Plate 42. Chichi RugPlate 42. Chichi Rug
Plate 42. Chichi Rug
Type Characteristics.Colours, principally red and blue, with minor quantities of green, yellow, and brown.Knot, Ghiordes. Knots to inch horizontally nine to twelve; perpendicularly, ten tothirteen. A half knot as it appears at back is longer than wide. The rows of knots are pressed down so that the warp is concealed at back.Warp, wool. One of the two threads encircled by a knot is generally depressed below the other at the back.Weft, wool of fine diameter, generally dyed red. A thread of weft crosses twice between every two rows of knots.Pile, wool, of medium length.Border, three to five stripes.Sides, a red added selvage of two or three cords.Both ends, a narrow web and warp fringe.Texture, moderately firm.Weaveat back is of medium grain.Usual length, four and one half to seven feet.Usual width, three fifths to two thirds length.
Kir-Shehrs.—To the north of the great salt desert and in the southern part of the province of Angora is the town of Kir-Shehr. It stands between two mountain ranges, on which are raised sheep with fine fleeces, and is on the branch of the Kizil Irmak, whose waters are well suited for preparing wool for the dyes obtained in the surrounding country. On account of the excellence of wool, water, and natural dyes, as well as the remoteness of the town from main highways of travel, many of the old rugs were excellent pieces, free from the taint of Western influences, and possessing the charm of individuality. It was due, moreover, to the fact that its three or four thousand inhabitants, and the Turkomans who roamed the surrounding country, rarely felt the influence of larger cities that they were so untrammelled by conventionalities. Unhesitatingly they grouped together large spaces of red, yellow, and blue, as well as grass-coloured green, for which they had a particular fondness and employed to a greater extent than almost any other weavers; yet in the case of these old pieces the artistic sense is rarely shocked, since the individual colours are good and the tones are harmonious. Furthermore, the patterns show an unusual blending of floral and geometric forms.
Most of the pieces come in moderate sizes; some are mats, others small sedjadehs, but the choicest are the prayer rugs. The serrated sides of the arch, which rise at a steep angle from the centres of each side of the rather narrow fields, are formed of several parallel lines of different colour. In a not unusual rug, for instance, eight narrow lines separating the spandrel of grass-green from the inner field of brick-red appeared in the following order: red, black, white, yellow, lavender, yellow, red, and blue. The inmost line is frequently fringed with tri-cleft floral forms, which, as in Koniehs, extend in a row along the sides of the field. From the niche is usually suspended the design of an inverted tree of life, and above it are projected latch-hooks or similar devices. It is not unusual to see two arches, and there are sometimes as many as four, placed one within the other. The spacious spandrel that is continued in narrow stripes along the borders to the bottom of the field is covered with geometric or conventionalised floral forms; and the horizontal panel, which may be placed at either end of the field, contains designs in harmony with the remaining parts.
On the whole, the wide borders have some of the most characteristic features; for, as a rule, not only are one or two of the stripes of a peculiar cherry red and one a rich yellow, but three or four of the narrow stripes next to the field are similar in width and ornamentation to those of the Kulah. When contrasted with them the broad central stripe and the outer one seem lacking in harmony, for they are distinctly floral and suggestive of Persian influences.
On account of the quality of their wool and weave, these rugs are soft and flexible. They resemble in some minor details others of the Anatolian plateau, yet they can be distinguished by the presence of grass-green colour and the shape of the prayer arch. The nap of these old pieces, like that of Kulahs and Ladiks, is of medium length; though in modern pieces it is often longer, and the weft and webs are coloured as are those of Bergamos.
Type Characteristics.Colours, principally red and green, also some blue, brown, and white. Knot, Ghiordes.Knotsto inch horizontally five to nine; perpendicularly, five to ten. A half knot as it appears at back is as long as, or longer than, wide. The rows of knots are not firmly pressed down, so that in places the warp shows.Warp, wool; each of the two threads encircled by a knot is equally prominent at back, or occasionally one is slightly depressed.Weft, wool, of medium or coarse diameter and generally of different colours in the same rug. A thread of weft crosses from two to six times between two rows of knots, varying in the same rug.Pile, wool, of medium length.Border, from five to eight stripes.Sides, a weft selvage of two, three, or four cords of different colours.Lower end, web and warp loops.Upper end, a web and warp fringe.Texture, loose.Weaveat back is of coarse grain.Usual length, four to six feet.Usual width, two thirds to four fifths length.
Anatolians.—To all of Asia Minor was once applied the term “Anatolia,” which signifies the Land of the Rising Sun; so that any product of this country might well be called Anatolian, just as any product of Persia might be called Iranian. In fact, many of the less known classes, as the Nigde, Tuzla, Mudjar, and even the Kir-Shehr, Melez, and Konieh, are often called Anatolian. But as there is a special type of rugs known as Iranians, so is there a special type known as Anatolians. They are, however, a mixed lot, that come from parts of a wide stretch of territory, extending over the interior table-land to the home of the Kurds, and incorporating ideas received from many districts. It is, accordingly, difficult to define them as a type; but, as a rule, they are small pieces that are often used for mats and pillows, with moderately long nap of soft, floccy wool, with narrow borders, and a colour scheme that inclines to bright and sometimes garish colours.
Doubtless the best of them come from the provinces of Angora and Konieh, lying within a radius of one hundred miles of Lake Tuz Gul. Here can be obtained the best of wool and dyes; and in some of the old pieces appears the artistic drawing of the more important rug centres farther to the west, but with a strange blending of geometric and floral forms. Eight-pointed stars as well as latch-hooks are seen everywhere, and a very old design with the shape of ram’s horns is frequently used. In many of the prayer rugs the arches are of the Kir-Shehr order, though the panels may contain vandykes suggestive of Ladiks. There is the greatest latitude in the width of the borders, which occasionally are their most noticeable feature and again are most insignificant; but in either case they rarely contain more than three stripes, and not infrequently only one. Red, blue, green, and brown are the usual colours, but pink and canary yellow are sometimes used.
Farther to the east, among the foot-hills of the Anti-Taurus mountains, is woven a coarser type by the Kurdish tribes. With the exception of wool and dyes they have little to their credit; for their usual unsymmetric shapes, crude geometric designs, long uneven nap, and braided fringe of warp at the ends are lacking in all elegance.
Type Characteristics.Colours, principally red, blue, green, brown, and white.Knot, Ghiordes. Knots to inch horizontally five to nine; perpendicularly, six to twelve. A half knot, as it appears at back, is generally as long as wide, or longer. The rows of knots are not firmly pressed down, yet the warp is frequently concealedat back.Warp, wool; each of the two threads encircled by a knot is equally prominent at back.Weft, wool, of medium or coarse diameter and usually dyed, A thread of weft crosses two, three, and four times between two rows of knots frequently varying in the same piece.Pile, wool, of medium length.Border, one to three stripes, and occasionally an edging.Sides, a weft selvage of two or three cords.Both ends, a web and warp fringe.Texture, loose.Weaveat back is of coarse grain.Usual length, two and one half to six feet.Usual width, one half to two thirds length.
Karamans.—At the foot of Mt. Taurus and overlooking the plain that stretches northward into the heart of Asia Minor is the city of Karaman. Before its subjection in the XV Century by Bajazet II and the removal of the capital to Konieh, that lies sixty miles to the northwest, it was the seat of a Turkish government extending to the Mediterranean Sea; but to-day the only reminder of its early importance are several Saracenic mosques covered with rich arabesques. Of the rugs woven there during the early period almost nothing is known, but, on account of the former importance of the city, it is not improbable that they compared favourably with the rugs of other parts of the Turkish Empire. On the other hand, some of the modern products are among the poorest rugs of the East, and contain little artistic merit. A feature peculiar to many of them is the use of natural wool of reddish brown colour, obtained from sheep which live on the mountain ranges to the south of Karaman. The pile is long, the weave is never very firm, and at each end is a coloured web.
Sivas.—In the city of Sivas, at the eastern end of Anatolia, and in the villages of the surrounding plain, girls and women have woven rugs from time immemorial; but on account of the difficulties of transportation few of them reach this country. The carefully finished sides and ends, the formal character of the pattern, and the almost harsh effect of the strongly contrasting colours of many of them are unlike what are found in the nomadic rugs made farther to the east and west. In the weave is a hint of Persian influence; for not only are both warp and weft of cotton, but the warp is of small diameter and well spun, and one of the two threads to which a knot is tied is depressed below the other. The pattern, on the other hand, is distinctly Turkish. One of the best known types consistsof a large hexagon that reaches to the sides and ends, and contains within it a medallion on which are designs similar to those seen in Bergamos. On the white field surrounding the medallion are often small rosettes and floral figures. The corners of the field may be fringed with running latch-hooks or a row of formal T’s, and contain a rosette at their centre. The borders are rarely wide, and often consist of a single stripe that contains some conventionalised floral form. Although these rugs are well woven, their crude blending of floral and geometric figures, as well as their formality of drawing, which is accentuated by the shortness of the nap, are most suggestive of Occidental conventions.
Plate 43. Tcherkess RugPlate 43. Tcherkess Rug
Plate 43. Tcherkess Rug
Type Characteristics.Colours, principally red and white; also dull blue, green, and light yellow.Knot, Ghiordes. Knots to inch horizontally seven to eleven; perpendicularly, nine to fifteen. A half knot, as it appears at back, is not as long as wide. The rows of knots are pressed down, so that the warp does not show at back.Warp, cotton, well spun and of small diameter. One of the two threads encircled by a knot is depressed below the other at back and sometimes doubled under the other.Weft, cotton, of medium diameter. A thread of weft crosses twice between every two rows of knots.Pile, wool of short to medium length.Border, narrow, one to three stripes.Sides, an added selvage of four or five cords attached in places, and with weft encircling inner cord of selvage.Both ends, narrow web and loose warp fringe.Texture, firm.Weaveat back is only slightly coarse.Usual length, three and one half to six and one half feet.Usual width, two thirds to four fifths length.
Mudjars.—Near the river Kizil Irmak in Central Asia Minor is the city of Mudjar, which produces rugs that occasionally reach this country. They are often classed as Anatolians, but their colour scheme covers a wider range, including red, yellow, green, blue, mauve, and pink, all of which may be seen in the same piece. In fact no other rug of Asia Minor contains as a rule so many colours, which appear in the broad borders of old, well-woven pieces with glistening wool almost like mosaic work. Many of this class are namazliks with arches very similar to the arches in the rugs of Kir-Shehr, which is distant only twenty-five miles to the north; and in the panels above the spandrel are not infrequently designs of vandykes borrowed from the Ladiks. Some suggestion of the tree of life often appears in the field, and again rows of flowers mayextend into it from the sides. Some of the best examples are very handsome.
Type Characteristics.Colours, principally red, yellow, blue, green, and ivory, also mauve and pink.Knot, Ghiordes. Knots to inch horizontally six to nine; perpendicularly, seven to twelve.Warp, wool. Each of the two threads of warp encircled by a knot is frequently equally prominent at the back, but generally one is depressed below the other.Weft, wool, of medium to coarse diameter dyed red or brown. A thread of weft crosses twice between every two rows of knots.Pile, wool of medium length.Border, broad, of three to four stripes.Sides, a three-cord selvage, frequently red.Both ends, coloured webs and fringe.Texture, loose.Weave, moderately coarse.Usual length, four to six feet.Usual width, two thirds to three quarters length.
Nigdes.—Near the base of the Anti-Taurus mountains in the eastern part of the province of Konieh is the city of Nigde, which is little known in this country as a rug-producing centre, though its fabrics reach Europe. Many of them are namazliks, that are distinguished by their high geometric arches. The borders often show the influence of the Kurdish tribes, and contain patterns common in the Mesopotamian valley; but their colour scheme of red, blue, and yellow more closely resembles the Anatolian. Most of them are of small size and are poorly woven.
Tuzlas.—Another class of Asia Minor rugs rarely seen are the Tuzlas. They are generally regarded as Anatolians, but are made by people who live about Lake Tuz Gul in the province of Konieh. Some of them are well woven, and have soft woollen pile and attractive patterns. The prayer arch of the namazliks bears some resemblance to the arch of the Kir-Shehrs; the panel is relatively high; and not infrequently the borders have rosettes similar to those of Bergamos. The principal colours are red, blue, green, and ivory.
Kaisariyeh.—One of the few Asia Minor centres for the manufacture of silk textiles is the city of Kaisariyeh, the ancient Cæsarea, near the eastern part of Anatolia. Formerly rugs of excellent quality were made there; but the modern products are, as a rule, inferior both in workmanship and material to those of Hereke. Frequently their dyes are aniline and the colours garish. Many of them areprayer rugs with arches resembling the Ghiordes pattern, but their borders are more conventional. Woollen rugs which are copies of other well-known Asia Minor pieces are also woven there.
COLOUR PLATE VII—LADIK PRAYER RUG
The rug here represented conforms in every particular to one of the best types of Ladik prayer rugs. It contains the beautiful border stripe of Rhodian lilies, the pomegranates and vandykes in the panel below the central field, and the queer designs of scrolls and serrated leaves so peculiar to these rugs. It is interesting to see how the pattern of the innermost stripe, which consists of a row of S-forms at the top and sides, is changed so as to resemble a ribbon at the bottom, to note the eight-pointed stars resting on octagons in the lower panel, so suggestive of nomads, and also the designs which have been placed near the two corners on the left, between the rosettes and Rhodian lilies of the main stripe, as if to divert the spell of the “evil-eye.” Such irregularities, denoting the idiosyncrasies of the weaver, add to the charm of Oriental rugs.
Loaned by Mr. Hulett C. Merritt
COLOUR PLATE VII--LADIK PRAYER RUG
Yuruks.—Suggestive of gipsies, yet widely unlike them, are the tribes of Turkoman descent known as Yuruks. This term means “Wanderers;” and they are well named, since throughout the western part of Asia Minor they follow their sheep, cattle, and camels from the rich pastures among the mountain tops of the interior, where they live in summer, to the fertile, sunny plains bordering the seashore in winter. Even near Smyrna and the slopes of Mt. Olympus may be seen their black goat’s-hair tents, where the unexpected guest is always welcome.
In their rugs is the reflection of their untrammelled lives, unaffected by the refinements of cities; and as their lives are different from those of all other inhabitants of Asia Minor, so are these rugs entirely distinct, resembling more than anything else the work of the wild Kazaks of the Caucasus. In them will be recognised the same long nap, the same massing of colour, the same profusion of latch-hooks, and other simple designs. The colours, however, are less brilliant, bright reds and yellows being more sparingly used; but on the other hand the depth of floccy nap gives a subdued richness to the dark metallic madder, blue, green, and brown, such as is rarely seen in any Kazak. The patterns show the usual diversity of nomadic rugs. The fields may contain crude, unrelated figures, or diagonal stripes on which are small geometric designs. Again from the Kurdish tribes to the east may be adopted the pear designs as well as floral forms, but the drawing is always far from realistic.
Most of the modern rugs have fine wool coloured with vegetable dyes, and stout warp and weft woven to give flexibility; but their patterns show a want of all artistic feeling. Now and then, however, comes to light a piece that has stood the wear of more than a century, showing the touch of a higher craftsmanship, and with colours softened by each succeeding year.
Type Characteristics.Colours, principally brown, red, and blue, with minor quantities of yellow, green, and white.Knot, Ghiordes. Knots to inch horizontally five to seven; perpendicularly, six to nine. The rows of knots are not closely pressed down, yet the warp does not show at back.Warp, wool or goat’s hair; each of the two threadsencircled by a half knot is equally prominent at back.Weft, wool of medium diameter. A thread of weft crosses two, three, or four times between every two rows of knots, varying in the same rug.Pile, wool, clipped long.Border, from four to six stripes, occasionally with an outer edging.Sides, generally a heavy double overcasting, but occasionally a double selvage of two or three cords.Lower end, a coloured web through which generally runs a parti-coloured cord, and warp loops; or the warp threads may be knotted and hang loose.Upper end, a coloured web through which generally runs a parti-coloured cord, a braided selvage, and a warp fringe; or the warp ends may be braided together at short intervals.Texture, loose.Weaveat back is of moderately coarse grain.Usual length, four to nine feet.Usual width, two fifths to two thirds length.
Regarded as a whole, the borders of Asia Minor rugs show but slight relationship to either the geometric patterns of the Caucasian, or the floral patterns of the Persian; for as a rule the geometric features either are subordinate or suggest an origin by degradation from floral designs, and the floral features generally are represented by an orderly arrangement of disjunct forms rather than by continuous vines with pendent flowers. Yet there is no doubt that some were copied by Caucasian weavers, and that many were derived from Persian patterns. They are frequently, however, more artistic than the former, more interesting than the latter, and rival both in beautiful colouring and delicate drawing.
Primary Stripes.—Several different stripes peculiar to Ghiordes prayer rugs are illustrated in PlateG, Figs. 1, 2, 3, 4, and 5 (opp. Page 192). The first of these is probably the oldest. It is so strikingly suggestive of the Herati design of rosette and attendant leaves that there can be little doubt of its Persian origin. The seed-like processes of the alternate rosettes are noticeable. The second, which is found in many of the Ghiordes rugs, shows the same pattern more conventionalised, with the rosette resembling an open pod and with the leaves almost octagonal-shaped. The third is a still greater evolution of the same pattern in which leaves and rosettes of nearly equal shape and size are placed at three angles of a quadrangular space. The last, which is a very elaborate pattern somewhat similar to the first, is found in a few old rugs. Besides these, a number of parallel lines similar to those of Kulah rugs (PlateG, Fig. 12) are sometimes seen in the Ghiordes.
Plate G. Primary Border-Stripes of Asia Minor RugsPlate G. Primary Border-Stripes of Asia Minor Rugs
Plate G. Primary Border-Stripes of Asia Minor Rugs
One of the best known Ghiordes stripes found in odjaliks and sedjadehs is shown in PlateG, Fig. 6. It is a broad stripe with wide, vine-like bands covered with rows of small flecks or flowers. Between each flexure of the band are designs probably symbolic of early sun worship.
In PlateG, Fig. 7, is represented the most usual and beautiful stripe of the Ladik prayer rugs. The principal motives are Rhodian lilies, and rosettes identical with Persian forms, that are probably conventionalised roses. Another stripe, in which the lily is replaced by a conventionalised vine, is shown in PlateG, Fig. 8. Both these stripes are found only in Ladik rugs. Other stripes seen now and then in Ladik and Melez sedjadehs are illustrated in PlateG, Figs. 9, 10, and 11, each of which shows a conventionalised leaf.
One of the most typical Kulah stripes is seen in PlateG, Fig. 12. It might in fact be regarded as a number of parallel stripes, but as will be evident by observing a large series of Kulahs it serves the function of a single broad stripe. Often the separate bands are replaced by a ground of uniform colour marked by parallel rows of minute flowers of regularly varying colour. Occasionally this stripe is copied by Ghiordes weavers.
In PlateG, Fig. 13, is a well-known stripe that appears both in Kulah and Rhodian rugs. As previously explained, its origin is probably floral, though the drawing is geometric. A formal stripe found in Bergamos, and consisting largely of diamonds and eight-pointed stars, is represented in PlateG, Fig. 14.
Figs. 15 and 16 of PlateGillustrate the border stripes of Melez rugs. Each contains regularly spaced rosettes, separated by conventionalised leaf forms. A much more geometric Melez border, in which the rosettes are replaced by eight-pointed stars and the leaves by discs, is shown in PlateG, Fig. 17.
A geometric stripe of uncertain origin that is found in some Koniehs is shown in PlateG, Fig. 18.
In PlateG, Figs. 19 and 20, are represented two stripes characteristic of Kir-Shehrs. The former is a dainty pattern consisting of a row of bushes separated by the lily design. It is occasionally found in the Melez also.
A typical Mudjar stripe in which the geometric patterns are subdivided into small and richly coloured mosaic work is seen inPlate G, Fig. 21.
In PlateG, Fig. 22, is illustrated a Yuruk border stripe such as is frequently seen in modern pieces.
Secondary and Tertiary Stripes.—In PlateH, Figs. 1 and 2 (opp. Page 194), are illustrated two secondary stripes frequently seen in Ghiordes and Kulah rugs. The first is most suggestive of a running vine, and the second has doubtless been derived from it.
A more ornate pattern, which generally accompanies the broad band of perpendicular lines peculiar to Ghiordes and Kulah rugs, is shown in PlateH, Fig. 3. The arrangement of three leaves in angles of quadrangular spaces suggests relationship to the primary stripe of PlateG, Fig. 3 (opp. Page 192).
Two other secondary stripes found in Ghiordes rugs are seen in PlateH, Figs. 4 and 5. The former, which is also found in Kulahs is a vine and flower subject to many modifications.
A tertiary stripe containing a ribbon-like vine is very usual in Ghiordes and Kulah pieces. One of these, which is very graceful, is shown in PlateH, Fig. 6.
Another angular vine with pendent flower, that appears as a secondary stripe of a large number of Ladik prayer rugs, is illustrated in PlateH, Fig. 7. This resembles a few Persian stripes, but the drawing of the pendent leaf is characteristic of Asia Minor.
Figs. 8 and 9 of PlateHrepresent two tertiary stripes often seen in Ladiks and Kulahs. They illustrate the evolution of patterns; for in the same stripe of a rug will sometimes be seen the first of these and the simple ribbon pattern of PlateF, Fig. 18 (opp. Page 158), and also in the same stripe of another rug will sometimes be seen the second of these and a continuous row of “ff” designs, as in PlateH, Fig. 2.
The most typical of all Kulah secondary stripes, though it is also seen in Rhodian rugs and occasionally in an old Ghiordes, is illustrated in PlateH, Fig. 10. A somewhat similar stripe is shown in PlateH, Fig. 11. The design looks like a Chinese motive, but that it is evolved from a vine will be seen by comparing these stripes with those in Figs. 4 and 12. All of them are Asia Minor border stripes.
Plate H. Secondary and Tertiary Border-Stripes of Asia Minor RugsPlate H. Secondary and Tertiary Border-Stripes of Asia Minor Rugs
Plate H. Secondary and Tertiary Border-Stripes of Asia Minor Rugs
In Figs. 13 and 14 of PlateHare illustrated the swastika andS stripe, which are seen now and then in Asia Minor rugs, such as Kulahs, and also in Caucasian rugs.
One of the most typical of Melez secondary stripes, representing processes like cogs projecting in a row from alternating sides of the stripe, is shown in PlateH, Fig. 15. The stripes shown in Figs. 16 and 17 of PlateH, representing a row of small rosettes and a row of octagonal discs, are also occasionally seen in Melez rugs.
The very angular vine shown in PlateH, Fig. 18, is sometimes seen in Koniehs.
A very unusual secondary stripe (PlateH, Fig 19), found in a few Anatolians, represents a fret pattern, which was probably copied from some monument.
The chain pattern (PlateH, Fig. 20) is occasionally seen as a tertiary stripe in the Ghiordes. It appeared in Asia Minor rugs of several centuries ago, and has been copied by the weavers of Caucasia. Sometimes the lines are angular, and again the S’s are separated by small round or square dots.
Legend:KNOT—H = HorizontallyP = PerpendicularlyWARP—g = goat’s hairs = silke = each equally prominentd = 1 to the knot depressedh = 1 to the knot doubled underWEFT—s = silkj = juteNo. = No. times crossing bet. two round knotsSIDES—O = overcastingS = selvageLOWER ENDW = webS = SelvageK = Rows knotsL = warp loopsF = fringeUPPER ENDW = webS = selvageK = Rows knotsT = turned back and hemmedF = fringe
[] indicates the less frequent condition.
ASIDE from the facts that the Caucasus is rugged, that during the Middle Ages it was ruled by the illustrious Tamara, and that till recently the physical charms of its women made them favourites in the slave markets of Constantinople, the character and history of that country are to-day almost as unknown to the average reader as they were when the bards of ancient Greece bound Prometheus to its rocks and hung the Golden Fleece from its oaken boughs. Yet it is a country of wonderful interest. Above its gorges, rivalling those of the Himalayas, rise mountains higher than the Alps. On the southwestern slope are combined the luxuriant vegetation of tropical lowlands with virgin forests of fir and pine, and in meadows and beside shaded brooks grow flowers of strange beauty. Beneath the ground is undeveloped wealth of ores and mineral oil. The river Phasis is the natural home of the pheasant; the crags are the resorts of ibex; and in secluded glens sharing solitude with bear, wolf, and boar are hidden the wild aurochs.
Moreover, the philologist, ethnologist, and historian can here follow his favourite pursuit with as much zest as the Alpine climber, botanist, mineralogist, and sportsman; for within the confines of this region are spoken some seventy languages by as many distinct clans, each of remote origin. Some are the descendants of the early dwellers; some are the Aryan stock that found its way to Europe before the beginning of history; still others are but the offspring of the flotsam and jetsam which recurring waves of Asiatic conquerors, surging westward in ancient times, left stranded here. Nevertheless, for so many generations have the present inhabitants remained among their mountain strongholds, unabsorbed and unassimilating, that they have been regarded as a type sufficiently pure and characteristic to give its name to the great Caucasian race.
Though enjoying greater isolation than surrounding countries, the Caucasus at different times and in different ways has felt their influences. During the Augustan age of Tamara’s rule she attracted by her brilliancy, taste, and industry foreign courtiers and artisans. Hardly was she dead before Genghis Khan’s horde of conquering Mongols poured over the land; and rival suitors, enraptured by her daughter’s beauty, pressed their claims by invading it with their Mohammedan armies. For long succeeding years Persia struggled with Turkey for the mastery of the country, and was about to take it when Russia grasped the prize, but only after Shamyl with a few brave thousands had defeated vast armies.
Each of these foreign guests or foes left some impression on the native art; so that Caucasian rugs show traces of Turkoman, Turkish, and Persian influences. It is rarely, excepting in a few small geometric figures, that there is any evidence of the Turkoman influence; but it is not unusual to see border stripes and field designs adopted from the Turkish rugs. Some of these stripes represent both geometric and floral patterns, either copied directly or derived with slight modifications from rugs woven three or four centuries ago in Asia Minor or Armenia. The Persian influence is apparent only in the floral forms. It doubtless inspired the stripe of dainty carnations so common in a large number of Caucasian pieces, the pear design inseparable from Baku rugs, as well as many other figures that first appeared in the rugs of Persia.
Nevertheless, these rugs have their own distinct characteristics, which have a boldness and virility that are to be attributed in a measure to grand and rugged scenery as well as to centuries of struggle for independence, since in art the influence of environment is most apparent. They lack something of the sobriety, artistic drawing, and delicate colouring of those woven in vast deserts, amid the monuments of fallen empires, and in the gardens of the East; they contain on the other hand, both in line and colour, the forceful expression of untrammelled thought. The patterns are largely geometric; the tones of colour, in which clear red, blue, green, and yellow predominate, are strong. On the whole, they possess an individuality of character that is not surpassed by the rugs of any other group.