removing all jewelry and money from his person, in order to appear
before God in the most abject humility, he combs his beard, produces a
rosary of ninety-nine beads and a dried cake of earth which came from
Mecca. These he places just under the niche and then, resting his head
on the earth with his hands outstretched on either side, he performs his
devotions.
The mihrab or niche on which the worshipper places his head represents
the door of a mosque and reminds those who use it of the sacred mosque
at Mecca.
Occasionally prayer rugs will be found with three or more niches,
especially among the Caucasian products. These are intended for children
or for family worship. Others may have instead of a prayer niche, three
small medallions, one each for the hands and one to receive the
forehead.
For convenience the prayer rug is of small size, usually from two and
one-half to four by four to six feet. Those intended for personal use
frequently have the name of the owner on and are of the very best
workmanship. Combs and other objects used in the act of worship are
frequently depicted in or near the prayer niche.
The prayer niche takes various forms in different kinds of rugs, seldom
more than one class having the same form. As a rule that of the Persians
is formed by curved lines, while all others are formed by straight
lines, those of both the Persian and Turkish classes being pointed,
while those of the Caucasian and Turkoman classes may either be pointed
or flat at the top, usually the latter.
In differentiating between these different classes we are assisted not
only by the shape of the mihrab, but also by the various field designs,
such for instance as the panels above and below the prayer field, the
lanterns or pendants which hang from the centre of the niche, etc.
[Illustration: VARIOUS FORMS OF THE PRAYER-NICHE IN RUGS
1. Persian
2. Persian
3. Persian and Konieh
4. Meshed and Saruk
5. Tabriz
6. Kirman
7. Kirman
8. Kirman and Kulah
9. Herez and Kulah
10. Kulah
11. Kulah
12. Kulah
13. Kulah
14. Ghiordes
15. Ghiordes
16. Ghiordes
17. Ghiordes
18. Anatolian
19. Anatolian
20. Konieh
21. Konieh and Meles
22. Ladik
23. Ladik
24. Kaisariyeh
25. Bergama, Genghis, Daghestan, Bokhara
26. Bergama
27. Meles
28. Meles
29. Daghestan and Kazak
30. Kazak and Beluchistan ]
SINGLE PANELS.--When only one panel is used it is invariably above the
prayer field. The Kulah nearly always has but one, the Anatolian
generally, and the Ghiordes seldom.
DOUBLE PANELS.--The Ghiordes nearly always has two, the Bergama
generally, and the Kulah seldom.
HANGING PENDANTS are always present in the Kaisarieh, frequently in the
Ghiordes, and seldom in the Kulah.
PILLARS are always present in the Kaisarieh, frequently in the Kulah,
and only occasionally in the Ghiordes.
PLAIN PRAYER FIELDS (excepting the lamp) are most frequent in the
Turkish rugs.
FILLED PRAYER FIELDS are invariably present in the Caucasian and
Turkoman rugs and generally in the Persians.
HEARTH RUGS (ODJAKLIK)
Hearth rugs may be distinguished by the shape of their field, each end
of which resembles the niche of the prayer rugs belonging to the same
class. They are usually from three and one-half to four by five to
seven feet and are very precious to the family, who always spread them
before the fire upon the arrival of a guest, and once a fugitive,
fleeing from his enemies, enters a tent and sets his foot upon the
hearth rug, the owner and his people were bound to defend him.
GRAVE RUGS (TURBEHLIK)
Grave rugs are usually the combined handiwork of all the members of the
household and, in accordance with an ancient custom, are used to cover
the dead before interment and the grave after interment, having
practically the same import as flowers do with us. They are usually
woven in sombre tints to express grief and in light colors to denote
resurrection. The cypress tree, which is symbolic of sorrow, is usually
the leading feature of the design and there are generally some
inscriptions from the Koran.
DOWRY OR WEDDING RUGS (KIS GHILEEM)
Dowry or wedding rugs are woven by the Eastern maiden for her dowry.
They are usually small in size and are seldom seen in America, as they
are always greatly prized by the Oriental. A more definite description
of them will be found under the heading of Ghileems.
[Illustration: SADDLE CLOTH, SADDLE BAGS AND POWDER BAG]
MOSQUE OR MECCA RUGS
Mosque or Mecca rugs are sometimes called Tribute rugs. The wealthy
Mohammedan rulers vied with each other in taking with them on their
pilgrimage to Mecca rugs of the finest materials and choicest designs
for presentation to the mosque, the whole interior of which was usually
hung with carpets, beautiful and costly beyond description. Many of
these so-called mosque rugs were of the Shiraz class. It is still the
custom in some parts of the Orient to give rugs to the mosque as thank
offerings for special blessings received and frequently the Mohammedan
bequeaths a rug when he dies to the mosque where he worshipped.
BATH RUGS (HAMMANLIK)
Bath rugs are usually about three feet square and have a peculiar lustre
due to their frequent contact with soap and water. One of these bath
rugs is usually presented to the bride by her parents on her wedding
day.
PILLOW CASES (YESTEKLIK)
Pillow cases are known in the United States as Anatolian mats and are
described as such in the chapter on Turkish Classification.
SAMPLE CORNERS
Sample corners are mats about two feet square and are woven for the
purpose of showing the variation of border, color, and design to some
wealthy ruler who wishes a carpet woven. They are afterwards used in the
weaver's family and seldom reach the market. (See p. 328.)
SADDLE BAGS (HEHBELIK)
Saddle bags always come in pieces of varying widths, according to the
kind of animal for which they are intended. Those intended for donkeys
usually run from one to one and one-half by one and one-half to two
feet, while those intended for horses or camels usually run from one and
one-half to two and one-half by five to six feet or more. Those from
Persia and Anatolia are usually small and nearly square, while those
from Bokhara and Beluchistan are usually large and oblong. These saddle
bags are quite appropriate for bachelor apartments, artists' studios, or
smoking rooms and are sometimes used on a suitable standard as a
newspaper or magazine receptacle. (See illustration at p. 326.)
[Illustration: A CONVENIENT PERIODICAL HOLDER
(See page 212)]
SADDLE COVER (SEMERLIK)
Saddle covers are used by the wealthy class. They are nearly square,
ranging from two and one-half to three by four to four and one-half
feet, and have an opening at one end for the pommel of the saddle to
pass through. The finest ones are from Senna.
FLOOR COVERINGS
Sedjadeh is the Persian name applied to those of the larger size, while
Hali is the name applied to those of medium size. Oriental carpets are
of modern make with very few exceptions, most of them being just as well
made as were the antiques, although they show considerable deterioration
in dyes. Those which are commonly found in the Western market are the
Feraghans, Gorevans, Hamadans, Kermanshahs, Khorasans, Kirmans,
Kurdistans, Sarabands, Sennas, Sultanabads, and Tabriz among the
Persians; the Kazaks and Shemakhas among the Caucasians; the Gulistans,
Oushaks, and Smyrnas among the Turkish; and the Khivas and Yomuds among
the Turkoman. Large rugs cost more per square foot, as a rule, than the
small ones, as their size makes heavier construction imperative and
increases the difficulty of weaving as well as the amount of yarn
required.
RUNNERS (KENNAR)
Runners properly belong to this class, as they are used in the Orient
mostly to lay along the sides of a room. In this country they have been
found extremely convenient as hall rugs.
HANGINGS (BERDELIK)
To this class belong all of the silk rugs as well as many of the
delicately colored and extremely light fabrics, especially those that
picture gardens and portraits or have on them quotations from the Koran.
Ghileems may also be classed under this head.
[Illustration: A BIJAR SAMPLE CORNER
(Showing colors, designs and different borders)
PROPERTY OF COL. A. S. LUDLOW, WANKESHA, WIS.]
FAMOUS RUGS
[Illustration: THE ARDEBIL MOSQUE CARPET
(See page 333)]
The interest in the very old weavings is not as manifest in the American
cities as in many of the European cities, such for instance as Vienna,
London, Paris, and Berlin. This is due to several reasons. In the first
place, Europe began the importation of Oriental textiles many years
before the United States did. In the second place, most of the choice
pieces in the United States belong to private individuals instead of to
museums, consequently they are seldom, if ever, seen by the public. In
the third place, many of the European cities, especially London and
Vienna, have given a number of public exhibitions of old rugs, while the
recent exhibit at the Metropolitan Museum of Fine Arts in New York City
was the first one ever held in the United States. At this exhibit there
were forty-seven pieces of the 14th, 15th, 16th, 17th and 18th
centuries, pieces that would compare favorably with those of any
country, all owned by private collectors in the Eastern States.
Great credit is due Dr. Wm. R. Valentiner and his assistants for the
promotion and successful management of this exhibition. Let us hope
that it is but the beginning of a series of such exhibits which will
stimulate a more formal interest and desire to know more about these
wonderful products of the Eastern loom.
The age of old rugs can be at least as accurately determined as the age
of old paintings and in many cases even more so. According to Dr.
Valentiner the so-called Polanaise and Ispahan rugs belong to the 17th
century and the Persian animal or hunting rugs belong to the 16th
century, while the so-called dragon rugs belong to the 15th century.
Many of the rugs from Armenia and the eastern part of Asia Minor date
back as far as the 13th and 14th centuries.
Every old rug has its individual character manifest by its designs,
colors, weave, and material, all of which are peculiar to the time when
it was made or the locality in which it was made, so that it can be
located and dated with greater accuracy than would be supposed.
Many early rugs were used for decorative purposes in the pictures of the
early Italian and Flemish painters.
[Illustration: BERLIN DRAGON AND PHŒNIX RUG
(See page 334)]
According to recognized authorities the so-called Polish carpets were
not woven in Poland at all, but were products of Persia, and the
so-called Ispahan rugs were not made at Ispahan or even in Persia, but
came from the city of Herat in Western Afghanistan. Of the former
several hundred are still in existence, the best of which are in the
European courts and museums, about forty being in the United States,
while nearly every collection contains one or more of the Herats.
THE ARDEBIL CARPET.--Without a doubt the most famous Oriental carpet now
known is the mosque carpet of Ardebil owned by the South Kensington
Museum in London.
It is a Persian masterpiece and was made in 1536 by one Maksoud for the
Ardebil Mosque. In size it is thirty-four and one-half by seventeen and
one-half feet and contains in the neighborhood of 32,000,000 knots,
about 530 to the square inch, and was purchased by the South Kensington
Museum for $12,500, although, if put up at auction to-day, it would
doubtless bring many times that sum. The ground is of a rich blue and is
covered with the most intricate of old Persian floral designs. It has a
central medallion in pale yellow with corners to match. There are three
border stripes, one wide one with a narrow one on either side of it. The
ground of the outer stripe is of a tawny yellow with small floral
designs; the ground of the inner stripe is cream colored and that of
the main stripe is of a rich brown with round and elongated panels
alternating and surrounded by a profusion of floral lines. Within these
panels are to be found in Arabic the following inscription: "I have no
refuge in the world other than thy threshold; My head has no protection
other than this porch way; The work of the slave of the Holy place,
Maksoud of Kashan." In the year 942 (which corresponds to A.D. 1536.)[B]
THE DRAGON AND PHŒNIX RUG of the Kaiser Frederich Museum, Berlin, is a
Central Asia Minor weave of the 14th century and is probably the oldest
existing rug that has been identified with the representation of a
similar fabric in a painting. It was purchased for the Berlin museum by
Dr. Bode, from a church in Central Italy on account of its resemblance
to a rug in the fresco painting representing the "Marriage of the
Foundlings," one of the series painted by Domenico di Bartolo in Spedale
di Santa Maria della Scala in Senna about 1440.
In design it represents a dragon and a phœnix in deadly combat.
[Illustration: EAST INDIAN HUNTING RUG
IN THE BOSTON MUSEUM OF FINE ARTS
BY COURTESY OF MR. SIDNEY N. DEANE
(See page 335)]
THE AUSTRIAN ROYAL HUNTING CARPET.--Next in prominence to the Ardebil
Carpet comes the Royal Hunting Carpet of the Austrian Imperial and Royal
Court, which is said to have been presented by Peter the Great. It is a
Persian rug of great antiquity and shows Chinese influence in the
design, which includes elaborately woven horsemen in pursuit of deer and
other animals and winged gods in contest with lions and buffaloes.
THE INDIAN HUNTING RUG of the Boston Museum of Fine Arts is perhaps the
most noted of the forty-seven pieces which were in the recent
Metropolitan exhibit. It was made in India about 1640, is eight feet
three inches long by five feet three inches wide and contains about
three hundred and sixty knots to the square inch. Its predominating
color is red. In the upper left-hand corner are a couple of buildings in
which are seated in Oriental style several individuals. Below these
buildings are several deer, a chained leopard in a cart drawn by a
bullock, hunters, a winged elephant, tigers, and goats, all of which are
interspersed with floral and tree forms. There are three border stripes,
the centre one of which is the wider and carries leaf-shaped panels
containing faces. Each one of these panels is separated by a bird and
small floral forms upon a cream-colored ground. The two narrow stripes
carry designs in light and dark blue, pink and red. This rug was
purchased at $35,000 by the late Governor Ames of Massachusetts and
presented to the Boston Museum of Fine Arts.
THE ALTMAN PRAYER RUG, owned by Mr. Benjamin Altman of New York City,
was made in North Persia about 1580. It is similar to one which was in
the Yerkes sale and to another one which was shown at the recent Munich
exhibition of Mohammedan art. It has beautiful floral designs with
arabesques and Chinese motifs in deep shades of red, blue, and yellow,
many of the designs being worked with light yellow or silver thread in
the ghileem style. The Mihrab is the Persian style, from which hangs a
mosque lamp which is covered with red, yellow, and pink flowers on a
green ground. The lower part of the field is covered with various floral
and tree forms in yellow with pink blossoms. There are two border
stripes. The inner one has a yellow ground, the lower part of which is
covered with arabesques and the upper part with Arabic inscriptions in
blue which read "May the Blessing of God rest upon them all. There is no
God but Allah (the true God); Mohammed is the prophet of God. Ali is the
saint of God. God the exalted one says: Verily God and His angel shower
their blessings upon the prophet. Oh ye faithful send your blessings
with Him, as well as offer your salutations unto Him." The outer border
has a blue ground upon which are rounded octagons and oblong panels in
gray, the latter containing inscriptions from the Koran in black. Size
five feet five inches by three feet three inches.
[Illustration: THE ALTMAN PRAYER RUG
BY COURTESY OF MR. BENJAMIN ALTMAN]
THE METROPOLITAN ANIMAL RUG (see illustration at p. 26), from the
Ardebil Mosque, was made in Northern Persia about 1530. It was purchased
by the Metropolitan Museum of Art from the Yerkes collection. On a
claret colored ground are the repeated figures of a lion, a jackal, and
a spotted deer in deadly combat. There are also running boars amid a
profusion of flowers. There are three border stripes, a wide one with a
narrow one on either side. The former is filled with arabesques and
cloud bands in blue and pink on a ground of dark blue. The inner stripe
carries a green design on a yellow ground and the outer stripes carry a
floral design on a red ground. In size it is ten feet eleven inches long
by five feet ten inches wide and has in the neighborhood of four hundred
knots to the square inch.
THE BAKER HUNTING RUG (see illustration at page 338), owned by Mr.
George F. Baker of New York City, is also one of the four famous mosque
rugs of Ardebil. It was woven about the middle of the 16th century; it
is about fourteen by six feet and contains upwards of five hundred knots
to the square inch. It is a harmonious blending of red, blue, green,
pink, brown, old rose, cream, white, and silver, the predominating color
of the field being a dark red. It has three central medallions, one
large one and a smaller one just above and below it, with a quarter
segment of a cusped circle in each corner of the field to match.
Intermediate spaces are filled with flowering branches, fish and
animals, the latter being worked with silver thread in the ghileem
stitch. There is one wide border stripe with a narrow one on either
side. The former has a back of cream and carries alternately round and
oblong medallions which contain verses from the Koran in silver.
[Illustration: THE BAKER HUNTING RUG
BY COURTESY OF MR. GEORGE F. BAKER
(See page 337)]
GLOSSARY[C]
ABRASHES. The name applied to an irregularity in weaving in which
the color of the groundwork in a rug is suddenly changed, giving it
the appearance of having changed weavers' hands at that part. This
is a Kurdish characteristic.
AFGHAN (Ăf-găn), see Khiva.
AFGHANISTAN (Ăf-găn' ĭs-tăn). Bounded on the north by Turkestan,
on the south by Beluchistan, on the west by Persia, and on the
east by India. It covers about 215,444 square miles and has a
population of nearly five millions. It is generally mountainous
and the climate is severe, being hot and dry in the summer and
cold and stormy in the winter. The government is an hereditary
absolute monarchy of an Oriental despotic type.
AINE. A Persian word meaning an oasis or fountain. It is sometimes
used by retailers, but is not a specific trade name.
AK HISSAR (Ä-khis-sär'), Akhissar, Aksar, Axar. A city of Western
Anatolia, near Smyrna, with a population of 12,000. The meaning of
the name is "White Fortress." For description of the so-called
Akhissar rug, see Turkish classification.
AKSAR, see Ak Hissar.
ANATOLIA (Ăn-ä-tō' liä). Another name for Asia Minor.
ANGORA (Ăn-gō' rä). Name of a province and a city, the latter
being the capital of the former with a population of 28,000. The
province is noted for the so-called Angora goats.
ARDEBIL (Är-dĕ-bēl'). Name of a Persian town on the west shore of
the Caspian Sea in the Azerbijan province. It is from here that
the celebrated Ardebil carpet, which is now in the South
Kensington Museum, came.
ARDELAN (Är-de-län'). A province in Western Persia in the Kurdish
district. It furnishes the highest grade of rugs.
ARMENIA (Är-mē'nĭ-ä) is situated partly in Transcaucasia, partly
in Persia, and partly in Turkey in Asia. On the west it is
bounded by the Black Sea, Asia Minor, and the Taurus Mountains;
on the south by Mesopotamia, and on the east by Persia, while on
the north it extends almost to the Caucasian Mountains. It is a
mountainous country and gives rise to nearly all of the great
rivers of Western Asia. It is a country of special interest to
the world inasmuch as it is supposed to have been "the cradle of
the human race," the Garden of Eden, in all probability, having
been located among its mountains near the head of the river
Euphrates, and it also contains the celebrated Mount Masis,
better known as Ararat, upon which the Ark of Noah rested when
the waters of the great flood subsided. It has an area of more
than 70,000 square miles, but the population is less than two and
one-half millions.
ASIA MINOR. That part of Turkey in Asia bounded on the east by
Kurdistan and Persia, on the west by the Mediterranean Sea, on the
north by the Black Sea, and on the south by Arabia, the
Mediterranean and Red Seas. It is sometimes known as Anatolia.
ASKABAD (Äs-kä-bäd'). A town in Persia peopled by wandering
Turkoman tribes who make numerous rugs of the usual Persian
variety. A name sometimes used by retailers, but it has no
commercial meaning. The Tekke rugs are usually marketed at
Askabad.
AXAR, see Ak Hissar.
AZERBIJAN (Äz-er-bĭ-jän'), Azerbiajan, Aserbaijan. An agricultural
province in Northwestern Persia, bordering on Lake Urumiah, of
which Tabriz is the principal city. It covers 40,000 square miles
and has a population of 1,000,000. Many fine rugs come from this
province.
BAGDAD (Băg'dăd). The name implies "Abode of Peace." The name of a
province and a city of Mesopotamia on the Tigris. The province
covers 54,503 square miles and has a population of 850,000. The
city has a population of 145,000 and is a market for the products
of Western Persia.
BAKHSHIS, Bakshaish. A small village east of Tabriz in the Herez
district. A great rug centre for the so-called Herez rugs. See
Persian classification.
BAKSHAISH, see Bakhshis.
BAKU (Bä-kö'). The name signifies "Place of the Winds." A province
and a city. The former covers an area of 15,095 square miles and
has a population of 790,000. The latter is a port on the Caspian
Sea in the heart of the Russian petroleum district with a
population of 112,000. Many Caucasian rugs are marketed here. For
description of the so-called Baku rugs, see Caucasian
classification.
BELUCHISTAN (Be-lōō' chĭs-tăn), Baluchistan, Beloochistan,
Belloch. A mountainous and desert country bounded by Persia on the
west, Afghanistan on the north, India on the east, and the Arabian
Sea on the south. It has an area of about 130,000 square miles and
has a population of about 800,000. For description of the
Beluchistan rug, see page 296.
BERGAMA (Bēr'gä-mä), Bergamo, Berghama, Pergamo. A city in
Anatolia, forty miles north of Smyrna. Pergamo was the ancient
name. For description of the so-called Bergama rug, see Turkish
classification.
BIJAR (Be-zhär'). A town in Western Persia in the province of
Kurdistan. The Bijar rug is sometimes known as the Sarakhs or
Lule.
BIRJAND. The so-called Birjand rugs are woven in the village of
Daraksh, about fifty miles northeast of Birjand.
BOKHARA (Bō-khä' rä). Meaning "Treasury of Science." A city of
Russian Turkestan. It is the capital of the khanate by the same
name. This province has an area of 142,000 square miles with a
population of less than half. For description of Bokhara rugs, see
Turkoman classification.
BROUSA (Brö' sä), Brusa. A city in the northern part of Anatolia
near the sea of Marmora. It is the capital of the province by the
same name and has a population of 76,000.
CABISTAN, see Kabistan.
CÆSAREA, see Kaisariyeh.
CARABAGH, see Karabagh.
CARIAN, see Meles.
CASHMERE, see Shemakha.
CATECHU (Kăt' ē-chū). A dry, brown, astringent extract, obtained
by decoction and evaporation from the acacia catechu. From it a
brown dye is frequently obtained.
CAUCASUS (Kä-kā' sŭs). An isthmus joining Europe and Asia. It is
bounded on the west by the Black Sea, and on the east by the
Caspian Sea. The Caucasian Mountains extend through it from its
northwestern to its southeastern extremity, dividing it into two
parts, Caucasia proper to the north and Transcaucasia to the
south. It has an area of over 180,000 square miles and the
population is over nine million.
CHICHI, see Tchetchen.
CIRCASSIAN (Ser-kash-an), see Tcherkess.
CYRUS. Founder of the ancient Persian monarchy.
DAGHESTAN (Dä' gĕs-tăn). A district in Russian Caucasia on the
Caspian Sea, north of Baku. It covers 11,352 square miles and has
a population of 587,000. For description of the so-called
Daghestan rug, see Caucasian classification.
DEMIRDJI (Dā-mēr' jĭ). Means "ironsmith" or "blacksmith." A city
of Anatolia.
DERBEND (Dĕr-bĕnt'), Derbent, meaning "a fortified gate." A city
in the province of Daghestan on the Caspian Sea. The inhabitants
are mostly Tartar. For description of Derbend rugs, see Caucasian
classification.
DJIDJUM, see Ghileem.
DJIJUM, see Ghileem.
DJOSHAGHAN, see Joshaghan.
ELIZABETHPOL. Name of a province and a fortified city, the latter
of which was formerly known as Ganga.
ENILE, Inely. One of the better type of rugs woven at Oushak.
FARS (Färs), see Farsistan.
FARSISTAN or FARS (Fär-sĭs-tăn'). A province in Northwestern
Persia with a population of 1,700,000, composed mostly of the
wandering Arabs and Kashkais, who make high-class rugs of the
softest and best dyed wool. Shiraz is the leading town.
FERAIDAN. A Persian district ruled by Ispahan. The rugs made there
are woven in imitation of the Feraghan quality.
FERAGHAN (Fēr' ä-hän). A district in Persia near Sultanabad. For
description of the so-called Feraghan rugs, see Persian
classification.
GANGA. A Caucasian city ninety miles southeast of Tiflis. Now
known as Elizabethpol.
GAROUS. A district in Persia producing a good quality of rugs.
GENGHIS (Jĕn' gĭs), Guenja, Ganga, Guenje, Guendjie. The name of a
tribe of Nomads living in the vicinity of Elizabethpol.
GHILEEM, Khilim, Killim, Kilim (Kēē'-lŭm). Names given to a
napless rug which is woven in nearly all of the Oriental
rug-weaving countries. A full description may be found in the
chapter on Ghileems, page 311.
GUENJA, see Genghis.
GULESTAN. Meaning "The Rose Garden," name applied to one of the
better type of rugs woven at Oushak.
HAMADAN (Hä-mä-dän'), Hamadie, Hamidieh. A city in Northwestern
Persia, southwest of Sultanabad, with a population of 35,000. It
is the ancient Ekbatana where Esther and Mordecai were buried. For
description of Hamadan rugs, see Persian classification.
HAMIDEH, see Hamadan.
HARDJLI, or Princess Bokhara. The name given to a rug made by the
Tekke Turkomans. It usually consists of a design of a cross
inclosed in a square.
HERAT (Hĕr-ät') is the capital of Afghanistan, on the Persian
border, and its principal trade is with Meshed. For description of
Herat rugs, see Persian classification.
HEREZ (Hė' rēēs), Heriz, Heres. A mountainous district in
Northwestern Persia. For description of Herez rugs, see Persian
classification.
INELY, see Enile.
IRAK AJEMI (E-räk' äj' ě-mē). The largest province in Persia. It
is situated in the central part of the country, its largest city
being Teheran, the Persian capital.
IRAN (E' răn). The Persian name for Persia. A name commonly and
wrongfully given to rugs, excepting in referring to Persian rugs
in general.
ISPAHAN (Ǐs' pä-hän), meaning "Place of Horses." A city of 80,000
inhabitants in the commercial heart of Persia. At one time it was
its capital. For description of Ispahan rugs, see Persian
classification.
JEJIUM, see Ghileem.
JELIUM, see Ghileem.
JHELUM, see Ghileem.
JOOSHAGHAN, see Joshaghan.