How to Identify Persian Rugs & Other Oriental Rugs

H.OW TO IDENTIFY

Persian Rugs and Other Oriental Rugs

C. J.

DELABfiRE

MAY

LONDON G. Bell and Sons, Ltd 1952

First published 1920.

Reprinted 1931 Revised and enlarged edition 1952

Printed in Great Britain by

The Cameht Press

Ltd.,

London and Southampton

Preface INSTRUCTION, rather than discussion, is the keynote of the author's treatment of his subject in this

manual, and he makes no apologies, therefore, for confining himself closely to facts, at the expense

of theories and the interesting, though more irrelevant, details of history, of geography, and of travel.

He aims at both simply and speedily placing within the grasp of his readers a- thorough knowledge of such facts as are necessary to enable them to identify any typical specimens of the betterknown classes of Oriental rugs, and to classify them, with regard to their type, their age, and their value.

Contents PAGE

CHAP. I.

n.

Introduction

13

Rugs compared with those of Other Groups Patterns and Designs Persian

....18

.

ffi.

IV.

Details

V.

Persian

VL

Persian

of Weave and

.

Finish

.

.

54 Border

and Their

Stripes

Patterns

The

82

of Rugs with re-

Classification

gard to Age, Merit, and Value

VIE. IX.

X. XI.

The

Practical

Caucasian

Examination of a

Rugs

.

Turkish Prayer Rugs Central Asian Rugs

Conclusion

Index

38

Rugs and Their Type Ana-

tysis

VII.

25

.

.

.

.

,

.

.

Rug

96 104

.110 .121 .140

01 illustrations

PLATES FACING PAGE I.

n. HI.

IV.

V. VI. VII.

VEI. DC.

X. XI.

A Specimen Persian. Rug A Specimen Samarkand Rug A Specimen Central Asian Rug A Specimen Turkish Rug A Persian Sehna Rug A Specimen Caucasian Rug A Specimen Chinese Rug A Shiraz Rug (Pear Pattern) A Gorevan Rug A Feraghan Rug (Herati Pattern) A Kurdish Rug (Mina Khani .

XVH. XVHI.

32

.

.

.

33

.

33

.

48

.

.... ... ...

An

Ispahan

i8th-Century Caucasian

A Daghestan Prayer Rug An

Antique Shirvan 9

Rug

32

.

Rug Xin. A Hamadan Rug XIV. A Sarabend Rug (Pear Pattern) XV. AKirmanRug. XVI.

17

.

...

An

16

.

.

Design) XII.

.

.

.

.

49 56

56

57

64 65 80 81

112

Rug

.112 .

113

PERSIAN RUGS

....

FACING PAGE

XDC ABeshirRug XX, A Ghiordes Prayer Period

XXI.

A

.

Rug.

.... ....

Ghiordes

XXHL An

Antique Koulah Rug

An XXV. An

Antique Ladik Prayer

XXVI.

XXVH.

Antique Mudjar

A

Rug

.

Rug .

Turcoman Youmoud Rug An Old Khiva (Bokhara) Rug

10

129

Latest

Prayer Rug.

Period

XXIV.

.129

.

.

Ghiordes Prayer Rug. Middle Period

XXH A

113

Earliest

.

129 129

.

136

.

137

.

144

.

145

ILLUSTRATIONS IN THE TEXT

.... ....

HG.

1 6.

The Herati Design The Mina Khani The Pear The Rosette The Eight-pointed Star The Cloud Band The Bi-Cleft Leaf The Latch-Hook The Comb The Octagon The Diamond. The Elephant Foot Pattern The 'S' Design (a) The Swastika Pattern (&) The The Key Pattern (c) The Henna Flower The Palmette

17.

A Modified Herati

1 8.

The Ghiordes and

1.

2. 3.

4. 5.

6. 7. 8.

9.

10. 11.

12. 13.

14.

15.

PAGE

26 26

... .... .... .... .

.

.

28

29 29 30

30 30 .

-31

.

.

31

31

.

-34 .... ...

.

T

.

27 28

.

.

34 34

.

.

.

-34

.

.

.

-35

34

the Sehna Knot, and

their difference illustrated

ii

.

.

39

PERSIAN RUGS HG. 19.

PAGE

.....

Cross Sections of Ghiordes and Sehna

Knots 20.

The Back View of Knot

21.

Illustrating the 'Collar'

22.

Illustrating the Three

Treatment

42

of the Knot

42

.

..... ...

Methods of Warp

23.

Back View of a

24.

Principal Persian

25.

Subsidiary Persian Border Stripes

26.

Caucasian Border Stripes

.

.

27.

'Sunburst' Design

.

.

28.

Diagram of Turkish Prayer Rug Characteristics of Turkish Prayer

29.

41

Rug

Border

.

45

46

86-87, 89

Stripes

92-93 116-117

.119 .

122

Rugs 124-125

30.

Turkish

Border

Prayer

Rugs, .

Stripes

Principal .

31.

Turkish Prayer Rugs.

32.

Diagram of Princess Bokhara

12

.

130-131

Panel Patterns

.

.

142

CHAPTER

I

Introduction A

SIMPLE and comprehensive system, devised for the identification of specimens submitted to our

judgment, might conveniently be arranged to proceed upon two main lines of investigation, the first being based upon a study of the more general details of colour and design, and the second, upon

an examination of the more particular and technical details of weave and of finish.

Each investigation is in its own way of equal importance, and either may lead us at a glance of our problem, at times how be judged, from the following

to the solution easily,

may

illustrations:

A

friend has

bought two Persian

(?)

rugs,

and

wishes for our opinion regarding them. Rug No. i is small, the Field is covered with the well-

known 1 'Herat!'

(Patterns

the Border shows

a

pattern described and illustrated, p. 26, Chap,

m

'Herati' 1

pattern,

and Designs). 13

INTRODUCTION the colours are rich and subsimple floral design,

dued;

we

see at

once that

it is

Persian,

could be

it

its local district of origin remains nothing else, but turn it over face downstill to be settled.

We

wards (noting, as we do so, the extreme thinness and flexibility of our specimen), so that we may

examine the back, which, upon inspection, reveals 1 a close and fine-grained weave, with the weft crossing but once

enough,

from

no

this is

between each row of knots;

one of the famous 'Sehna'

the Sehna district

possible mistake

Rug No.

of

about

it is

2

rugs

Persia, there could

it

be

now.

2 displays a central

field

of faded

peach colour, upon which are scattered various small

designs

worked

in yellow,

brown, and

white, and surrounding a central medallion of rounded form; the colouring is Chinese, the design a mixture of Chinese and Persian;

it;

not Persia was

its

unneces-

glance we home, but ancient

sary to examine further, at our

knew

it is

first

Samarkand in Chinese Turkestan.

Without a knowledge of its technical peculiarities of weave we should less surely and less easily have recognised our Sehna, without a study of colour and design 1

*

we

See -Weft, p. 39, Chap. See Sehna 77,

Rugs, p.

should have been at a loss

IV

(Details

Chap.

14

V

of Weave and

(Type Analysis).

Finish).

INTRODUCTION to identify our Samarkand, and to distinguish

from the rugs of China proper. The story of colours and patterns

is

it

fully told,

and the variations of weave and of finish discussed in detail, in subsequent chapters devoted to these

and for the moment, satisfied with this mere indication of the lines upon which our learn-

subjects,

ing will progress, real lesson,

which

we is

shall pass direct to

designed to teach us

to learn to recognise the rug

our

first

how best

woven in Persia from

every other rug of the East, and will lead, incident-

of the ppncipal characteristics of the remaining five well-defined groups of Oriental rugs, to-day known and recognised. ally,

to a short discussion

PLATE L

A SPECIMEN PERSIAN RUG. Few

could better

illustrate Persian ideals.

pieces

Floral forms, flowers in

rows, flowering shrubs, flowers on stalks, and foliage, such we motives characteristic of the weavings of Iran.

shall learn are the

The Field pattern consists of a profusion of flower and

tree forms,

amongst which we can distinguish sunflowers, lilies, weeping willows, and others, all most beautifully and realistically drawn.

The Border

in

is

its

tions as the Field, this instance

all

own way

only one of them, the this

rug

we

Main

shall find

and no labour-savers,

floral

stripe, is that

Meander'

(see

number in from

type, whilst

hall-mark of Persian

Chap. VI,

no undecorated

since these are

of Persian tradi-

seven in

stripes

of a

exhibit patterns

authorship, the 'Vine

In

as characteristic

and the Border

p. 91), missing.

of plain colour, evidences of a later comspaces

mercial age, whilst this is a grand old specimen typical of the and earlier, and conworkmanship of the eighteenth

century

sequently displaying perhaps the most characteristic feature of its times, namely, a beautiful and elaborate pattern, beautifully

and elaborately drawn.

16

PLATE

I

PLATE

II

PLATE

E.

A SPECIMEN SAMARKAND RUG.

It

has

already been noted that these rugs are included in the Chinese group on account of their strong resemblance in colouring and general characters. They are, however, to be distinguished from them by the characteristic mixture of Chinese with foreign ele-

ments (usually Persian and nomadic) which they display. Our example shows us a rounded central medallion of typically Chinese appearance, Chinese frets at the four corners of the Field, Jui

heads (four in number) and an outer border bearing

a 'Swastika'

and

'T*

Meander, whilst in the same piece

nomadic eight-pointed stars, and scattered Armenia, representations of the Persian rosettes,

we

find,

the bi-cleft leaf of 'tree

of life/

The

colouring purely Mongolian, and is worthy of description. More than a hundred years ago the colour of the Field ground of our specimen was 'peach/ to-day it is a thing of indescribable is

beauty, displaying every shade from 'peach' to 'golden tan,' whilst the patterns are picked out in ivory white, brown, and

the deepest and richest of golden yellows. Such are the antique rugs of ancient Samarkand. (From the Author's collection.)

CHAPTER

II

Persian Rugs Compared with Those of Other Groups THE

Eastern rug world of to-day

regarded

as

consisting

of

six

is

conveniently

main groups or

divisions, as follows:

and

1.

China

2.

Central Asia

3.

Caucasia

4.

Persia

5.

Turkey

6.

India

will be

both helpful and interesting to the student to have some general knowledge of all it

these groups, particularly in regard to those charac-

which

them from each other, especially from the rugs of Persia. The above system of grouping is in the main geographically teristics

differentiate

and

correct,

but

we must

notice that there are certain

exceptions to this (about six in number), instances 18

COMPARED WITH OTHER GROUPS in

which the claims of history and the source of

inspiration

the factors

of the weaver, have been regarded as of paramount importance. Such in-

when, as here, we include under the heading of China the rugs of Samarkand, and regard as Persian the weavings of Bijars, of Herat, stances occur

and of Mosul.

CHINESE RUGS.

1.

a

few words,. and

These can be dismissed in

will give but

little

trouble, since

colours, colour-schemes, and designs resemble those of no other group, and are so charac-

their

teristic

as

to be recognised instantly.

Yellows

predominate, whilst their reds, peach, plum, and pomegranate, are shades found in no other rugs,

and

their designs, the Swastika, 1 the

Emblems, Dragons, here seen, but nowhere Fret,

Bats, else.

and

Key,

1

the

Butterflies, are

Medallions

in place pf the usual present are rounded,

when

diamond

shape.

CENTRAL ASIAN.

2.

tinctive

These rugs are very

on account of their

dis-

characteristic patterns

which produces the usual not its beautiful effect, contrasting of by colours, but by the domination of a single one. and

their peculiar colour scheme,

Their consist 1

and subdued, of red, principally of varying shades

colours,

which

For description, see

p. 34,

are

rich

Chap. HI (Patterns and Designs).

19

PERSIAN RUGS terracottas,

maroons, and browns, floral)

(never

patterns

whilst their

formed

are

by

some

such as a diamond, hexagon, geometrical design, or octagon, repeated in rows throughout the Field.

The

central

medallion,

commonly engroups, is not met

so

countered in the rugs of other

with here.

The weavers employ the 'Sehna' knot, 1 and 2

commonly finish their sides with an 'Overcasting/ or 'Double-Overcasting,' 1 of two or more cords; whilst of fantastic

all

the rags with long

fringes,

end-webs and

none are found outside

this

group.

CAUCASIAN RUGS. The colours of these rugs lighter, brighter, and not always harmonious,

3.

are

whilst their patterns are invariably geometrical, but differ from those of the above in that

group, they of the massing of various designs, and not the repetition of a single one. consist

Caucasian weavers exhibit a for the use

of the 'Latch-Hook'

marked fondness 8

design,

and

seldom that

it is

this device is found to be absent from both Field and Border of their rugs. 1

See p. 39, Chap.

2

See p. 52, Chap. See p. 30,

3

Chap,

IV IV

m

of Weave and Finish). of Weave and Finish). (Patterns and Designs). (Details

(Details

20

COMPARED WITH OTHER GROUPS They

are finished with short, uncoloured end-

webs, and

tied

1 invariably with the 'Ghiordes'

knot, additional points which will serve to distinguish

them from

the rugs of Persia and Central

with which they might possibly otherwise times be confused.

Asia, at

4.

PERSIAN RUGS.

These

differ

from the pre-

ceding groups, in that their designs are not geometrical, but essentially floral.

flowers in rows, flowers

on

Flowering shrubs, stalks, with foliage,

flower forms enclosed in some variety of trellis work, or diaper pattern, such are the motives of the weavers of Iran.

On those occasions when such designs are absent from the

Field, their place

is

taken

by one of the

recognised repetitive patterns of Persia, such as the 2 'Pear' 2 or 'Herati,' but it is a notable and distinctive feature

of Persian

rugs, that floral

forms are

only on the very rarest occasions entirely missing from the borders, or the Swaying Vine 8 from all the border stripes.

Their colours are rich and

subdued, and their colour-schemes

owe their effect,

largely, to skilful colour contrasting.

Cotton will

be found to be employed as the material for the 1

See p. 41, Chap. IV (Details of Weave). For description, see pp. 26 and 27, Figs. I, (Patterns and Designs). 2

3

See p. 92, Chap.

VI (Border

Stripes).

21

2,

and

3,

Chap. HI

PERSIAN RUGS one-half of the districts 'Warp' threads, in roughly of Persia, and the presence of a cotton 'Warp' 1 is

strongly

suggestive

of a Persian

evidence

and particularly so, since in Caucasia, Asia wool is the material of Turkey, and Central origin,

choice.

TtnrasH RUGS.

5.

like those

The

designs

of these rugs,

of the preceding group, consist essentimotives, but their flower forms

ally

of

are

conventional

floral

the repetitive

rather

patterns

the 'Mina Khani' 2

of

than

whilst

natural,

Persia,

the

'Herati,'

and the 'Pear/ are never met

with.

In their drawing, heavy angular lines take the place of graceful curves, and, although in the borders conventionalised and flower and leaf forms are

degenerated 3 very constant, the 'Swaying Vine'

"

is

missing.

The pile

is

colours are rich and boldly massed, but the

comparatively

trast to

Asian pieces.

of

lustreless,

the silky sheen

and presents a con-

of the old Persian or Central

Perhaps the most distinctive feature

this

group consists in the majority of these rugs are

fact that the

Prayer rugs of Weave and Finish).

1

See p. 39, Chap.

2

For description, see pp. 26 and 27, Figs,

(Patterns s

IV

(Details

and Designs).

See p. 91, Chap,

VI (Border

(at least

Stripes).

22

i, 2,

and

3,

large

such

Chap. HI

COMPARED WITH OTHER GROUPS is

the case amongst the older specimens), and can

be recognised immediately, by the presence of the Prayer Arch, whilst in other groups such pieces are rarely encountered, and in the Persian especially

so.

Their weavers employ the 'Ghiordes* knot, and exhibit a preference for coloured end-webs of

moderate length. INDIAN RUGS. 6. floral,

Their designs are mainly and the treatment more or less naturalistic,

so that, in theory, they resemble the rugs

though, in actual practice, they them.

They

are to

all

intents

differ

of Persia,

widely from

and purposes modern

and bear the stamp of the commercial productions, their system under which they were woven, in nondescript patterns, their coarse weave, and

heavy

pile.

Plainness and lack of elaboration in pattern

drawing, large dead spaces of plain colour, these are

labour-savers,

work.

hall-marks

the

The wool of the

lustreless,

pile

is

of modern

notably dull and

and, since India took both early and

no small proeagerly to the use of aniline dyes, will be found to be portion of these specimens suffering

from

this taint.

To the collector it matters nothing, hard wearing 23

PERSIAN RUGS or hard

woven though

be, since in

dead

as

them

these

modern products

the spirit of the East has perished,

the Arts of Mogul craftsmen and the lost

magic of the

potters

of Kang-hsi.

24

CHAPTER

III

Patterns and Designs THESE

may

conveniently be considered under

two

headings, patterns of the

Border; the

Field, and patterns of the consisting of the square central

'Field'

portion of the rug, and the 'Border' of the narrow stripes enclosing

it.

The Border may

consist

of a

single stripe, or

a broad or principal stripe surrounded paratively narrow

stripes,

or

of

by com-

may be composed of equal width; and

it

of a varying number of stripes for a consideration of these details a

later space is reserved (see Chap. VI, Border Stripes), since it is our intention here to deal only with the more im-

portant of those designs, which

may be recognised,

scattered as isolated units throughout the Fields

of

Eastern rugs, or repeated, to form an all-over, repetitive pattern. i.

THE HERATI DESIGN. Found only in the form

of an all-over pattern, and peculiar to the rugs of Persia, it is the favourite device of the weavers of 25

PERSIAN RUGS Sehna and Feraghan, common in the rugs of Herat and Kurdistan, and to be found on occasions in

from almost every Persian district. specimens Great variations are to be noted, in the size and elaboration

of

its

drawing, but the true elements

FIG. FIG. i.

THEHBRAXI

2

THE MINA KHANI

DESIGN

Showing the 4 Leaf forms (L)

surrounding a centrally

placed figure of shape: This figure

Diamond itself usu-

ally contains fiord

some

type,

and in

forms of this in-

stance 5 rosettes.

of the

design, the four crumpled-leaf forms, sur-

rounding a central figure of diamond shape, are at all times

easily

discernible,

to

the practised

observer. 2.

THE MINA KHANI.

Persia,

it is

A

seen only in the

26

design peculiar to

form of an

all-over,

PATTERNS AND DESIGNS repetitive pattern,

than the countered.

but

'Herati/ and Its

less

is

far

widely distributed frequently en-

less

elements consist of a diamond-

shaped figure and five flower forms (more or less conventionalised, as the case may be), one at each angle of the diamond and one centrally placed. It is a pattern greatly favoured by Kurdish tribes-

and comparatively seldom met with in specimens not of their weaving.

men,

FIG. 3. a.

Persian types.

b.

Indian types.

c.

Geometrical types.

C. 3.

THE PEAR OR CONE

form an

all-over

commonest of

all

DESIGN.

pattern,

this

is

Repeated to perhaps

the

Persian Field designs, and

is

most frequently encountered in the weavings bf Sarabend, Shiraz, Herat, Khorassan, and 27

PERSIAN RUGS Sehna,

but

not peculiar to any

is

district

of

Persia.

The Pear

device

may

further be encountered as

an isolated unit, in the Field or Border of almost or, again, in a

more geometrical

any Persian rug, form (see Fig. 3,

c)

at (see Fig. 3, b)

times in the rugs of India.

few of the weavings of the Caucasus, and notably those of Baku. As an allover pattern, it is to be found in an elongated form in a

THE ROSETTE. This

merely a conventionalised or degenerated flower form, and is commonly met with in the rugs of Persia and Turkey, 4.

is

and more rarely encountered in the weavings of the Caucasus, and those of Central Asia.

FIG. 4.

ROSETTE

FIG. 5.

S-POINTBD STAR

THE EIGHT-POINTED STAR. This design, a hall-mark of nomad weaving, is to be encountered 5.

at times in the

the

rugs

of almost every group, with

exception of China.

It is

occasions, in the rugs of

28

found, however,

Samarkand

on

as are also

PATTERNS AND DESIGNS the Rosette, the Eight-pointed Star, and the BiCleft

Leaf which, the presence of any of these

symbols,

would

help to distinguish from the rugs

of China proper. 6.

A very

THE CLOUD BAND.

Mongolian Fields or

in

origin,

ancient device,

found sometimes in the

Borders of sixteenth- or seventeenth-

century Persian rugs. in older or

modern

Occasionally

met with

Sirapis.

tr FIG. 6.

7.

CLOUD BAND

THE BI-CLEFT

FIG. 7.

LEAF.

BI-CLBFT LEAP

An old Armenian sym-

which may at times be encountered to-day the Fields of the weavings of Turkey and

bol,

in

Caucasia.

Unlikely to be found in a Persian

rug. 8.

THE LATCH-HOOK

DESIGN.

This device

might almost be considered the distinguishing mark of the products of the Caucasus, since it is

from both

and Border, of a Caucasian rug, and but infrequently found in the rugs of other groups. It is generally used in

rarely absent,

29

Field

PERSIAN RUGS series,

a

as

to fringe

some geometrical

diamond or an octagon.

rarely seen in

design, such

This

is

design

Persian rugs, except in those

of

Shiraz. 9.

THE COMB.

Found

present, as

tious design, in the Fields or

FIG. 8.

an adventi-

Borders of Caucasian

THE LATCH-HOOK

FIG. 9-

THE COMB

and more rarely in those of Turkey and Central Asia. Not used in Persia.

rugs,

FIG. 10.

10.

but

THE OCTAGON

THE OCTAGON. Not found

common,

as adventitious

in Persian rugs,

designs,

Held or Border of those of other groups. 30

in either

PATTERNS AND DESIGNS ii.

THE DIAMOND.

Ditto

as

These ad-

above.

ventitious designs are not in favour with, the Per-

weaver, doubtless because he prefers flower forms with which to fill his dead spaces.

sian

FIG. ii.

12.

THE DIAMOND

THE ELEPHANT-FOOT PATTERN.

This

is

merely a coarser form of Octagon, and is peculiar to the Central Asian group, and found for

FIG. 12.

ELEPHANT FOOT PATTERN

the most part in rugs of a coarse and type. 13.

THE

at times in

modern

^

C

S'

DESIGN.

These

*S'

designs are seen

Turkish and Caucasian rugs.

I I PIG. 13.

'S'

31

DESIGN

PLATE

A SPECIMEN CENTRAL ASIAN RUG. And

HI.

Royal Bokhara, displaying the pattern typical of an all-over design consisting of a series of pieces, namely, octagons repeated in rows throughout the Field. The

in this case a these

quartered

Border

principal

stripe,

is

of chequer

variety,

and the outer

stripe

bears a saw-tooth design.

find no floral forms, no swaying vine meanders, no in fact, any of those features for which of continuity pattern nor, we have been taught to look in a Persian rug. Instead, we see

we

Here

a typical product of Central Asia, bearing the hall-mark of its group, namely, a Field pattern consisting of a single geometrical device (in this case an octagon) repeated in rows. The

monotony

is

by the insertion of smaller between the rows of octagons.

relieved in this specimen, as in most,

diamond-shaped figures

PLATE of

this

A SPECIMEN TURKISH RUG.

IV.

group

are

Prayer rugs,

and

this is

quite well illustrates the characteristics

A

flat

the Prayer Arch,

which

is

upon which the Held of

a panel; such

rests

these

is

the

common

some types a second panel

space,

but the

essentials

floral

is

from

at the

of plain colour

is

forms projecting inwards from

large floral figure dependent

in shape

found

remain the same.

In our present specimen the Prayer Field

with small

arrangement of

The Prayer Arch may vary

pieces.

or in depth, whilst in base of the Prayer

of these specimens.

base, and a domed roof, forming in turn surmounted by a spandrel,

with a

Prayer Field

The majority one of them, which

its sides,

and a

the apex of the Arch.

The

Prayer Arch is low, and shows a serrated margin. is covered with a delicate floral tracery, and is

The

ward

The

spandrel

prolonged back-

to

completely surround the Prayer space.

panel

is

single.

The borders are elaborate, of the piece are are not those of Persia.

characters

This

is

a fine

containing many stripes. The general but the flower and leaf forms

floral,

example of a seventeenth-century Koulah rug,

32

PLATE

III

PLATE

IV

PLATE V

PLATE VI

PLATE Note the is

A SEHNA RUG

V.

(WITH HERATI DESIGN).

and delicacy of the pattern drawing since this a strongly marked feature of these rugs, also the simple character closeness

of the border with tones to the

and

this also

its

three stripes.

The weavers

prefer light

sombre dark colouring of the Kurds and can be quite well made out in the plate.

suchlike,

Suggestive as the above details may be, we ought, however, remember that it is by their practical details of weave that the expert recognises these rugs from all others. (See Type to

Analysis, p. 77,

Chap. V.)

(Reproduced by kind permission

of

Messrs. Cardinal and Harford.)

A SPECIMEN CAUCASIAN RUG.

PLATE VL

This fine

old antique Caucasian serves admirably to illustrate the geometrical pattern drawing which is the distinctive characteristic

of that group.

The

Field design consists

of a mass of numerous

of a geometrical type and of various These designs are in no way connected with

different devices, all

sizes

and character.

their

neighbours, so that the effect produced somewhat resembles a mosaic, and there is none of that continuity of pattern so typical

of Persian

Floral forms are conspicuous

traditions.

by

their

and the 'dead

are filled with many of the small spaces' adventitious designs described in Chapter HI. Rosettes, dia-

absence,

monds, octagons, combs, eight-pointed stars, and latch-hooks, all these and more are to be found on careful search. The principal

Border

stripe bears a geometrical pattern involving the use

of latch-hooks, but there are no flowers and no 'swaying vine meander.' The inner Border stripe shows the 'reciprocal trefoil' design illustrated (No. 8) on p. 94. This piece should be compared with Plate I, since it is somewhat of a corresponding age

and

quality, differing

only in type.

33

PERSIAN RUGS THE SWASTIKA

14.

KEY

5

(a),

(c).

also rarely

is

-subsidiary stripe pattern, in the

weavings of Central

Persian fancy. 'all-over'

Repeated in

pattern,

Turcoman

it

is

A

purely

rows to form an

comparatively

FIG. 16.

FIG. 15.

met with,

Asia.

THE HENNA FLOWER DESIGN.

15.

AND THE

(i),

These devices are peculiar to the rugs

of China. The Key design as a

THE *T

rarely

PAIMETTE

HENNA

FLOWER

encountered. certain to 1

See

A

rug bearing

be a Feraghan.

Type

this

design

is

almost

1

Analysis of FeragLan Rugs, p. 57, Chap.

34

V.

PATTERNS AND DESIGNS THEPALMETTE. Associated with the 'Cloud

16.

band/

this

device

is

a characteristic feature

of the

antique, so-called Ispahan rugs.

A Persian leaf pattern designed upon some-

17.

what the same

principle as the 'Herati'; but with

straight spear-shaped leaves,

and with

their bases

FIG. 17

towards the central figure. This design usually coarsely rendered, and a single figure sometimes

set is

suffices for It is

the entire Field pattern of a small rug.

not frequently encountered, and

the rugs

of Khorassan. The beak-like

characteristic

No.

is

peculiar to

processes, so

of the Khorassan border

stripe (see

6, p. 87), are reproduced here (bi, ta),

and

are probably leaf forms. 18;

THE CENTRAL MEDALLION.

This

is

merely of

a panel or reserve, introduced into the design

the Field for decorative effect, and

35

is

not therefore

PERSIAN RUGS

junct

a pattern, but rather an adThese medallions may vary

itself

speaking to a pattern.

strictly

and importance, and may be considerably in size classified according to their shape, as rounded, or geometrical, In Persian rugs it is

oval, lozenge (diamond-shaped),

Le. hexagonal or octagonal.

any but the oval or lozenge variety these may be with or without employed, and lobed or plain, and with stepped or

rare to find

pendants, plain

sides.

Two

special

variations

call for separate

of the

mention, and these are the 'con-

centric* medallions peculiar to

'chain' medallion, so

and

Shirazis.

central medallion

commonly

Gorevans and the seen in

The former arrangement

Hamadans consists

of

a series of medallions enclosed, the one within the

and having a common centre, the latter, of a series of medallions placed end to end and con-

other,

tinuous with one another, their centres lying the same axis. 19.

THE DIAPER (Honeycomb or

this class

of design belong

all

upon

Lattice).

To

those patterns in

which the Field of the rug is divided into a number of small compartments of similar size and shape,

by intersecting bands of trellis or The diaper is classified according of these compartments,

as

36

lattice

work.

to the shape

octagonal, hexagonal,

PATTERNS AND DESIGNS liamond,

The compartments

etc.

leldom empty, but are occupied lesign

which

he rug s

is

is

likely to

be

themselves are

by some

small

floral in character if

Persian, but geometrical if the piece

Caucasian.

Diaper designs are rarely encountered in the leavings of Turkey or Central Asia.

37

CHAPTER

Details of THE

IV

Weave and

Finish

of an Eastern rug is very simple, it is of four elements only: the Warp,

structure

composed

as

the Weft, the Knots, and the Pile;

and

this

scheme

never departed from, though the treatment of the elements themselves may, and

of

structure

is

vary considerably with the country and district of manufacture.

does,

The constancy of their persistence,

these district variations

and

unchanged by contact with ad-

joining neighbourhoods,

is

a notable feature of

no doubt,

to

the fact that his system of weaving is learnt the weaver in childhood, and becoming,

by

these products,

and

is

largely due,

at

an early age, an almost automatic process, is therefore unlikely to be departed from in later life.

It is their

very constancy

-that

makes a know-

ledge of these variations of the highest importance to any who would master the study

38

WEAVE AND

DETAILS OF

FINISH

*

of Persian rugs, and alone makes possible, in many difficult cases, an accuracy of localisation impossible to be obtained

by any other method of

investigation. i.

THE WARP

This

(see Figure}.

is

the term

applied to the stout longitudinal threads, stretch

from end

to end

which

of the rug, and appear

Ghiordes Knot

Sehna Knot

FIG. 18

W=Warp. Z=Weft (crossing twice). P=Pile (formed by the loose ends of the yarn after making the

knot).

Y=The yarn forming the knot.

end-webs and

free in the

fringes.

These form

foundation of the rug, the knots being tied upon them, and the weft threaded around the

them. 2.

THE WEFT

transverse threads

(see

Figure}.

which

These are the

traverse the rug

from

and behind, alterhidden from view

side to side, passing in front of,

nate

warp

in front

threads.

by

the

pile,

They

are

but are 39

easily distinguished

PERSIAN RUGS upon the back it

aspect

between each It

the

of the rug

as

they pass across

row of knots. body of the rug almost entirely obscured from

should be noted that in the

warp

is

thus

view, being hidden front,

hind.

by

the pile and the weft in

and covered by the weft and the knots be-

A

glance at Figure 18 should materially aid us to form a clear conception of these

arrange-

ments of weft and of warp. These are hardly knots, in the 3. THE KNOTS. true sense of the word, but rather twists of yarn, kept in place merely by the pressure of neighbouring warp threads at the sides, and the weft above

and below.

Each knot

is

tied

upon two adjacent threads of on the back aspect of the

the warp, and appears as

rug

of two equal halves (the excepnoted under the discussion on being

consisting

tions to this

arrangement), the warp itself being thus divided up by this means into a series of twin

Warp

pairs

of threads.

Knots of two types only are employed by Eastern weavers, the Ghiordes or Turkish, namely, and the Sehna or Persian, and these differ but slightly in their

method of

tying, this difference

being easily appreciated from a careful study of the

accompanying diagrams.

40

DETAILS OF WEAVE AND FINISH It

will be noticed as characteristic

knot that

its

two ends

(the extremities

form the

pile) emerge from between the two

knot

is

of the Ghiordes of which

together in a single tuft threads upon which the

tied, whilst in the case Ghiordes Knot

of the Sehna, these

Sehna Knot

W FIG. 19

Cross section of a knot.

Showing-

W=The warp threads. P=The

pile.

Y=The yarn of which the knot is made and whose loose ends are trimmed to form the

pile.

ends emerge separately, one from between the two warp threads, and one from outside them.

A

appreciation of this simple detail will enable us at all times to distinguish our two knots true

by the application of the following which will suffice for all we need. tuft,

otherwise the

pile,

of

a

practical test

We

single

take the

knot and

attempt carefully to separate the two ends form-

view a portion of one of warp threads upon which it is tied. In the case of a Sehna knot we shall easily be able to

ing the

it

so as to expose to

PERSIAN RUGS Back View of Knot FIG.

how

Showing composed

20 each knot

two

of

bfi

is

halves

somewhat (which appear the back of two beads like

upon

the rug).

Ghiordes

Sehna Knot

Knot

RG. 21

W=Warp. C=Collar of knot. P=Pile.

Showing the varying relation of the ends of yarn which form the pile to the collar (C) in the case of a Ghiordes and a Sehna knot.

accomplish our object, but in the case of a Ghiordes all our efforts will prove unavailing, and will

merely serve to twist threads.

It is

it

the tighter round

very desirable to

42

its

warp

be able to effect

DETAILS OF WEAVE AND FINISH this distinction,

native

On

method

and we suggest the following alterin case our readers may prefer it.

what might well be of the knot the whole tuft of

a careful examination of

termed the

collar

be seen to emerge from under it a Ghiordes, but part of the tuft only if will

pile

Sehna and the remainder from beside to

the right or

may 4.

of the

left

collar as

if it it it,

the

be

be a

and case

be.

THE

merely of the

consists

very simple, and ends of the yarn com-

This element

PILE.

free

posing the knots trimmed

by

is

the weaver to the

requisite length.

THE WARP

(continued).

of three methods

This element admits

of treatment which

are

as

follows: 1.

The warp

threads He

all

in the same plane

(see A, Fig. 22). 2.

Alternate

warp

threads are depressed (see B,

warp

threads are completely buried

Fig. 22). 3.

Alternate

(see c, Fig. 22). I.

In this case

all

warp

threads appear equally

prominent at the back of the rug, since the same level and in the same plane. This

is

the

common

practice,

43

and

is

the

all lie at

method

PERSIAN RUGS all

employed by

weavers other than Persian, whilst

the arrangement followed in the rugs

it is

tain districts

of

Persia

weavings of Sehna,

itself, as,

Shiraz, Sarabend, Feraghan,

Hamadan, Karadagh, and Kurdistan, (sometimes), and Mosul.

When

2.

this

of cer-

for example, the

method

Gorevan

employed the warp the same level, since in

is

threads no longer lie all at the weaving, alternate threads are

drawn forward, and therefore appear depressed below the level of the remainder, upon the back aspect of the rug.

A

practice

with a few Turkish exceptions

of the weavings of Gorevan, Herez, Joshaghan, Niris, Sirapi, and

peculiar to Persia,

it is

distinctive

Kurdistan (sometimes). In this method of 3. weaving the alternate threads are

warp

drawn forward and under the

be completely buried by them, and therefore invisible at the back of remaining threads so

as to

the rug.

By tion for

is

means

it will be noted a double foundaand such rugs are never thin secured, (like,

this

example, a Sehna), however fine the

short the nap.

and

is

It is

weave or

a practice confined to Persia,

the plan adopted

by

the weavers

of Kashan,

Sarouk, Kirman, Kermanshah, Bijar, Tabriz, Sarabend, Khorassan, and Herat.

44

DETAILS OF WEAVE AND FINISH Pile surface

of rugs Pile

A. Showing all the warp threads lying at the same level (i.e. in the same plane) and both halves of each knot equally prominent therefore on the back of the rug. "R le.

surface of rug

(W

2 ) deShowing alternate warp threads pressed and the corresponding half of each knot less prominent on the back surface of the rug.

surface

Back Showing

sur-faceof rug*

alternate

warp

threads

(W2

)

buried

(i.e. doubled under) and the corresponding half of each knot hidden from view therefore on the back surface of the rug.

FIG.

22

Cross Section of Rug

45

PERSIAN RUGS notice that

all

of

of passing worthy, perhaps, the fine-grained, close-woven rugs of Persia

It is

the Sehna, only one, namely,

is

to be

found out-

side this group.

THE WEFT

In the large majority of customary to find that the weft

(continued).

Persian rugs

it is

OVeft (crossing

once)

Warp FIG. 23

View of Back of Rug Showing how the weft appears (on the back of the rug) crossing between the rows of knots. Also the different appearance caused by the weft crossing once, twice, etc. crosses twice

that

is

to say, crosses

and recrosses

between each row of knots, and the following should therefore be noted since they are exceptions to the general rule.

weft

crosses

In Sehnas and

Hamadans the

but once only, in Mosul and Kurdish

46

DETAILS OF WEAVE AND FINISH it may cross either once, or more usually in the rugs of Herat and Khorassan whilst twice, the number of the crossings varies from two to

weavings

three or

at intervals, in the

more,

same specimen,

unique feature not found anywhere else. Comand material may parisons of colour, appearance, a

prove of value for purposes of identification, since the single weft of the Hamadan would be also

coarse, whilst that

of the Sehna would be

fine; the

weft of the Mosul or Kurdish would be wool (coarse),

that

The very

of the Hamadan or Sehna cotton.

of the Kashan, almost hidden between the close-pressed rows of knots, fine blue weft

or the pink-dyed, coarseish woollen weft of the

more

loosely

woven

Shiraz, are features typical

of

these specimens; whilst outside the Persian group,

reddish-brown weft of the Bergamo of (Turkish) and the equally fine greyish-brown

the fine

die

Royal Bokhara

(Central Asia) are distinctive

of these rugs.

THE KNOTS

Figures 18,

(see

19,

pp. 39 and

we

have already seen, are of These, as 41). two varieties, namely, the Ghiordes and the Sehna.

The Sehna knot

always employed in the rugs of the Central Asian group, and is used in Persia, also in the rugs

of

is

certain

47

of its

districts,

namely,

PERSIAN RUGS those of Kirman, Kashan, Sarouk,

Sehna, Sarabend, Meshed, Shiraz,

Kermanshah, Feraghan, and

Khorassan.

The Ghiordes knot

is

and the Caucasus, and

in use throughout

Turkey

found in the following Persian weavings: namely, those of Gorevan, Hamadan, Bijars, Joshaghan, Tabriz, Shiraz (but less

is

frequently than the

Sehna), Mosul,

Karadagh, Kurdistan, and Herat. THE PUB OR NAP (see Figure

Niris,

19, p. 41).

A

study of the material employed and its quality, whilst providing us with valuable evidence as to the age and excellence of a rug, will contribute but little in the majority of cases towards its identification.

Few

rugs possess an individuality of pile sufficient to aid us materially in this research, but some

PLATE VH. Chinese

is

A SPECIMEN CHINESE RUG.

the central medallion, with

its

Typically

rounded shape, crenated

margin, and

floral scroll work, and so also in their treatment are the scattered flower sprays, which, together with the butterflies at the four corners, form the design of the Field. The middle Border stripe displays a variety of the meander, the outer

T

a

floral scroll

design.

Their most distinctive

colouring and designs make these of all rugs the most easy to recognise, and the group, once recognised, can hardly be confused with other.

any

48

PLATE

VII

PLATE

VITT

DETAILS OF WEAVE AND FINISH show

marked to be worthy a of notice. Attention has already perhaps passing been directed towards the peculiarly dull and features sufficiently

lustreless character

of

element

this

in the Indian

group; and proceeding directly to a consideration of the rugs of Persia we shall here encounter one or

two

istic

interesting

minor

details.

It is

a character-

of the older Hamadans, and one which serves them from the more modern pro-

to distinguish

ducts of this district as well as

from other Persian

weavings, that the pile is largely composed of camel's hair; an unusual feature, rarely found elsewhere.

The nap

notably silky in the rugs of Herat and Khorassan, and in the older Shirazis, while it is

PLATE VIE. A SfflRAZ

A

old

choice

the well

Shiraz,

known and

RUG (WITH 'PEAR' PATTERN).

displaying

a very nice

rendering

of

oft encountered *pear' (sometimes called

The wide, five-stripe border is particularly cone) pattern. well balanced and attractive, and the pattern drawing of the whole piece

is

be desired.

The rug

the remains

a Shiraz

is

patterns as

of a high is

standard, old,

of a coloured end web

leaves nothing to

worn, but remind us that

finishings

will serve to

to be recognised as a Shiraz, not so

by

its

Analysis, p. 79.)

details

of Weave and of

Finish.

much by

its

(See Type (Reproduced by kind permission of Messrs. Liberty

& Co. Ltd.) D

which

and the

49

PERSIAN RUGS unusually velvety in specimens

is

of Kashan,

Sarouk, and Sehna.

remarkably closely trimmed in the weavings of Tabriz, Kashan, Sarouk, and Sehna; and It is

outside the Persian

group in the Royal Bokharas

of Central Asia.

The 'weave' the

resulting

the general term applied to aggregate of the above details, is

and depends upon the weaver's treatment of them, but particularly upon the technique of the knot.

The weave may be of coarse, medium, or fine grain, according to the coarseness of the yarn with which it is

tied,

and

may be either

it

in texture, a question

close or loose

governed largely treatment of the knots, whether these be

by the drawn

and hammered down, or the reverse procedure adopted. It can be understood that easily

tight

coarseness closeness,

(stoutness)

or fineness

of weave does not preclude necessarily denote it, and a

comparison of the number of knots to the inch a

fair criterion

though

it

be for the modern com-

mercial products and the fetish though it dealers is no means the surest by key to a

is

of

proper of the standard of merit and excellence of workmanship of many of the older appreciation

weavings.

50

DETAILS OF WEAVE AND FINISH All considerations are of value to the student

him in his

that will assist

learning

by

enabling

him

to divide his subject into parts, and the question

of weave will be found particularly useful for purpose,

since

it

this

enables us to subdivide the total

unwieldy mass of Persian rugs into small groups. Group

i.

Weave of fine grain and close texture: Kashan,

1

Sarouk, Sehna, Tabriz, and

Sarabend.

Group 2

.

Weave of medium grain and close texKermanshah, Khorand Meshed.

ture: Joshaghan, assan,

Group

3

.

Weave of coarse ture: Bijar,

grain and close tex-

Mosul, Hamadan, Kurdi-

and Feraghan. of loose texture and fine grain:

stan, Herat,

Group

4.

Weave nil.

Group

5.

Weave of loose

texture and

medium

and Karadagh. of loose texture and coarse

grain: Shiraz, Niris,

Group

6.

Weave grain:

THE DETAILS OF (a) sists 1

FINISH

The Finish of

of a

web

Kashans, etc.

detail

Gorevan and Herez.

the Ends.

continued by Each of

these classes

under Type Analysis (Chap. V).

51

This usually con-

a fringe, the of rugs

web

is

being

described in

PERSIAN RUGS threads of the warp composed of the interwoven and weft, and the fringe consisting merely of the continuation of the free warp ends.

subsequent

The end-web may be long or plain,

according to the local traditions of the

weaver.

In old specimens

that quently noticed

will be not infre-

it

trace

all

of end

The Finish of

traversed the rug

lying beside

it,

is

to encircle a stout

and recrossing

on the other

a similar cord

we

This method

is

cord

wrapped around

side, this

tinuing until both are covered

the weft.

The weft having

the Sides.

made

finish has

by time and

completely disappeared, destroyed wear. (i)

coloured or

short,

process con-

from end

to

end by

shall describe as 'weft-

overcasting/ A thread of coloured yarn may now be wound around the cords previously covered

finish

the weft, giving us a

by

(overcast)

which

we

shall

method of

term 'double-overcasting/

In place of one heavy cord at each side

or more

may

shall designate

two

be employed, which methods we two-cord, three-cord, etc., over-

casting, or double-overcasting, as

the case

may

be.

The term

'selvage'

is

reserved for the

employed,

when no heavy side

the simple

warp and weft 52

method

cords are used,

are prolonged

and

outwards

DETAILS OF WEAVE AND FINISH form

beyond the

pile,

ture to the

end webs.

to

side

This

webs is

similar in struc-

the general practice

throughout the Central Asian group, with the exception of the Bokhara but is not elsewhere

employed except on rare occasions in the weavings of the Caucasus.

53

CHAPTER V

Persian Rugs and Their

Type

Analysis HITHERTO, we have mainly concerned ourselves with the acquisition of a general knowledge of the rugs of Persia and their various types, and it remains for us still to acquire that particular know-

ledge of detail, which alone can supply the connection between our general knowledge and its

practical application.

Below analysis

be found a separate and detailed of the characteristics of each of the better-

known

classes

will

of Persian

with comments

rugs,

upon their special or peculiar

features,

whose

signi-

ficance will be readily understood in virtue of our recently gained

and appreciated knowledge. For

the sake of convenience of reference the rugs will be discussed in alphabetical order. BIJARS. These rugs are comparatively easy to recognise, since they alone (with the exception

54

of

TYPE ANALYSIS Herats) present the combination of a stout (coarse) weave and a Ghiordes knot with the 'buried thread' $

system of warp treatment

(see

Methods of Warp

Chap. IV, p. 44). Their colours, reds and blues, are often boldly massed and

Treatment, chiefly

tend to remind us at times of the rugs of Turkey.

Field

Not

Patterns

A

Seldom

distinctive.

central medallion

is

elaborate.

a frequently

encountered feature. Borders

Simple in character and consisting usually of three 'stripes' only. Patterns not distinctive.

Warp (Wool)

Alternate

under/

warp

thus

foundation

Weft

Wool

Knot

Ghiordes.

Weave

Coarse and

Pile

On

threads are 'doubled

producing

a

double

(see p. 44).

(dyed red or plain) crosses twice between each row of knots.

close.

rare occasions this

is

composed

in part of camel's hair.

FERAGHANS

(see Plate

X,

p. 56).

The Feraghan

one of the few rugs in which we find the Sehna knot combined with a weave of coarse

is

grain.

55

PLATE

DC.

A GOREVAN RUG

(see

Type

Analysis, p. 59,

central medallions, the heavy, archaic, Chap. V). The concentric and leaf of foliage, the 'Turtle' border stripe, angular drawing

and presenting in the aggregate a picture that makes these rugs for the most part by no means

these are details easy to recognise,

difficult

of identification.

In one so typical as our present specimen the above research is therefore forget that we have always ample, but we must not additional resources at our command in cases of need, such, for

example,

as considerations

which a study of our

of colour, and the

details

of weave

detailed type analysis will enable us to

practise.

Gorevans in small

sizes are rarely

met with, but

them, and a very nice old specimen too. Co. Ltd.) permission of Messrs. Liberty

one of

this is

(Reproduced by kind

&

PLATE X. A EERAGHAN RUG (WITH 'HERAT!' PATTERN). The small triangular corners marked off from the of the Field by a serrated margin, the 'Herati* design of the Field, the 'Turtle* Border stripe, the 'saw-tooth' pattern of the rest

innermost

stripe,

all

these are characteristics

which we have

learnt

of Feraghan.

In our specimen they are all to be seen, as indeed they are in most of the fine old rugs of tids district, whose weavers are perhaps the most consistent in all to look for in the rugs

Persia in their adherence to their favourite pattern

panying details. The Border is wide and contains no

less

and

its

than seven

(Reproduced by kind permission of Messrs. Liberty

&

accom-

stripes.

Co. Ltd.)

PLATE IX

PLATE X

TYPE ANALYSIS Their weavers, too, are remarkable for the conuse of certain designs, the 'Herati' being on most occasions the chosen Field pattern, and the sistent

so-called stripe

'Turtle/ that of the principal Border

(see

Chap. VI, Border

Stripes

and Their

bears

almost in-

Patterns, Fig. 3, p. 86).

The inmost Border a

variably

reciprocal

Chap. VI, Border stant feature

stripe

'saw-tooth'

Stripes),

of these rugs

is

pattern

(see

and a further conthe presence

of four

small triangular corners to the Field, each being

marked off from the remainder of the

by

Field

a serrated edge.

PLATE

XI.

PATTERN).

A KURDISH RUG (WITH MINA KHANI This glorious old piece furnishes us with a striking

example of the height to which even a mechanical design such as the Mina Khani can be raised, when treated by a master of his

At a

to believe that this is nothing and elaborate artistic rendering of the pattern described on p. 26, Fig. 2, but a closer scrutiny will easily con-

art.

first

glance

it is difficult

more than an

vince us that the essentials of each are indeed identical, and

provide us with an excellent demonstration of the our specimens. carefully analysing and dissecting

The photograph, though

wisdom of

uncoloured, shows very well that

shading of the dark ground of the Field, which a feature in weavings of Kurdish origin.

57

is

so consistent

PERSIAN RUGS Almost invariably the 'Herati,' but 'Henna flower/ or rarely a repeated

Field Patterns

some form of

many of tlie sign

older specimens, the de-

in old rose-pink,

is

and finely drawn

as

A

woven.

common

closely

upon which

central medallion

the

in

and so

almost to obscure

the dark-blue ground is

In

'Diaper' pattern.

but

moderns,

it is

is

found on occasions in the old rugs also.

and

Characteristic

Borders .

commonly

ing

main

stripe

is

and displays

elaborate, present-

seven

stripes.

The

wide and well marked, as a rule the so-called

'Turtle' design, whilst in

many of the

older and finer specimens,

colour

is

a green,

its ground of a peculiar and

The

inner stripe, as akeady stated, bears almost invari-

light grass shade.

ably

some form of

'saw-tooth' pat-

tern.

Warp

All threads

(Cotton)

therefore each

on Weft

lie

in the

same plane, and

is equally prominent the back of the rug.

Crosses twice between each knots.

58

row of

TYPE ANALYSIS Knot

Selma.

It

is

often stated that the

Ghiordes knot also

is

at

employed

by these weavers, but the author

times

himself has never seen a genuine Feratied

ghan all

with

this

knot, and believes

such pieces to be nondescript copies

of uncertain

origin.

Coarse grain and close texture. Short in the old specimens, but of

Weave Pile

medium

Of fine GOREVANS.

more modern.

length in the

quality, silky,

Easily recognised

by

and

lustrous.

their concentric,

diamond-shaped, central medallions, with stepped sides,

and

pattern,

colours,

in

their consistent

the

too,

principal

use of the

Border

shades of terracotta,

blue, are peculiarly distinctive, difficult

Field Patterns

'Turtle'

stripe.

Their

apricot,

and

and once seen are

to forget.

Concentric medallions with stepped sides,

occupy the centre of the

Field,

whilst throughout the remainder are scattered degenerated leaf

forms,

on heavy angular

and flower stalks;

the

of the drawing reminding us Turkish greatly of that seen on antique

style

rugs.

59

PERSIAN RUGS Borders

three to five in Stripes usually ber.

The main

stripe

is

num-

wide and

well marked, and usually displays a modification of the 'Turtle' slight

Warp

design of the Feraghans. Alternate warp threads are slightly

(Cotton)

depressed (see Chap. IV,

Treatment, p. 43), but some-

Warp times

Methods of

all

are equally prominent.

Weft Knot

Crosses twice.

Weave

Coarse grain and loose texture. These weavings come only in carpet

Size

Ghiordes.

and are rarely found as small rugs. The end-webs may be coloured, a size

Finish

feature

HAMADANS

found in but few Persian rugs.

(see Plate

Xin, p. 65). Typical of these are the of all easiest specimens perhaps Persian rugs to recognise at sight, on account of the large proportions of camel's hair to be found in the pile, and the broad and conspicuous outer edging, also of plain camel's hair, which are the

A

hall-marks of the older pieces. close examination distinguishes them from all others with even greater certainty, since

it

reveals in these rugs a

weft of coarse cotton, which crosses but once only,

60

TYPE ANALYSIS between each row of knots

Weft

Chap. IV,

(see

p. 47,

Variations).

work and

Field

'Trellis'

Patterns

(the so-called 'mirror' design is

'Diaper' patterns

merely

a complex diaper) are common. central medallion is frequently with, and the 'chain medallion'

The met is

a

popular motive. Borders

Usually three to five

Simple.

stripes.

Patterns not distinctive.

Warp

All threads

(Cotton)

p. 45).

Weft

A

single

crosses

lie

in the

coarse

same plane

thread

(see

of cotton

once only between each row

of knots. Knot

Ghiordes.

Pile

Weave

Largely composed of camel's hair. Coarse grain and close texture.

Edging

This broad outer edging of plain camel's hair, frequently as total Border,

is

a

most

wide

as

distinctive

the

and

striking feature.

with the rugs of Bijars, combine the features of a coarse weave, and a

HERATS.

They

alone,

Ghiordes knot with the 'buried thread' system of 61

PERSIAN RUGS warp treatment

Warp

and

Stripes,

Chap. IV,

Border

stripe

i, p.

Herat, since these

A

85).

come

Chap. VI, Border

small rug

as

em-

of a most character-

distinctive pattern (see

No.

Methods of

p. 45,

In addition, the weavers

Treatment).

ploy a principal istic

(see

is

rarely a

large square rugs

of

carpet size.

Field

Commonly

Patterns

'pear/

The

the 'Herati' design or the 'pear' pattern,

when used

here, presents one unusual

feature, in

that the stalks are

way, instead

made

to face all

one

of facing in opposite

directions, in alternate rows.

Borders

The

pattern of the

main

very characteristic one p. 85), and once seen

stripe

(see is

a

is

No.

i,

not easily

mistaken.

Weft

The treatment of sents a

the weft also pre-

most unusual

feature, since for

a space the weft crosses twice

each

row of knots, but

between

for the next

of several rows or more, it will be found crossing three times, interval

and so on, with these alternations Knot

continuing throughout the structure. Ghiordes.

62

TYPE ANALYSIS Weave

Coarse grain and close texture.

Pile

Unusually

Size

Come

silky.

usually in carpet size only as

large square rugs.

Warp

(Cotton, rarely Wool.) threads are buried.

Alternate

Few

rugs are woven there to-day, or have been since the removal of the capital from

ISPAHANS.

Ispahan to Shiraz in 1760, nor are their characteristics sufficiently distinctive to warrant a separate

type analysis for these.

The

tradition

of a former

however, lingers in the East, so that the Persian rug merchant of to-day prefers this greatness

name

my

still,

to almost any for his wares.

readers will find that 'Kashan'

Incidentally is

another of

those terms so frequently to the tip of his tongue and with which he is inclined at times to take

unwarrantable fifteenth-

to

The

liberties.

so-called Ispahans

seventeenth-century

antiques-

were more probably woven at Herat, and specimens of these are still to be found upon the market to-day, although their contemporaries, the Animal other masterpieces of carpets, Garden carpets, and that golden age

of Persian

art,

have long since

dis-

appeared from private hands into museums and collections

of national importance. 63

PERSIAN RUGS These Ispahans, though rare pieces, are still to be met with, and still to be bought, at a price, and, accordingly, it behoves the present-day collector

knowledge of their distinguishing characteristics, which are as follows:

some

to have

Patterns

practical

Very

distinctive.

Foliage and flower

forms on graceful curling stems, combined with a prominent use of the 'Palmette'

The

and 'cloud band' motives.

Palmettes are always obvious,

but the 'cloud bands'

by

leaf forms

and

serrated,

which

and very graceful.

AN ISPAHAN RUG.

PLATE XH.

may be replaced

are long, curling,

those famous 'so-called' Ispahans,

Our specimen

which were in

is

one of

reality

more

probably made at Herat, and is easily to be recognised by the typical palmette forms and cloud bands (see p. 34, Fig. 16, and p. 29, Fig. 6)

which

it

displays.

Its

Border

principal

an interlacing Arabesque design, whose

stripe

shows

nature and protecting beak-like processes strongly suggest that it is a prototype of the well-known Khorassan stripe pattern of later days. (See p. 88,

No.

This

is

triple

6.)

an early piece

fifteenth century

probablyand con-

sequently we miss the greater elaborateness of the later period, and the long, curling, spear-shaped, serrated leaf forms which are usually to be found in the rugs of that date. (Reproduced by kind permission of Messrs. Cardinal and Harford.)

PLATE

XII

PLATE

XIII

TYPE ANALYSIS ground of a deep rose-pink, with patterns in emerald green, and a small Field

Colours

quantity of yellow, blue, and white. Principal Border stripe laid in emerald

or olive green.

'

Perhaps most easily identified by the negative process of excluding other types, since these rugs are lacking, in any very characteristic or

JOSHAGHANS.

distinctive features.

They are, however,

fine speci-

mens of Persian workmanship, well woven, of rich, deep mellow colouring, and with a pile of unusual lustre.

PLATE

Xffi.

A RAMADAN RUG. A

Hamadan with medallion. hair,

and

which also the

Observe

fine old

antique

mirror pattern, and central 'chain* Note the broad outer edging of plain, shaded camel's so-called

gives so distinctive an appearance to these pieces, ground of the Field which is of the same material.

also that the

components of the design, though them-

selves largely geometrical in character, are nevertheless linked

together to give that continuity of pattern which most distinctive features of Persian workmanship.

The

principal

Border

variety described

was

itself

on

stripe

p. 90,

drawn from

one of the

shows a double vine pattern of the

No.

15.

The diagram

just such another fine old

the one reproduced here.

is

there shown Hamadan as

PERSIAN RUGS Field Patterns

Generally of the usual floral types. Frequently a trellis-work or diaper pattern,

more

rarely, the 'Herati' or

the 'pear/ Borders

Not in

Warp

distinctive.

Stripes usually three

number.

Alternate threads depressed (see Chap.

Rarely all are level. Crosses twice between each row of

IV, p. 45).

Weft

knots.

Knot

Ghiordes.

Weave

Medium

KARADAGH.

In

fine grain

and close texture.

no other Persian rugs

casian designs so likely to

apt>ear,

occasions displace, the floral motives

are

Cau-

or even on

of Iran,

either

in Field or Border. Field Pat-

A

terns

mon,

Borders

Not

Warp

All threads level at the back of the

(Wool)

rug.

Weft

Crosses twice between each

'Diaper* or 'row' pattern 'Herati'

and

is

com-

'pear' seen at times.

distinctive.

row of

knots.

Knot

Ghiordes.

Weave

Medium

coarse grain and close tex-

ture.

66

TYPE ANALYSIS two or three-cord

Sides, a

Finish

'double-

A

simple double-overcasting (one cord) is the general rule for Persian rugs and may be taken as overcasting/

holding good in

ing to the contrary

Type KASHANS.

where noth-

all cases is

stated in the

Analysis.

In fineness of grain and closeness of

by no other proWith their charac-

texture these rugs are surpassed

of the looms of Persia.

ducts

designs, their dark, rich colouring,

teristic

their

and

notably short and velvety nap, they present

a type

by no means

difficult

of identification.

flowers in rows or flowers

Field

Floral,

Patterns

throughout the Field on graceful curling stems, with foliage. scattered

A diamond-shaped central medallion, and pendants, is commonly to be found, even in the older specimens, and when present, is

with stepped

very Borders

sides

characteristic in appearance.

Elaborate, and presenting frequently as

many

as

seven

Warp

Alternate

(Cotton)

(doubled under).

warp 67

stripes.

threads

buried

PERSIAN RUGS Fine thread, dyed blue, nearly hidden

Weft

between the close-pressed rows of Crosses twice.

knots.

Knot

Sehna.

Weave

Exceedingly fine grain and close texture.

close

trimmed and unusually

Pile

Very

Colouring

Dark and sombre, but

velvety.

For

SAROUKS.

all

rich.

intents

practical

and purposes

regard these merely inferior grade of Kashan. the student

may

as a

slightly

KERMANSHAHS. The colouring of these rugs, with its shades its principally pink, blue, light tones and and ivory,

is

certainly

very

distinctive, whilst

few

other than these exhibit the combination of a

Sehna knot with a coarse weave. patterns, too,

and

their

Their elaborate

of Field and Border are noticeable,

narrow outer edging of plain pink con-

a general spicuous, so that altogether they present

appearance not

difficult to recognise.

Field

Floral scroll work.

Patterns

lion

commonly

The central medal-

present

is

elaborately

worked, and is usually lobed, and with pendants. 68

TYPE ANALYSIS Borders

and elaborately worked. Principal stripe usually not well marked.

Warp

Alternate

(Cotton)

(buried).

Stripe patterns floral

threads

This

under

the only Persian rug

is

which combines

doubled

system of warp

this

treatment with a coarse weave and a

Sehna knot. Crosses twice between each

Weft

row of

knots.

Knot

Sehna.

Weave

Medium

and medium

coarse grain

loose texture.

Narrow

Edging

outer edging of pink sur-

rounding the border. Colouring

Light tones.

Shades of blue, pink,

ivory, and green.

KHORASSANS.

The

peculiar treatment

of the weft

and the presence of a typical pattern for the prinBorder stripe are the main distitiguishing cipal features

of Khorassans.

Field

Diverse, but

Patterns

rugs.

The

none

'pear'

peculiar to these

design

when present

assumes an unusual form, since each 'pear'

is

elongated in shape

69

as in

the

PERSIAN RUGS Indian variety, and has generally

two

smaller pears lying at right angles to Borders

The is

design

illustrated in

No.

6, p. 87,

so peculiar to these rugs that

might well be Border stripe.

Warp

(Cotton.)

Weft

The weft

called the

it.

it

Khorassan

Alternate threads buried. crosses twice,

and then

intervals three to five times,

at

and so on

throughout the rug.

Knot

Sehna.

This simple fact serves to dis-

tinguish

them from Herats, which

tied

are

with a Ghiordes knot, and with

which they might otherwise be confused since in each is found this peculiarity

of weft

come only

Weave Size Colouring

both

in carpet sizes and present

an identically Pile

variation, whilst

silky pile.

and presenting the appearance of being unevenly trimmed. Medium fine grain and close texture.

Notably

silky,

Generally in large sizes. Some of their shades such as purple and magenta are rarely seen in other

Rose-pinks, blues, and cream are favourite colours, but the

Persian rugs.

general effects are rich rather than light.

70

TYPE ANALYSIS KIRMANS.

Few rugs could be more distinctive than

the old Kirmans, with their gorgeous red roses of

and Border, but the moderns, alas! follow other traditions, with shades and patterns resemof Kermanshah, and are only at times bling those

Field

be distinguished from them by weave and superior workmanship. to

Field Patterns

their closer

The

red rose, with graceful natural drawing and shaded petals, is the

favourite device of the old Kirmani

weavers, and so drawn,

the hall-

is

mark of their work. The modern pieces resemble

those of

Kermanshah, but are usually without the floral scroll work, and a central medallion Borders

is

rarely missing.

In the old pieces the redroses ofthe Field are to be seen also in the pattern of the

the principal Border stripe,

colour of which

may

be

at

ground

times the

and deepest of golden yellows. In later pieces the borders are not richest

distinctive.

Warp

(Cotton.) Alternate threads are buried.

Weft

Crosses twice between each knots.

row of

PERSIAN RUGS Knot

Sehna.

Wean

Fine grain and close texture. narrow outer edging ofplain colour,

A

Edging

usually pink, sometimes green, sur-

rounds the Border.

KURDISTANS. weavers

of

is

A distinctive peculiarity

their habit

their Fields.

of shading the blue grounds

They

are very consistent also in

the simplicity of their Borders, consist

of three

of Kurdish

stripes,

which commonly

and constant in the range

of their Field patterns. In colour they exhibit a fondness for brown, which is a favourite with few Persian weavers.

Field

The 'Mina Khani'

Patterns

sign,

is

but the 'Herati'

the 'pear' too, but

the favourite de-

often used, and

is

still

more

rarely so.

'Diaper' patterns are in high favour,

and 'row' designs Borders

also, especially

of

flowering shrubs. Simple in pattern and arrangement.

Usually consist of three stripes only.

Warp (Wool,

Generally the back,

rarely

alternate

Cotton)

pressed.

all

threads

are

but in some

warp 72

threads

level

at

specimens are de-

TYPE ANALYSIS Weft

Coarse

wool,

crossing

twice

be-

tween each row of knots, but in

some

untypical

specimens,

once

only.

Knot

Ghiordes.

Weave

Coarse grain and close texture.

Finish

The end -webs are coloured and braided, in some specimens. These rugs come frequently in the

Shape

5

form of narrow Colouring

'runners,

that

in long

Few

rugs ex-

shapes.

Sombre and subdued. hibit

is,

so

marked

a

preference for brown, or so invariable a use of blue, for the colour

of the ground of the

Field.

In details of weave and finish these

LARISTANS.

resemble the rugs of Shiraz, and can only be

from them in the case of specimens showseparated Laristan pattern and colouring. ing the typical This pattern consists of 'pears' for the Field, and for the principal Border stripe the 'pear' design, illustrated in

No.

5,

in colouring, p. 86, whilst

a rich apricot red in the to a blue

of a

Border

is

complementary

distinctly purplish shade for the

ground colour of the

Field.

73

PERSIAN RUGS Perhaps most easily to be identified by the negative process of excluding other types, since

MESHED.

they themselves present

no

characteristic features.

They belong

peculiarly distinctive or

to the

com-

group of rugs which come only a fact which considerably limits our

paratively small

in carpet

sizes,

of research and usually renders our task by

field

no means

a difficult one.

None

Diverse.

Field

Distinctive.

Patterns

Borders

Elaborate.

Usually

more than

five

stripes.

Alternate threads buried.

Warp

(Cotton.)

Weft

Crosses twice between each

row of

knots.

Knot

Ghiordes or Sehna.

Pile

Notably

Weave

Medium coarse grain and close texture.

Edging

Most specimens show

silky.

a

narrow outer

edging of plain colour surrounding the Border. Size

No

Colouring

Light tones, principally shades of pink,

small rugs, only large

blue,

and ivory.

MOSUL. Not arity,

sizes.

distinguishable by any single peculibut by the aggregate of their details. They

74

TYPE ANALYSIS belong to that group of rugs which combine a Ghiordes knot with a coarse and close weave, and in

which

alternate

warp

threads are neither de-

nor buried, but all appear equally prominent upon the back of the rug. pressed

Field

Diverse.

Patterns

On

None

peculiarly distinctive.

some specimens geometrical deand Caucasian devices

may at times be found, whilst the 'pear' when

signs

present may assume either the Persian or the geometrical form.

Many specimens follow Kurdish traditions,

with their all-over repetitive pat-

terns, their

shaded blue Field grounds,

their simple Borders

and

their

sombre

colouring, and such have at times to be dismissed as 'Mosul-Kurdish' for

want of more

definite evidence.

Borders

Simple in pattern and arrangement. Three stripes.

Warp

All threads level at the back of the

(Wool)

rug.

Weft

Coarse wool, frequently dyed blue, and crossing twice between each row

of knots.

In very occasional pieces

the weft crosses once only.

75

PERSIAN RUGS Knot

Ghiordes

Pile

The

use

of camel's

hair in part

not

is

uncommon. Weave

Coarse grain and close texture.

Edging

An

of plain colour, usually in camel's hair, is to be found in some of these rugs.

Nnus.

Alternate

outer

warp

edging

threads are depressed,

and

the texture slightly firmer, but in other respects the weavers

conform to the practice of their neigh-

bours of Shiraz.

(For details see

Type

Analysis,

Shiraz, p. 79.)

SARABENDS. cipal stripe,

large

The absence of a well-marked

number of comparatively narrow

to typical specimens istic

prin-

and the division of the Border into a ones, give

of these rugs a very character-

appearance.

The

'pear'

is

their favourite device, for use

both

in Field and Border.

Field

Almost without exception an

Patterns

over' 'pear' pattern.

Borders

Elaborate, and consisting usually

*all-

of

seven or more stripes of comparatively

narrow width, whilst the main is

stripe

altogether absent or poorly marked.

76

TYPE ANALYSIS Alternate threads are buried.

Warp

More

rarely warp threads are equally prominent at the back of the rug. all

(Cotton)

row of

Crosses twice between each

Weft

knots.

Knot

Sehna.

Weave

Medium

Shape

Come

fine grain

frequently

runners,

i.e.

and in

in long,

close texture.

the

narrow

form of shapes.

be regarded merely as a inferior grade of Kashan, and for details slightly see Type Analysis of Kashan rugs, p. 67.

These

SAROUKS.

may

No

other Persian rug possesses such distinctive characteristics, or is more easy to identify.

SEHNAS.

The weft, of fine cotton, each

crossing but once

row of knots, might

noisseur

all

between

alone give to the con-

the information that he required; but,

in addition, there are several other points of sufficient interest to deserve attention.

mens

all

warp

threads

lie at

In these specion the

the same level

back of the rug, but in all others, which combine a Sehna knot with a weave of notably fine grain and close texture, alternate warp threads are buried.

The

Field patterns are consistent in favouring

the 'Herati'

and the

'pear/

77

and are remarkable

PERSIAN RUGS for the delicacy

and elaboration of

Central medallions are

The nap

is

their

drawing.

commonly employed.

very short, but the double founda-

tion prevents these rugs

from being notably

Field

Commonly

the 'Herati,'

Patterns

the 'pear.'

Borders

Simple

and

thin.

more

rarely

Usually

three

the same level

on the

floral.

stripes.

Warp

All threads

Weft

back of the rug. Fine cotton, and

lie at

crosses

but once only

between each row of knots. Knot

Frequently four or five hundred to the square inch, but at times, Sehna.

and especially in antiques, specimens may be encountered which show 700 Pile

or 800 knots to the square inch. Close trimmed.

Weave

Very

Size

These come for the most part in small sizes, and it is very rare to encounter

fine grain

a large rug

SIRAPIS.

the

and

close texture.

of this weave.

These, and the rugs of Herez, belong to

Gorevan group, and for

(Type Analysis), p. 59. 78

details see

Gorevans

TYPE ANALYSIS SHIRAZ.

Their weavers favour coloured end-webs, 5

and for the sides a 'double-overcasting lengths

of

in short

thus producing an has been likened to a barber's

different colours,

appearance which pole.

These

of

peculiarities

finish,

added to the

fact

many specimens small tufts of wool project the sides at intervals, cause these from rugs to be

that in

unusually easy of identification.

The wool of the reds

pile

is

soft

and

and blues for depth and

passed

by any Eastern

Field Patterns

fleecy,

clarity

and their

are unsur-

rug.

Diverse, but none peculiarly distinctive, the 'pear' being as common as

any, and the 'chain medallion' not infrequently encountered. In no other Persian rug are 'combs,' 'octagons,' or others of the adventitious designs of the

Caucasus

so

to

appear, whilst the 'geometrical Shiraz' is a likely

well recognised if not very

common

type. ^

^

Borders

Not

Warp

All threads level, that

distinctive, usually five

or

more

stripes. is,

equally pro-

minent, on the back of the rug.

79

PERSIAN RUGS Wool dyed

Weft

pink, and crossing twice

between each row of knots. Pile

Notably

Weave

Medium

soft

and

fleecy.

coarse grain and loose tex-

ture.

Knot

Sehna or Ghiordes.

Finish

(a) (b)

Ends. Sides.

Coloured end-webs.

A

'double-overcasting' in

of

short lengths yarns. In

many

of wool project

different

coloured

specimens small tufts at intervals

from the

sides.

In the weavings

TABRIZ. a close

of Tabriz alone

RUG

PLATE XIV. A SARABEND TERN). size

of

we

find

weave of fine grain and the 'buried thread

5

1

(WITH 'PEAR PAT-

This rug has been taken in section to admit of increased

detail

and displays

as its

most noticeable

features

an

all-

over 'pear* design of the Field, a 'pear* pattern (with angular vine meander) for its principal Border stripe, and a Border of elaborate character and numerous stripes. Our specimen then agrees with

what we have

learnt, for such are the rugs of Sarawell to recognise old friends, and, in passing, we might note the well-marked 'reciprocal trefoil* design of the outer stripe, and the floral vine meander of the remaining sub-

bend.

It is

sidiary stripes.

(Reproduced by kind permission of Messrs. Cardinal

and Harford.)

so

PLATE XIV

PLATE XV

TYPE ANALYSIS of warp treatment combined with a system Ghiordes knot, a combination which serves absoto distinguish

lutely

them from

Field

None

Patterns

central medallion

but a

distinctive,

peculiarly

'Cartouches'

Borders

others.

is

rarely missing.

containing inscriptions

in Persian are not

uncommon

in the

principal Border stripe.

Warp

Alternate threads are buried.

Weft

Crosses twice between each

row of

Knot

Usually undyed or pink. Ghiordes.

Pile

Very

knots.

short,

and neither

silky

nor vel-

vety, but harsh to the touch.

Weave

Fine grain and very close texture.

Size

These rugs come only in large

PLATE XV.

AKIRMANRUG.

truer to type, or

more

distinctive,

sizes.

la all Persia no rugs were than the old Kirmans, with

gorgeous display of red roses. The photograph is not as one would like, but, nevertheless, as the eye becomes accustomed to it, one can quite easily distinguish the bunches of

their

clear as

roses that

form the

Field

pattern

of the rug, and the outlines and beautiful, petals

even of the separate flowers with their shaded natural drawing.

Alas that the weavers of later days should follow such traditions !

no more.

(Reproduced by kind pertnission of Messrs. Liberty

Id.) P

81

&

Co.

CHAPTER

VI

Persian Border Stripes and Their Patterns been already noted that the borders of Persian rugs are divided up into a number of relatively small divisions termed 'stripes/ of which we

IT lias

can recognise three distinct and separate varieties,

namely, 'main' 'line' (a]

stripes,

'subsidiary'

stripes,

and

stripes.

The Main

Stripe

or Principal Border

Stripe.

the comparatively wide and important stripe occupying the centre of the Border, and

This

is

surrounded on each side by narrower

stripes.

It is

a feature seldom missing altogether,

though its with the local

and importance varies of the district in which the rug was

relative size

traditions

woven. Its pattern is frequently distinctive, and may at times furnish us with valuable information con-

cerning the identity of any given specimen.

82

BORDER

STRIPES

Subsidiary Stripes.

(b)

AND PATTERNS These are the

relatively

surrounding the main stripe, themin selves varying size, but each of sufficient width to bear some simple pattern or design.

narrow

stripes

Line

(c)

portance,

These are of no

Stripes.

the term merely including

practical

all

im-

those stripes

of insufficient width to bear a pattern. From the above intormation it will be

easily

gathered that a study of the general arrangement of the Border stripes, though of less

importance

than the consideration of pattern, is nevertheless a subject worthy of more than a passing notice.

Continuing further with this study we shall learn that the borders of the rugs of Kurdistan weavers are notable for their simplicity of pattern and arrangement, the stripes being three in usually

number and consisting of a main stripe surrounded on each side by a subsidiary stripe, the designs of the latter being in

many

cases identical, a feature

not so frequently seen in other weavings. shall note that the rugs of Sehna, Mosul,

Bijar,

Hamadan belong

to a

We and

group whose simple Border

stripes rarely exceed five in number but are usually three, whilst on the other hand, the borders of

Kashans, Feraghans, Kermanshahs, and Herats are

more It

elaborate,

will

be noted

and seldom number as a

peculiarity

83

less

than

of Sarabends,

six.

that

PERSIAN RUGS in these

it is

common to find the main stripe absent,

or poorly marked, and the stripes, as many as nine or ten in number; whilst in Kermanshahs also, at the

times,

main

stripe

be comparatively

may

narrow and of less than usual importance. The above details and others of sufficient interest will be found chronicled in our detailed type analysis

of the

characteristics

of the various rugs

(see

Chap. V, Type Analysis of Persian Rugs), and are here repeated, in narrative form, to emphasise the value of any details which can serve as a standard

of comparison between specimens, and to demonstrate the true significance of facts which in themselves

might appear

trivial,

and which,

if regarded

merely as isolated items of knowledge, might well be neglected or entirely overlooked. The chief interest

of the Border, however,

already noticed, centres in

its

as

we

have

stripe patterns,

and

the remainder of the chapter will be devoted ex-

Below

be found, discussed in detail, illustrated by diagrams, and numbered for the sake of convenience of reference, clusively to this subject.

of the more

will

and frequently to be encountered Persian Border stripes. A study of a series

distinctive

the patterns of subsidiary stripes importance to merit a detailed

is

not of sufficient

investigation,

might well be altogether omitted, were 84

it

and

not for

BORDER. STRIPES AND PATTERNS the consideration that, since encountered they be, it is

of more

interest perhaps to

old friends, rather than as strangers, and a the better

1.

This

as

few of

marked have accordingly been included

amongst our PRINCIPAL

must

meet them

illustrations.

BORDER is

STRIPES

the well-known 'Herat'

stripe,

in most Herats, but seldom elsewhere.

Its

found

elements

of a 'swaying vine' (a), from the inner side of each bend of which is suspended some dependent consist

'rosette'

of the

or flower form.

stripe

The

characteristic feature

consists in the treatment

of the

'vine'

the sides of the flexures of which are ex-

itself,

panded and the edge

serrated, to present

ance which somewhat approximates

an appear-

to a leaf form

The

general appearance produces the effect of a series of 'rosettes' depending from arches and (b).

surrounded on each side by a serrated its

leaf, so that

analogy to the 'Herati' Field pattern must be

obvious. 2.

A simple stripe of the type so frequently seen

in Kurdish rugs,

it

displays a plain

unornamented

pendent from each bend. The arches of the vine meander it will be noticed are 'vine'

with a

rosette

here angular in shape, in place of the usual curved

form. 85

PERSIAN RUGS

EIG. 24.

PHINOPAI BORDER STRDPBS

86

BORDER

STRIPES

J*

AND PATTERNS

J3

10

II FIG. 24.

PRINCIPAL BORDER STRIPES

8?

PERSIAN RUGS 3.

This

is

the so-called 'Turtle' pattern,

so consistently

in the weavings

employed

ghan and Gorevan,

as to

be almost

which

is

of Fera-

distinctive

of

these rugs.

A

4.

bud

simple and beautiful alternate rosette and

design,

which

is

weavers of the Shiraz

A

5.

a great favourite with the district.

to 'pear' pattern, frequently

typical specimens

of the rugs of

'swaying vine* meander,

it

will

be found in

The

Laristan.

be noticed,

is

absent in this particular design.

A

6.

very distinctive

stripe pattern peculiar to

the rugs of Khorassan, and seldom missing the borders of these. (Ji Ja Js)

of

giyes

interlacing

like

projections

bird's

The

use

of a

triple

from vine

appearance resembling that whilst the hookarabesques, aa-

(6)

in shape

somewhat

like

a

head and beak, are most noticeable and

characteristic. 7.

A 'pear'

pattern

by no means uncommon in projecting, in this case, from

Sarabends, the 'pears' the inner sides of the flexures of an angular vine meander. Alternate pears may be replaced

by

'rosette'

forms.

Another simple example of a 'vine' with pendants, illustrated from an old Kurdish rug. 8.

9.

A beautiful stripe pattern, drawn from an old '

88

BORDER

STRIPES

AND PATTERNS

12

16

17 FIG. 24.

PRINCIPAL BORDER STRIPES

PERSIAN RUGS Mosul.

The

will be

noticed also the presence

'vine*

can be

easily traced,

and here

of the

'eight-

pointed star/

an example of an elaborate border of the Sarouk or Kashan type. It demonThis

10.

stripe strates

is

particularly

Border designs

well

as

indeed do most Persian

that 'continuity

of pattern' so true

to Persian ideal.

A

11.

border stripe encountered

at times in

Hamadans, whilst a similar pattern is seen in drawn and without any Bijars, but less elaborately trace 12.

of a

'vine' at

Another

all.

'vine' pattern

of a

slightly different

form, illustrated from an old Shiraz rug. main stripe pattern sometimes seen in the 13.

A

rugs of Herez (Gorevan group). The 'cloud bands' axe obvious here, and the archaic forms and heavy angular drawing noticeable.

Another elaborate type stripe pattern from a Kashan rug. The vine here strongly suggests an 14.

arabesque. 15.

A double vine meander design, a simple and

of a type particularly in favour with those weavers who prefer simplicity

effective stripe pattern

to elaborateness in the treatment

Such a

stripe

of their Borders.

then will not be found in Kashans,

Sarouks, Feraghans, Kirmans, or Kermanshahs, but

90

BORDER

AND PATTERNS

STRIPES

rather in the rugs

of Mosul, Hamadan, and Kurdi-

and the like.

stan,

A 'pear'

16.

displaying

pattern of yet another variety, and

in this instance 'pears'

Indian shape

which we

associate

of that elongated also with the rugs

of Khorassan.

A design of this type the borders

of

occasionally to be seen in

is

either Khorassans or Herats,

and

takes the place of the patterns (Nos. 6 and i) which have been noted as characteristic of the principal

of these weavings.

stripes

On

17.

those occasions

when

the 'Turtle' pat-

missing from the borders of an old Feraghan its place is frequently taken by a stripe of The author has quite frequently enthis variety.

tern

is

countered

this

but has seen

it

design in old Joshaghan rugs also,

nowhere

else,

SUBSIDIARY BORDER STRIPES (of Persian Rugs) The swaying 'vine' meander itself, without 1.

ornamentation or pendants. 2.

ants,

The

ornamented, but without penda graceful stripe, and a favourite with Kurdish 'vine'

Outside the Persian group this stripe is encountered in antique quite frequently to be Koulah (Turkish group) Prayer rugs, though I have

weavers.

seen

it

nowhere

else.

91

PERSIAN RUGS

8 FIG. 25.

SUBSIDIARY BORDER STRIPES

92

BORDER

STRIPES

AND PATTERNS

10

ii

12

15 FIG. 25.

SUBSIDIARY BOEDER STRIPES

93

PERSIAN RUGS 3

.

A simple vine meander with pendent rosettes,

a typical Persian stripe pattern.

its

A 'vine'

with pendants and with the sides of flexures expanded and ornamented with a ser-

4.

Frequently seen, but particularly

rated edge.

mon

in the rugs

com-

of Shiraz and the surrounding

district. 5.

A

jecting

'pear' pattern stripe

from the inner

More

angular vine.

sides

with the

of the

'pears'

flexures

pro-

of an

frequently in stripes of this

pattern alternate pears

are replaced

by

rosette

It

will be

forms. 6.

A

reciprocal 'saw-tooth' design.

remembered Border 7. 8.

stripe

that in Feraghan rugs the innermost

almost invariably bears this pattern.

A second variety. The

especially Bijars,

reciprocal 'trefoil'

common

is

a pattern device

in the rugs

but otherwise

less

of Mosul and

frequently encountered

of Persia, than those of other groups. In high favour in the rugs of the Caucasus, this

in the rugs

design

may even on

occasions appear as the pat-

tern of the principal stripe. 9.

A simple 'vine' meander of angular type with

pendent 10.

rosettes.

A vine of a similar type,

ing leaf forms.

94

but with project-

BORDER STRIPES AND PATTERNS 11. A pattern stripe taken from an old Shiraz rug.

The vine continuous through

alternate dia-

mond and leaf forms. 12.

13.

A simple vine with pendants. A reciprocal stripe pattern to

rimes in 14. 15.

Mosul

at

rugs.

Yet another type of vine. A pretty and typical stripe pattern with a

wide distribution.

A

at times

elaborated,

is

the pattern

of a

To

be found

similar design somewhat encountered doing duty as

Border

principal

stripe.

include a review of all the varieties of Border

patterns that

may be met with would prove

a task

beyond the scope of illustration, but, at least, the examples should prove of interest, especi-

selected

ally so in

those instances

where the design

itself is

sufficiently distinctive in character to identify the

rug in which

it

appears.

95

CHAPTER

VII

The Classification of Rugs with Regard to Age, Merit, and Value As we review the ground that has been covered we shall notice that those 'standards of comparison* with which we have been at such pains to provide not only assist us to compare our with specimens regard to the variations due to differences of type, but will aid us equally in the ourselves, will

comparison of rugs of similar type, but of different age and quality.

The former of 'rug

proposition represents the problem

identification'

dealt, the latter, that

we have already of 'rug classification/ with deal now, and to both, the

with which

which we propose to same methods of elucidation apply.

To

demonstrate the differences due to type, we compared our specimens, detail by detail; to demonstrate those due to variations of age and

96

CLASSIFICATION OF RUGS

we must

adopt the same procedure and out the same detailed and carry comparative

quality,

analysis.

Considerations of pattern, colouring, material,

and workmanship, all these we have as standards of comparison, and it is from a study of these, together with certain general considerations, that

we form our ultimate opinions with regard to age, merit, and value.

PATTERN.

The

old designs may be more or less but the faithfully copied, object of the modern weaver is to save labour, and this spirit is reflected (a)

He

in his pattern rendering.

seldom spaces

as

possible,

of plain colour

cans aptly term ciple

changes his wools

as

he leaves undecorated large labour savers, as the Ameri-

them

and upon the same prinprefers a large coarse rendering to a small and

on the other hand, is the keynote of the pattern drawing of the older weav-

fine one.

Elaboration,

ings, plain spaces are filled

with small designs, time

and trouble are matters apparently of no consideration. Central medallions are to be found at times

of every

an increasingly common feature amongst moderns. COLOURING. Modern rugs, even those of ex(b)

in rugs

age, but are

but too frequently aniline dyed, and these dyes not being 'fast' may be tested for cellent quality, are

G

97

PERSIAN RUGS by rubbing the surface with a damp kerchief,

when

cloth or hand-

the colours will stain the handker-

The experienced collector, however, have no need of any such expedients, since he chief.

not

fail

to recognise the distinctive shades

will

will

and tones

of these dyes, or to remark that slight blurring of the edges of the design which tells of the 'running' of neighbouring colours.

Old rugs and not a

are

little

without exception vegetable dyed, of their beauty is due to the bene-

volent action of time,

which

greatly enhances

the merits of these fine old dyes and produces a richness

and mellowness of colouring not to be

obtained in any other way. Certain shades, such as the old Persian blue

now a lost art

rose-pink, wine-red,

are tones not to

and old ivory,

be found in modern productions,

even when these are vegetable dyed. MATERIALS. For the warp threads of the (c)

moderns coarse brown wool

may take the place of creamy white, or -cotton may be found where once wool only was employed. Much of the

superiority

of the older fabric

consists

in the

of the materials used, and the lustrous sheen and rich mellow appearance of surface which

superiority

characterise these pieces can only be produced time and wear upon a pile of fine quality.

98

by

CLASSIFICATION OF RUGS Attempts are made by chemical washing to imiof age, but the results, though at

tate the effects

by no means

times

equate,

and

fall

unbeautiful, are quite inad-

so far short

of the Veal

thing' that

they should deceive none but the tyro. (d)

WORKMANSHIP* Here we

of degeneration.

find the same tale

In the older pieces

it is

rare to

find any evidences of trashy

workmanship or faulty and the backs of these specimens, with technique, their hard woven, level surface and even rows of knots, present an appearance hardly istic

and instructive than

less

character-

their faces.

So well are these old rugs woven that they will wear literally down to the knot, and so excellent is

the construction of their foundation that

persist

undamaged when in places

it

will

the knots them-

have completely disappeared. When comparing specimens of similar type we may with advantage make a comparison between

selves .

the 'number of knots to the square inch' which

each displays; the greater number of knots denoting in this case the better weave.

We shall, however,

take this occasion of warning our readers against

the fallacy involved between the merits of rugs of different types, since each type will display of

weaving technique, and the 'number of knots to the inch' will be as much

necessity a different

99

PERSIAN RUGS dependent upon the technique employed

as

upon

the quality of the weaving. (e)

1.

GENERAL CONSIDERATIONS Quality.

As

a general principle

that the fairly stated detail,

modern rug

is

it

may be

never in every

and frequently in none, the equal of the

older specimen; a fact which is hardly surprising when we consider the different conditions under

which each was woven. The one, a labour of love and the product of individual inspiration; the other, a task undertaken for hire, at best the soulless copy of the genius of another, and the product of a com-

mercial system whose motto 'tempus fugit' deals so frequently alas the death-blow to high ideal

and conscientious workmanship. 2.

not

Type.

Rugs

that are nondescripts,

and can-

examination be consigned to any recognised type, should always be regarded with after careful

most part and seldom depart

suspicion; since the old pieces are for the

remarkably consistent to type, from the traditions of their district of manufacture, with regard to pattern, technique of weave, and

Regarding the latter we have mentioned the fact that in moderns the use already of cotton for the warp threads may supplant the choice of materials.

use of wool, but

we must

caution our readers

against necessarily regarding the presence

100

of a

CLASSIFICATION OF RUGS an evidence of modernity, since a actually type characteristic of many of the finest old rugs especially when town woven cotton

as

warp

this is

since the old-time

weavers not unnaturally pre-

ferred the materials

cotton for the

most conveniently

Town

to hand,

wool

Dweller,

for

the

Shepherd Nomad. Condition.

3.

one rug

Owing

may be

amount of wear and

to varying circumstances

same

subjected in a year to the

that another will receive in fifty,

we must remember this when we

are inclined 5

to over-emphasise the value

guide to age. has been for as the

of 'condition

as

a

The making of new

many

rugs into old years a trade of the East, as well

West, and production of the required 'con-

One

always a matter of comparative simplicity. fact, however, it may serve us well to remem-

ber,

and that

and

flexible, retaining

dition'

is

stiflhess.

quality it is

It is

we

is,

that old rugs are invariably limp

no

vestige

cannot therefore

it

original

true that because a rug possesses this

know

a genuine antique, but, at

that unless

of their

possesses

it,

it is

for certain that

we

can say certainly not an

least,

old piece.

Apropos of

condition, intending purchasers should always be careful to examine their pieces by having them held up to the light, when

101

PERSIAN RUGS frequently numerous rents and mends will be made apparent in specimens that appear without blemish as

they 4.

lie

upon the

floor.

Individuality.

Old rugs show

touches, slight variations in colouring

individual

and pattern

drawing which will not be found in modern pieces, since these are merely commercial products and approximate but too closely to the machine-made article.

Frequently the old-time weaver, greatly fearing the 'Evil

Eye/ strove

to avert

it

from

his precious

work, breaking the absolute symmetry of his all too perfect pattern by the introduction of some small adventitious design,

thrown

in apparently

haphazard and producing a most characteristic and personal touch.

RUG VALUATION. The value of a rug is dependon

ent chiefly its

Type, upon

three its

main

factors,

Age, and upon

in accurately gauging these factors

namely, upon Quality, and

its

we have accom-

and more onerous portion of the task of rug valuation, a problem which will at times tax to the full all the skill and knowledge

plished

by

acquired

far the larger

by

careful study.

When we

have successfully identified and properly classified our specimen, its vajue is nothing more nor less than its current price in the sale102

CLASSIFICATION OF RUGS room and most

auction mart, an item of knowledge easily to be acquired by an excursion into

these

domains or through the medium of priced

catalogues.

an item of knowledge requiring constant revision, the old rugs are becoming scarce, and It is

dealers

prices

now fully realise that the supply is limited;

have trebled within the

last

ten years, and

may be expected to advance to considerably higher levels, since

demand

the

for these pieces

is

increas-

ing rapidly.

With regard strongly urge learn to

know

really learn to

to this subject

upon our

we

cannot too

readers that they

must

the rugs themselves before they can

know their values; nor can we over-

emphasise the fact that in achieving the ability to correctly identify and classify specimens they will

have acquired the chief

essential

accurate rug valuation.

103

of successful and

CHAPTER

The

Practical a

FOR purposes of a

VIII

Examination of

Rug

practical

examination a rug

may

be considered to be possessed of a front or pile surface, a back surface, and four finishings (namely, those of the sides and the systematic examiner,

two

who makes

vestigate methodically

all

ends), it

and the

a rule to in-

the details of these, will

seldom

much

fail to be rewarded for his thoroughness by information of interest which would be lost

more casual observer. THE FRONT OR PILE SURFACE.

to the

face

we

shall obtain

Upon

this sur-

the best impression of the

colours and designs of our specimen, and here, too, we shall best be able to investigate the type of the

knot employed, whether it be a Ghiordes or a Sehna, and judge also of the quality and treatment

of the

pile.

These, then, are the details to be con-

sidered as our rug

lies

face

104

upwards on the

floor.

PRACTICAL EXAMINATION THE BACK

we shall find the most

SURFACE. This

convenient situation for the study here

it is

it

crosses the

between each row of

versely too,

easily discernible as

we

shall best

be able to

of the weft, since rug trans-

knots, whilst here,

ascertain the

method

of warp treatment employed, examine the details of weave (whether coarse, fine, close, or loose), and judge the quality of the workmanship

dis-

played.

THE

FINISHINGS.

It is

the custom for

all

Persian

a rugs to be finished at the sides with simple overfor other casting or double overcasting, whilst

groups

two- or three-cord

a

double-overcasting, the

sum of

is

overcasting,

the general rule, and this

or is

the information to be obtained from

this investigation;

but the finishings of the ends

worthy of notice as being the only in which the warp threads can be pro-

are especially situations

to material and quality, perly studied with regard since these are hidden in the body of the rug, but

emerge uncovered

The

in the

end webs and

fringes.

distinctions between the rugs of Persia and

those of other groups have already been fully discussed Chap, n, pp. 18 to 24), and assuming (see

that our specimen has been

the following indications

valuable clues in regard to

105

proved to be

may its

Persian,

furnish us with

identity.

PERSIAN RUGS (a)

Colouring.

If a rag exhibits tones

of

light

colouring, shades of blue, pink, and ivory, it is almost certainly a Kermanshah, a Meshed, or a

modern Kirman,

whilst

on the other hand, the

if,

colours are dark and sombre, then

it is

be a Kurdistan or a Kashan.

ground of the

Field

is

-shaded, the piece

whilst a preference for

If the is

brown is

likely to

probably Kurdish, strongly indicative

of the same authorship. specimen displays shades of purple or magenta it is almost certain to be a Kliorassan, If a

whilst a prevalence of rich

madder red

larly suggestive of Niris or Shiraz. the reds and blues are particularly

the piece

is

likely to

Persia surpass

them

is

particu-

If the tones clear

of

and rich

no rugs

in

for brilliancy and depth

of

be a

Shiraz, since

colour in these shades.

Two

Persian types, the

Gorevan and the Fera-

ghan, are more distinctive than their fellows in their colour schemes, the one with its peculiar shades of apricot, terra-cotta, brick-red, and blue;

and the other with

Herati pattern in old rosepink upon a dark-blue ground, and with the principal border stripe frequently laid in a light-green

ground of a most (&)

it is

distinctive shade.

rug displays an all-over Herati particularly likely to be a Feraghan or

Patterns.

pattern

its

If a

106

PRACTICAL EXAMINATION a Sehna; if a pear pattern

it is

probably a SHraz,

Sarabend, Herat, Khorassan, or Sehna; if a

flower design a Feraghan; or if the 'Mina is almost certainly a Kurdish piece.

Henna

Khanf

it

If geometrical or adventitious designs appear, or

the pear

geometrical in shape, the specimen is unlikely to be other than a Shiraz, Karadagh, Mosul, or Hamadan, whilst diaper and lattice work is

patterns are particularly suggestive

of a Kurdish

origin.

If a rug displays concentric medallions it

is

almost

certainly a Gorevan, if a central medallion

pendants,

it is

likely to

be a Kashan, modern Kir-

man, or Kermanshah; if a chain medallion, probably a Shiraz, or Hamadan. (c)

it is

This will be either a Ghiordes or

The Knot.

a Sehna, and

with

a decision of this one simple fact the total unwieldy mass of Persian rugs is imme-

by

diately divided into

the field

of our

narrowed

The

(d]

two

search accordingly proportionately

(see p. 39, Pile.

nearly equal halves, and

Chap. IV).

If a rug displays a notably close

trimmed and velvety

probably a Kashan, Sarouk, or Sehna; if short and harsh to the touch

it is

likely to

pile it

is

be a Tabriz; if long, a Mosul or

Kurdish; if unevenly trimmed a Khorassan. pile

is

largely

composed of camel's 107

If the

hair the piece

PERSIAN RUGS almost certainly a Hamadan, or rarely, an old Mosul, or Bijar. If it is of medium length and

is

notably soft and fleecy our specimen likely to be a Shiraz, or Niris.

is

particularly

In order to examine the back surface

we

shall

now proceed to turn our specimen over face downwards, and in so doing should particularly notice whether it be thick or thin, flexible or stiff. If the

rug

notably thin

is

it

is

Sehna, since these are the thinnest

probably a

of

all

Persian

rugs, and can often be recognised by experts

by

this fact alone; whilst if it is

and heavy

it is

likely to

be a

unusually thick

Bijar,

Mosul, or

Kurdistan. If it

much but if

is stiff it is

it

certain to

be modern, however

resemble an old rug in other ways, limp and flexible it may be either a

may

it is

genuine old piece or a modern which has been subjected to special treatment so as to cause it to resemble one.

THE WEFT. which then

crosses

it is

If our specimen displays a weft

but once between each

either a Sehna, a

row of knots

Hamadan, a Mosul, or

a Kurdistan, the weft being of fine cotton in the case of a Sehna, coarse cotton in the case of a

Hamadan, and wool for If it displays a weft which 108

a

Mosul or Kurdistan.

varies in the

number of

PRACTICAL EXAMINATION its

crossing at intervals,

certainly a Herat, or

it is

Khorassan.

THE WARP.

If tlie rug has

level, i.e.

equally prominent

then

either a Feraghan,

it is

the

warp

threads

on the back

surface,

all

Hamadan, Joshaghan,

Karadagh, Kurdistan, Mosul, Sehna, or Shiraz. If alternate warp threads are depressed, then it is

probably a Gorevan, Niris, or Joshaghan, or rarely a Kurdistan.

specimen displays a warp of cotton, the either a Meshed, Sarabend, Kashan, Sarouk,

If the

piece is

Sehna, Tabriz, Feraghan, Gorevan, Kinnan, Kermanshah, Khorassan, Herat, or Joshaghan, whilst if it displays a

warp of wool

it

may

be either a

Bijar,

Karadagh, Herat (generally cotton), Josha-

ghan

Kurdistan (rarely cotton), (usually cotton),

Niris,

Mosul

or Shiraz. (rarely cotton), If the sides are finished

FINISHINGS.

with a

double overcasting in short lengths of different coloured wools, the appearance produced some-

what resembling a

barber's pole, then the rug

whilst if small tufts certainly a Shiraz or Niris,

wool

project at intervals

identification

is

from the

shows coloured end webs, then Niris, or

more

it is

this

If the

rug

a Shiraz, or

or Gorevan. rarely a Kurdistan,

109

of

then

sides,

absolutely confirmed.

is

CHAPTER

IX

Caucasian Rugs THE

general characteristics of this rug group have been discussed on p. 20 of this volume, but further detailed investigations will be required before the various rug types within this can

group

be separately identified. For this purpose, then,

proposed to amplify discussion of general group characteristics and to follow this with a detailed analysis of each rug it is

type within the group, exactly

as

was done pre-

viously in the case of the Persian rag group. In the type analysis, as before, will be noted significant variations in

ture 'of

all

any

weave, but since the struc-

Oriental rugs

is

identical, the reader is

where the component parts warp, weft, knots, and pile) are described and

referred to pp. 38-53, (i.e.

discussed in full detail.

In Caucasian rugs, though the bulk of the design

of both

field

and border

in character, yet traces

is

clearly geometrical

of Persian and Turkish

no

CAUCASIAN RUGS influence linger, and are to be found chiefly in the patterns

of the

some form of seen,

and here

essentially

subsidiary border stripes.

the Swaying Vine

also

is

Here

often to be

may appear leaf and floral forms

Turkish in character.

Field patterns are characteristically mosaic in

type,

composed by the massing of individual geo-

metrical devices

degenerated floral forms), arranged formally or informally as the case may be, to form the design, each device being a separate entity, related

(or

but not connected with others.

VI provides a

Plate

example of a mosaic design, with massed devices contiguous but without confine

and with no stemming of floral or leaf forms such as would be seen in a Persian rug of

tinuity,

similar age

and

Illustrated in

pears

character.

Chapter HI are the latch-hooks,

(rectilinear),

diamonds,

octagons,

eight-

pointed stars, combs, and rosettes, which together with degenerated floral and leaf forms compose for the most part the patterns of Caucasian rugs. Though all of these devices may be seen in the

no prominent disrugs of other groups, there is the latch-hook that pre-eminent play, whilst favourite with Caucasian weavers

is

rarely else-

where encountered in profusion.

Weaving

practices

are fully discussed in Chapter

in

CAUCASIAN RUGS IV, but here

it

may be noted that Caucasian weavers

employ the Ghiordes knot only, keep all warp threads level at the back, and with rare exceptions cross the

weft twice between each

Wool is the

row of knots.

chosen material for warp, weft, and

though rarely goat's hair and camel's hair be found in part use.

pile,

may

Type Analysis will proceed on the same that employed in the case of Persian rugs.

lines as

Subdued shades of colour with no strong contrasting massing tends to make these rugs some-

BAKUS.

what

dull in appearance,

though by no means

Analysis continues on p. 113.

unattractive.

PLATE XVI. EIGHTEENTH-CENTURY CAUCASIAN RUG. "With its all-over pear pattern for the field and barber's pole design for the principal stripe; this rug might easily be accepted as a Persian rug. The rectilinear character of the pears,

however, and the absence of the swaying vine from stripes

combat

this suggestion.

It is

all

border

in fact a fine example of

an old Baku.

PLATE XVn.

DAGHESTAN PRAYER RUG. A

Daghestan Prayer

Rug

diaper) field pattern,

border

with

over

fine old

lattice

this, (honeycomb, and running latch design for the principal

stripe.

The Prayer Arch

is

inconspicuous and incorporated in the

pattern and there is no well-defined Spandrel. No panel Size small and shape square. present, as to be expected.

field is

all

112

PLATE XVI

PLATE XVII

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'

.

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5* * 'fcviv'-r 1

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PLATE XVIII

PLATE XIX (see

Central Asian section]

CAUCASIAN RUGS of the mosaic type and medallions not uncommon,

Field

are usually

Patterns

central

An

'all

over' pear pattern

is

not very

infrequent here, though rare in other types. In highest favour with these

weavers for use are

two

as

devices rarely elsewhere seen,

namely the

Pile

may

pear and the Alternate birds and

rectilinear

geometrical bird. pears

adventitious designs

even be used to form the

pattern of the principal border stripe. Short and rather dull. Rarely, of camel's hair in parts.

Weave Weft

Close and of coarse grain. Wool, or very rarely, cotton.

Shape

Oblong

preferred to square.

PLATE XVm. ANTIQUE SHIRVAN. A good example of Caucasian genius. No floral forms here, and no swaying vine to be seen.

Devices are geometrical in character and formally

arranged, without continuity of design. Latch-hooks are exhibited in profusion. A variation of the favourite Shirvan stem

and wine cup pattern

is

shown in

the principal border stripe.

PLATE XDC. BESHIR RUG. The

predominant red of the

colouring and the comparative insignificance of the border produces a general effect which immediately suggests that this rug

belongs to the Central Asian group. Preferred patterns are the Trees of Life and the floral forms exhibited here, tending to

eschew the typical group patterning of the all-over octagons.

CAUCASIAN RUGS DAGHESTANS.

It is

characteristic

of these rugs that

the workmanship should be excellent, the pattern drawing first class, and the colouring choice, with

a tendency to lightness and brightness. When a Prayer Rug is found in the Caucasian Group, it is

almost certain to be a Daghestan. Patterns

Generally these are mosaic in character, but a central medallion may be present.

quent. sign

is

Floral forms are not infre-

An

all-over lattice

work

de-

sometimes found, but usually

in the Prayer

Rugs

only.

Formal flower and leaf forms are com-

mon in the border stripes, and at times are suggestive

of Persian influence.

Pile

Short.

Weave

Of fine

Shape

Squarish oblong and mostly in

grain and close texture.

smaU

sizes.

These rugs are thin and

flexible.

DERBENDS. Patterns and colouring are very similar to those of Daghestan. The weave however is looser, the texture distinctly longer.

of coarser Prayer

expected.

114

grain,

Rugs

and the

are not to

pile

be

CAUCASIAN RUGS Weft

The number of weft crossings between each row of knots is not always constant and

may

at intervals in

vary

the same rug.

KABISTANS.

Similar in weave, colouring, and pat-

tern drawing to the weavings of Daghestan and

mostly indistinguishable from

these.

Here, however, Prayer Rugs and lattice patterns are unlikely, the size tends to be larger and the shape to be oblong. The pile is not so lustrous,

and tends to be longer. SHTRVANS,

Foliage,

with flower and leaf forms of

formal character, are more often found in these

drawrugs than others of this group. The pattern ing is of high standard with well executed designs, and the colouring rich and Patterns

attractive. Plate

XVIII.

Usually a mosaic of elaborate design

composed of geometrical

The

chain medallion

is

mon, and an all-over

devices.

not uncomlattice

design

may occasionally be found. For the principal border stripe some variety

sign

is

of the inverted wine cup dea consistent

See p. 116, No.

3.

first

favourite.

I.

2.

5-

RG. 26

CAUCASIAN BORDER

STHIPES

1.

Peculiar to Bakus. Rectilinear pears alternate with curious formal birds.

2.

Drawn from an

3.

4.

old Daghestan.

The favourite Shirvan pattern. inverted wine cups. The

barber's pole design.

elsewhere. 5-

Peculiar to Chichis.

116

Leaf forms with

Seen in Shirvans and

8.

10. FIG. 26. 6.

CAUCASIAN BORDER STRIPES

A

design of reciprocal latch-hook. Typically Caucasian and in general use throughout the

group.

A

7.

beautiful design of Cuffic character often seen in fine old Koubas.

8.

A favourite with the Soumak weavers.

9 and 10.

Both

are taken

from old Kazak

117

rugs.

CAUCASIAN RUGS Pile

Short.

Weave

Medium

coarse grain.

Medium loose

texture.

A

Sides

two- or three-cord weft overcast-

ing or double overcasting. Squarish oblong and mostly in small

Shape

sizes,

Cmcins.

These rugs resemble Shirvans in details of weave, pattern, and colouring, generally. The inverted wine cup pattern

is

not however here the

favourite for the principal border stripe, but rather

the delicate rosette and bar pattern p. 116,

No.

shown on

5.

the lack of pile and the stitch-ends hanging loose at the back.

SOUMAKS.

Instantly identified

by

and colouring conform to the general characteristics of the group. The true antiques Patterns

reach a high standard of excellence and are fine

and

attractive pieces.

KAZAKS. Colouring

is

bold and rich in rather dark, crude

shades.

Reds, blues, yellows, greens, brown, and rose, all are freely used, but seldom white. Patterns

and bold, and these rugs correspond to the Gorevans of the

are large

118

CAUCASIAN RUGS Persian group. is

to

uncommon

not

find

the

into

horizontally panels,

field

divided

pattern

and a fav-

ourite device t

It

*

>

i

G

the

is 1

sunburst which