Plate 50. Gengha RugPlate 50. Gengha Rug
Plate 50. Gengha Rug
A peculiarity of this class is the drawing of the pear designs, which are found in a very large number of the rugs. The extension of the narrower end, instead of being a short, curved hook, is generally more developed, so that it may be as long as the major axis of the pear and frequently stands almost at right angles to it. Also attached to the sides of the pear are rectangular bead-like processes (PlateO, Fig. 6c, Page 291). In many of these rugs, the field is divided into a number of bands parallel with the sides; and through them run vines, from which the pears are suspended. Or the pears may be arranged in regular order on the field without the bands and vines. Sometimes the field is reduced to a very small space by a broad border consisting of a number of stripes, some of which are often of striking patterns. One of them is represented in PlateI, Fig. 15 (opp. Page 226), which suggests the grape vine common to the gardens of Kutais. Some form of the tree of life and floral forms are also seen in old pieces.
A resemblance exists between the weave of Kutais and Tiflis rugs, as in each the weft usually crosses several times; it is generally coloured blue or red, and is formed of fine threads of yarn. The wool of the nap is of the same fine quality; but the warp of the Kutais rugs, which is almost invariably of wool, frequently consists of a brown and white thread twisted together; and the knots are tied less evenly, so that the alignment at the back is a little more irregular, yet less so than in Kazaks.
Type Characteristics.Colours, principally red, blue, and white, with minor quantities of yellow, brown, and black.Knot, Ghiordes. Knots to inch horizontally five to nine; perpendicularly, six to eleven. A half knot, as it appears at back, is as long as wide or longer. The rows of knots are slightly pressed down. The alignment is more even than in Kazaks.Warp, generally wool, occasionally cotton; each of the two threads encircled by a knot is equally prominent at the back.Weft, wool, of fine or medium diameter. A thread of weft usually crosses three times, occasionally only once, and again four or five times.Pile, wool, of medium length or long.Border, three to five stripes.Sides, either a double overcasting, or a double selvage of two or three cords.Both ends, a web and warp fringe.Texture, moderately firm.Weaveat back, generally of medium fine grain but occasionally coarse.Usual length, six to twelve feet.Usual width, one third to two thirds length.
Kazaks.—Of the warlike Cossack tribes, which were once stationed along the southeastern border of Russia to protect it from the depradations of Caucasians, a number settled permanently in Circassia, and a few crossed the mountains to the high plateau lying between Lake Gotcha and Mt. Ararat. Here they adopted more sedentary lives; but there still lingers the inherited spirit that generations ago won for them the name Kazaks, which denotesto the Tartars, from whom many have doubtless sprung, a Marauder. All of these tribes weave; but the rugs seen in this country come principally from the southern district, where may also be found the fabrics of other races such as Armenians, Tartars, and the native people. Nevertheless, the Kazak weavings are of a most distinct type, to which even the smaller Kazakjes conform. They have bright, rich colours, of which a liberal amount of green is almost invariably present, though sparingly used in other Caucasian rugs. Only the Tcherkess vie with them in the length of the nap; and no other class has such noticeable patterns of incongruous sizes and shapes. They have, in fact, the most nomadic, unconventional patterns of all this northern group; and in their barbaric characteristics, they bear much the same relation to other Caucasian rugs as those of Western Kurdish and Yuruk tribes bear to Persian and Asia Minor pieces.
In marked contrast to the almost mosaic drawing of Chichis and many Daghestans, the Kazaks show a tribal fondness for large patterns. Sometimes the field is divided into three horizontal panels, which may be entirely plain except for a simple design fringing the edges; or as is more frequently the case, it may be occupied by large, slightly elongated octagons, within which are represented smaller figures. Occupying almost the entire field of other pieces are large patterns like medallions, perfectly balanced with reference to the centre and subdivided into small sections, each of which contains individual motives. A few of this class, also, have the “sunburst” pattern, so characteristic of the Tcherkess.
At least half the pieces now seen are without any formal pattern, but contain a heterogeneous lot of geometric designs characteristic of nomadic weavings; but even these are generally arranged with the idea of symmetrical balance. For instance, at the centre may be a large geometric figure surrounded at equal distances by pairs of smaller and similar figures. Not infrequently the drawing of the upper and lower half, or of the right and left side, shows an almost perfect correspondence, notwithstanding the many separate designs. The most common of these are eight-pointed stars, lozenges fringed with latch-hooks, and what are known as the “tarantula” device. Of the innumerable small figures, the octagonal discs and S forms are the most common; crude animal and human figures are also seen.
Excepting the addition of the arch, there is little distinctionbetween namazliks and sedjadehs. It is small and less graceful than that of Asia Minor pieces, and follows stiff lines in harmony with the general pattern. It is, however, drawn in two different ways. Generally it has the shape of half an octagon, or of a wall-tent with apex flattened; but not infrequently it is square or slightly oblong. The narrow bands that form the arch are extended transversely from each side of the base to the borders; and occasionally they are continued down the sides of the field to form at the bottom a figure similar to the square-shaped arch. Now and then a comb, or small figure of diamond shape, on which to place the bit of sacred earth from Mecca, is outlined within the mihrab; and now and then crude palm-like figures, indicating where the hands are to be rested in the act of devotion, are represented at the sides.
However many stripes the border may contain, rarely are there more than one of any consequence; since the guard stripes have generally only the reciprocal sawtooth or trefoil patterns, the barber-pole or dotted lines. The absence of important secondary stripes, however, brings out more prominently the drawing and colouring of the main one. The most common pattern is what is known as the “tarantula” represented in PlateI, Fig. 8 (opp. Page 226). Very similar is the crab pattern (PlateI, Fig. 7), which was undoubtedly derived from the double vine of some Persian rug, as the crab-like figure may be resolved into a rosette to which are attached four conventionalised leaves. Another pattern, which is also seen in Kutais rugs, is the crude but striking vine shown in PlateI, Fig. 15, which, when represented in bold, rich colours on an ivory field, makes a most effective and beautiful border stripe. Other border stripes frequently employed in these rugs appear in PlateI.
Unfortunately, during recent years, many inferior rugs of other tribes have been sold as Kazaks, which in a measure they often resemble though they lack their spirit and character. The very modern Kazaks, also, are often of poor quality, but those made two generations or more ago were carefully and stoutly woven, with silky wool dyed with the best of vegetable colours. There is always something interestingly barbaric in their long, almost shaggy nap, their masses of rich red and green, their bold designs surrounded by smaller nomadic figures, all of which collectively find no counterpart in any other Caucasian rugs.
Type Characteristics.Colours, principally red, green, and yellow, also some blue, white, and brown.Knot, Ghiordes. Knots to inchhorizontally six to nine; perpendicularly, seven to ten. The rows of knots are pressed down, so that the warp is hidden at back.Warp, wool; each of the two threads encircled by a knot is equally prominent at back.Weft, wool, of coarse diameter, usually dyed red or brown. A thread of weft generally crosses only twice between every two rows of knots, but occasionally three or four times.Pile, wool, clipped long.Border, three to five stripes.Sides, a double overcasting attached in figure-eight fashion to the sides, or a double selvage having from three to five cords.Lower end, a red or brown web and warp loops, or a braided selvage and fringe.Upper end, a red or brown web, occasionally a braided selvage or several rows of knots, and a warp fringe.Texture, stout.Weaveat back is of very coarse grain.Usual length, five to twelve feet.Usual width, one third to three quarters length.
Karabaghs.—To the southeast of Lake Gotcha and north of the river Aras, that divides Caucasia from Persia, is the district of Karabagh, a name signifying “Black Vineyard.” On account of its geographic position, it has been subject to the Shahs for long periods, during the many struggles between the two countries. It is, moreover, separated from the rug-producing district of Karadagh by the river only; and its southern border is less than eighty miles distant from the city of Tabriz, to which many of its rugs are taken. For these reasons it would be only natural to expect that the weavings of Karabagh would show more of the Persian influence than those of any other part of Caucasia. Such, indeed, is true, when applied to the oldest pieces; but it is not at all true in the case of a large percentage of the modern products.
Within recent years large numbers of these coarsely made and wretchedly dyed rugs have reached the Western markets. Some of them resemble Kazaks in their geometric figures; but differ from them in their workmanship, since one of the two threads encircled by a knot is depressed; they are much more loosely woven; they are not so large; nor for the most part are they so heavy. Other pieces often lack the symbolic and other small designs that render nomadic rugs so interesting. Occasionally the central field is almost figureless, or there may be large expanses of white or some raw colour such as startling red, yellow, or blue, on which appear stiffly and crudely drawn nondescript devices.
Plate 51. Royal Bokhara RugPlate 51. Royal Bokhara Rug
Plate 51. Royal Bokhara Rug
It is a relief to turn from these poor pieces to those woven halfa century ago, with less obtrusive colouring and more chaste patterns. Many of the old pieces are oblong sedjadehs, which have often a length almost twice the breadth; though the more modern pieces incline to smaller and nearly square sizes. There are also namazliks that do not always religiously follow the usual pattern; for now and then one is seen with an arch of several steps, rising from near the middle of the sides, and with a diamond for the sacred earth or pebble from Mecca, as is shown in PlateC, Fig. 12 (Page 61). The particular piece from which this was drawn was over fifty years old and was three fourths as wide as long. Scattered over the main field, which was yellowish brown, and the spandrels, which were white, were geometrically shaped flowers with long angular stems tinted with blue, green, and pinkish red.
The borders show as great diversity as the fields, but one stripe usually contains a concession to the Persian and another to the Caucasian tradition. For instance, the primary stripe may be of Iranian character flanked by the running latch-hook; or it may be the well-known crab pattern, while the adjacent stripe may be a running vine of simple form.
Many of these old pieces are very handsome and equal in artistic finish the best of Caucasian rugs; the drawing is carefully executed; the colours are rich; the weave is fair; but like the rare old rugs of Daghestan and Tiflis, are now seldom seen.
Type Characteristics.Colours, principally red, blue, yellow, and white.Knot, Ghiordes. Knots to inch horizontally six to ten; perpendicularly, seven to ten. The rows of knots are only slightly pressed down, yet the warp is generally concealed at back.Warp, wool; one of the two threads encircled by a half knot is depressed below the other at back.Weft, wool, of medium or coarse diameter, sometimes dyed red. A thread of weft crosses twice between every two rows of knots.Pile, wool, of short or medium length.Border, three stripes.Sides, generally a double selvage of two or three cords, in lengths of different colours; occasionally a double overcasting attached figure-eight fashion.Lower end, a web and warp loops, or a braided selvage, one row of knots or more, and a warp fringe.Upper end, a web, a web turned back and hemmed, or a braided selvage, one row of knots or more, and a warp fringe.Texture, loose.Weaveat back is of coarse grain.Usual length, four to nine feet.Usual width, one half to three quarters length.
Shushas.—About seventy miles to the southeast of Lake Gotcha is Shusha, capital of Karabagh. Nearly two centuries ago, it was built by Nadir Shah on an almost inaccessible mountain side to guard the northern boundary of Persia, which had been extended to the Caucasus. It has now about twelve thousand inhabitants, and is the market place for numerous tribes that are scattered over the dry plains as far as the Aras river. In this city and in the suburbs are woven rugs that are frequently imported to this country and sold under several names, yet are of a distinct type. They resemble the Karabaghs of the surrounding country but differ from them in their richer and more subdued colours as well as in the stoutness of weave. One thread of warp to each knot is doubled beneath the other, whereas in the rugs of the desert tribes it is only depressed.
Type Characteristics.Colours, principally dark blue, red, and brown, with minor quantities of green and yellow.Knot, Ghiordes. Knots to inch horizontally seven to twelve; perpendicularly, six to eleven. The rows of knots are only slightly pressed down, so that the warp shows at back.Warp, wool; one of the two threads encircled by a knot is much depressed below the other at back, and frequently doubled under the other.Weft, wool, of medium diameter, generally dyed red. A thread of weft crosses twice between every two rows of knots.Pile, wool of medium length.Border, three stripes.Sides, a double selvage of two or three cords, often attached to the sides in figure-eight fashion.Lower end, a narrow web and warp loops.Upper end, a web that is sometimes turned back and hemmed, and a warp fringe.Texture, moderately firm.Weaveat back is of slightly coarse grain.Usual length, four to nine feet.Usual width, one half to three quarters length.
Genghas.—Over the land lying between lakes Gotcha, Van, and Urumiah, in Caucasia, Armenia, and Persia, tribes of mixed origin wander back and forth, but frequently gather at the yearly fair of Elizabethpol. During the period when the Persian rule extended over the country, it was the residence of a Khan and an important centre of trade. As it was then known as Ganja or Gengha, the weavings of these nomads, which were marketed there, acquired that name.
Plate 52. Princess Bokhara RugPlate 52. Princess Bokhara Rug
Plate 52. Princess Bokhara Rug
Naturally they are a heterogeneous lot containing ideas incorporated from many sources; but they resemble the Kazaks morethan anything else, and are frequently mistaken for them. Yet some of the distinctions are very marked: they have a more oblong shape; the nap is shorter; and they are less stoutly woven. In the Kazaks a thread of weft, as a rule, crosses only twice between two rows of knots, which are firmly pressed down; but in these rugs a thread of weft crosses from four to eight times between two rows of knots, which are not firmly pressed down, so that the narrow filling of weft is sometimes even four times as wide as a row of knots and presents a bead-like appearance. In the colour scheme of numerous pieces, which in many respects resembles that of Karabaghs, is often a preponderance of ivory white. There is no characteristic pattern. The field may be covered with diagonal stripes as in some Shirvans; it may consist largely of lozenges fringed with latch-hooks and tarantula devices; again, it may have some large central figure surrounded by a motley lot of emblematic as well as apparently meaningless devices, or crudely drawn human, animal, or floral forms. The borders, likewise, include a wide scope of patterns. It is, therefore, largely by the character of the weave, quality of material, and finish of sides and ends, that these pieces can be distinguished from other nomadic products.
Type Characteristics.Colours, principally blue, red, and white, with minor quantities of green, yellow, and brown.Knot, Ghiordes. Knots to inch horizontally six to eight; perpendicularly, six to nine. A half knot, as it appears at back, is longer than wide. The rows of knots are not firmly pressed down, so that the warp shows at the back.Warp, generally wool, occasionally goat’s hair; each of the two threads encircled by a knot is equally prominent at the back.Weft, wool, of medium diameter and usually dyed red. A thread of weft crosses twice between every two rows of knots, but generally three and frequently as many as six or eight times.Pile, wool of medium length.Border, three or four stripes.Sides, a double selvage of two, three, or four cords.Lower end, a web, usually coloured red, and warp loops.Upper end, a web to which a braided selvage is often added, and a warp fringe.Texture, very loose.Weaveat back is of coarse grain.Usual length, five to nine feet.Usual width, two fifths to two thirds length.
Disregarding a very few floral secondary stripes that have been derived from Persian rugs, the Caucasian borders are characterisedby geometric patterns, which distinguish them from other groups. But were it possible to trace them to their origin, it would doubtless be found that a very large number that are now strictly geometric have degenerated from leaf and flower patterns. Of the remainder, some are symbolic and others are crude copies of familiar objects. The more artistic and realistically drawn floral patterns appear in the less conspicuous secondary stripes; but on the other hand the primary stripes contain a number of unusually interesting patterns, which have been copied for centuries.
Primary Stripes.—The cup and serrated leaf pattern (PlateI, Fig. 1, opp. Page 226) appears so frequently in Shirvans as to be almost typical. It is also occasionally seen in Daghestans and Kabistans; but probably originated in Southern Caucasia or Armenia, since it is found similarly drawn in rugs woven in that district about 1500a. d.It is a pattern that scarcely varies with time or locality except in the number of serrations to the leaf and in the shape of the cup.
Serrated leaf patterns, represented in Figs. 2 and 3, PlateI, are sometimes seen in Kazak and other nomadic rugs. It is not improbable that they have a common origin with the Shirvan cup and leaf pattern.
In the stripe represented in PlateI, Fig. 4, is a series of wine cup rosettes that are occasionally seen in the old rugs from the Shirvan district. In fact, the wine cup design is a favourite there.
Another stripe, in which a somewhat similar cup appears, is shown in PlateI, Fig. 5. This is an old nomadic pattern not frequently seen.
Fig. 6 of PlateI, represents the well-known Chichi border stripe, composed of rosettes separated by diagonally drawn ribbon-like bars. To the rosettes are attached tri-cleft leaves. This stripe suggests at once some Persian vine and flower.
What is known as the crab pattern (PlateI, Fig. 7), is seen in Kazaks and other Caucasian nomadic rugs, as well as in a few very modern Asia Minor pieces. Though its resemblance to a crab is noticeable, it is really a rosette to which are attached four crudely drawn leaves, that frequently contain smaller designs at their centres.
Plate I. Primary Border-Stripes of Caucasian RugsPlate I. Primary Border-Stripes of Caucasian Rugs
Plate I. Primary Border-Stripes of Caucasian Rugs
Slightly resembling the last is the so-called tarantula pattern (PlateI, Fig. 8), that was possibly derived from the stripe with an eight-pointed star (PlateK, Fig. 12, opp. Page 230); but it seems moreprobable that the inspiration is Iranian and that it is intended for rosette and double vine. This stripe is found in Kazaks, Genghas, Tcherkess, and other nomadic rugs.
Somewhat like the last is the stripe of PlateI, Fig. 9, that is now and then seen in old Tiflis and other rugs of Southern Caucasia. It suggests a geometric rosette and double vine.
Occasionally the dainty clover-leaf design, represented in PlateI, Fig. 10, is used by the nomadic weavers. It is almost the only reciprocal pattern found in a Caucasian primary stripe.
The repetitive urn-shaped pattern of PlateI, Fig. 11 is once in a while seen in old rugs of the Daghestan country.
On account of the resemblance between the stripes shown in PlateI, Figs. 12 and 13, they have probably a common origin. Both are found in rugs of the Daghestan and Shirvan districts, and the former is occasionally seen in rugs of Asia Minor. Sometimes smaller adventitious devices are placed at the sides of the stripes between the rosettes.
Resembling the last is the pattern shown in PlateI, Fig. 14, which is commonly seen in Shirvan rugs and kilims. It is purely geometric and resembles one used in Western Asia Minor rugs of the XV Century, from which it may have been derived.
Though greatly conventionalised, the pattern represented in PlateI, Fig. 15 is a vine and leaf derived from much more ornate forms, which may be seen in a XVI Century Asia Minor piece that is in the British Museum. It is now seldom copied, but was once a popular pattern for the Kazak and Kutais weavers.
Some form of the latch-hook appears in a large number of Caucasian stripes, but mostly in nomadic pieces. Figs. 16, 17, 18, 19, and 20 of PlateI, represent patterns found mostly in old Kazaks and kindred rugs. The last one is also occasionally used as a secondary stripe. The patterns shown in PlateI, Figs. 21 and 22 are from stripes sometimes seen in the Daghestan and Shirvan districts.
A much more interesting stripe because of its well authenticated antiquity, is the one shown in PlateJ, Fig. 1 (opp. Page 228). It is found in rugs made in Southern Caucasia two centuries ago, and according to Dr. Martin has been used since the XII Century. Probably as the result of copying, the design appears reversed in many old rugs.30These stripes are seen in comparatively recent pieces, but principally
in those of the Daghestan and Shirvan districts. Though the latch-hook is suggested by the small triangular parts, it is more probable that originally they were intended for leaves. In a few stripes the design is elongated, and in place of a single crossbar there are several, forming a figure that slightly resembles a poinsetta, which is the term occasionally applied to it by weavers.
The stripe shown in PlateJ, Fig. 2, which is found in Kazak and other nomadic rugs, is interesting as representing a vine of which the pendant flower is replaced by a T formed by latch-hooks.
In Figs. 3 and 4 of PlateJ, are patterns of stripes found in rugs of the Shirvan and Daghestan districts. As they are several centuries old, they may be derived from Armenian patterns, to which they show kinship. Both patterns are at times reversed as the result of copying.31A stripe also used in the same districts and probably of similar origin is seen in PlateJ, Fig. 5.
Differing from any of these because of their utilitarian origin, are the separate designs, which arranged in perpendicular rows, form the “churn” stripe of PlateJ, Fig. 6. Each of them represents crude machines for churning milk, which were formerly used by the nomadic tribes of Southern Caucasia and Armenia, who constructed them out of logs with a length of about five feet, and placed the sharpened base in the ground. Then hanging a goat’s skin filled with milk over each of the sides, and seating themselves in the middle, they turned first one then the other. As might be expected, these stripes belong entirely to nomadic rugs.
Figs. 7 and 8 of PlateJ, represent stripes sometimes seen in Shirvans. The latter is undoubtedly derived from the prayer patterns that are often used in these rugs.
What is known as the Georgian stripe is shown in PlateJ, Fig. 9. It is found in Daghestans, Kabistans, Shirvans, Soumaks, Shemakhas, and Kubas. Though a primary stripe, it is rarely placed at the centre of the border, but at the outer or the inner side, or at both sides with a less ornate stripe between. As a rule it accompanies only the more artistic rugs.
Generally the primary stripes of Soumaks are different from those of other rugs. A few appear in Figs. 10, 11 and 12 of PlateJ. The last is interesting on account of the leaf-like forms of the octagonal designs.
Plate J. Primary Border-Stripes of Caucasian RugsPlate J. Primary Border-Stripes of Caucasian Rugs
Plate J. Primary Border-Stripes of Caucasian Rugs
The stripes seen in PlateJ, Figs. 13, 14 and 15 are found only in nomadic rugs. The last is interesting principally on account of the swastikas.
And old form now and then seen in the Daghestan-Shirvan classes appear in PlateJ, Fig. 16. It is an archaic pattern copied from a most interesting Daghestan prayer rug.
The stripe shown in PlateJ, Fig. 17 is sometimes adopted in rugs of Southern Caucasia, such as the Kutais and Kazak.
Another very old pattern found in the borders of the Daghestan-Shirvan classes is shown in PlateJ, Fig. 18. Though it suggests the narrow tertiary stripes known as “barber-poles,” it differs from them by being very much wider, and by containing bars of many different colours, as red, yellow, cream, blue, green, and brown, which generally contain short, oblong dashes.
A very interesting stripe, found almost exclusively in rugs from the districts of Daghestan and Shirvan, is the Cufic pattern of PlateJ, Fig. 19. It is particularly characteristic of old Daghestans and Kabistans, but must have been introduced through Shirvan from Armenia, as it can be traced through a gradation of changes to stripes of Cufic characters used in Asia Minor rugs of the XV Century.
PlateJ, Fig. 20 represents a “bracket-chain” pattern that probably originated in Asia Minor, but is occasionally found in the rugs of Caucasia.
In PlateJ, Fig. 21 is a stripe representing scorpions, that is very rarely seen in Shirvans; and in Fig. 22 is a stripe representing birds, sometimes seen in Bakus.
Secondary and Tertiary Stripes.—As the pattern shown in PlateK, Fig. 1 (opp. Page 230) shows in profile flowers representing carnations, it has been called the “carnation pattern.” It is very common in Shirvans, Kabistans, and Daghestans.
Less frequently seen are the rectangular vine with a design like a three-leaf clover, shown in PlateK, Fig. 2, and the very graceful vine with leaf and flower shown in Fig. 3, both of which are indiscriminately used in place of the carnation pattern in rugs with the same primary stripe. The latter is the most dainty and graceful Caucasian floral stripe. It is found in pieces of the Kabistan and Daghestan classes made over a century and a half ago, and is probably of Iranian extraction.
Another floral pattern from the same district is seen in PlateK, Fig. 4. It often accompanies the Georgian stripe of Daghestans and Soumaks, with which its stiff drawing harmonises.
Likewise, the stripe shown in Fig. 5 is found now and then in the same classes of rugs. Similar rosettes are sometimes represented in Persian stripes that show the influence of nomadic weavers.
Simple forms of the running vine which are seen mostly in the rugs of Southern Caucasia are represented in PlateK, Figs. 6, 7, 8, 9, and 10. All are old patterns. The third appears in an Asia Minor carpet woven about 1250a. d.The fourth is found in some of the oldest remaining rugs from Southern Caucasia, that date back two and a half centuries; and a pattern similar to the last is seen in some Persian carpets made about 1650a. d.
PlateK, Figs. 11 and 12 represent stripes sometimes seen in Chichis and a few other Caucasian rugs.
A very simple pattern, but one that at times is very attractive on account of its delicate colouring, is shown in PlateK, Fig. 13, and another is shown in Fig. 14. Both are used principally in rugs of Southern Caucasia.
The stripe represented in PlateK, Fig, 15, is found in very old rugs of the Daghestan and Derbend types; and there is a tradition among some of the native weavers that the designs originally represented boat hooks used by the sailors of the Caspian Sea. It is not unreasonable to suppose that the early weavers imitated objects of utility before those of mere ornament; but even if there is any basis for the tradition, it is equally probable that these designs are derived from the lily or other floral forms, and were introduced from Persia.
Somewhat similar to the last is the reciprocal trefoil, which generally appears with more simple drawing than is shown in PlateF, Fig. 17 (opp. Page 158). It is more widely used for a border stripe than any other pattern, as it is found in almost all Caucasian, in a large number of Persian, in Indian, and Beluchistan rugs. It was commonly used in Persian rugs as early as the year 1500.
The dainty Chain pattern of PlateK, Fig. 16 has a well authenticated antiquity, as it is found in Asia Minor carpets of the XV Century, from which it was probably derived. Without doubt it was a favourite pattern three centuries ago, as it appears in some of the early paintings in which Oriental carpets are represented.
Plate K. Secondary and Tertiary Border-Stripes of Caucasian RugsPlate K. Secondary and Tertiary Border-Stripes of Caucasian Rugs
Plate K. Secondary and Tertiary Border-Stripes of Caucasian Rugs
Not infrequently the right-angled corners are rounded so as to give it a more graceful form.
As the purely geometric pattern of PlateK, Fig. 17 is entirely lacking in ornamental features, it is used principally to separate more important stripes. Occasionally it is found in such rugs as the Chichis and Shirvans.
Another very simple pattern that is sometimes used as an inside stripe is seen in PlateK, Fig. 18. This is evidently an archaic form and is found principally in pieces of the Shirvan district.
The reciprocal sawtooth and the running latch-hook patterns (PlateK, Figs. 19 and 20) belong to the less important stripes of not only Caucasian but a number of Persian rugs. The former pattern appears constantly on the monuments of ancient Susa, and doubtless had once some symbolic meaning. The latter is seen in the corners of the Dragon and Phœnix carpet (Plate20, opp. Page 88) which was woven about 1350a. d.
Legend:KNOT—H = HorizontallyP = PerpendicularlyWARP—g = goat’s haire = each equally prominentd = 1 to the knot depressedh = 1 to the knot doubled underWEFT—No. = No. times crossing bet. two round knotsSIDES—O = overcastS = selvageLOWER ENDW = webS = SelvageK = Rows knotsL = warp loopsF = fringeUPPER ENDW = webS = selvageK = Rows knotsT = turned back and hemmedF = fringe
[] indicates the less frequent condition.
THE land that extends eastward about fourteen hundred miles from the Caspian Sea to the western boundary of the Chinese Empire, and northward for a similar distance from the Arabian Sea through Beluchistan and Afghanistan to the steppes of Western Siberia, is one of the least civilised parts of the eastern continent. Here until within a few recent years, the people lived the same untrammelled lives that their ancestors pursued for past centuries; and the encroachments of the Russian Empire on the north and the English on the southeast, have as yet made little impression on their uncultured natures. To these circumstances it is largely due that the rugs termed Central Asiatic, which come from this district, still possess to a large degree the originality of design, virility of character, and beauty of colour that are so rapidly disappearing from the woven products of countries more subject to the influence of Western civilisation.
These rugs may conveniently be divided into three natural sub-groups, which include:
1. The Turkoman, consisting of what are known in this country as Royal and Princess Bokharas, the Tekkes, Yomuds, Khivas, and Beshires, all of which are made in Turkestan;32and the Afghan, of which part are made in Turkestan and part in Afghanistan.
2. The Turko-Chinese, consisting of the Samarkands, which
are made in Western Turkestan, and the Kasghars and Yarkands made in Eastern Turkestan.
3. The Beluchistans or Beluches, made principally in Beluchistan.
No other rugs adhere more strictly to uniformity of colour and design than the Turkoman. And, when it is considered that their prevailing tones and their simple, geometric designs are such as would readily be adopted by people with primitive ideas of ornamentation, it seems probable that they have been copied with only slight modification for a great many centuries, even though more gorgeous and elaborate carpets were woven during the short period when Samarkand was capital of the East. This is probably true, notwithstanding no other country in the world has been subject to more conquests than Turkestan or overrun by so many different races. For here, as we learn by the aid of philology, dwelt the Aryans even before the light of history had come to dispel the mists of antiquity. Two or three thousand years later it was overrun by Cyrus and added to the dominion of the Medes and Persians. In the V Centurya. d., Tartar tribes conquered it; and in the following century Turks and Persians divided it between them. Still later it was again overrun by the Arabs, who, sword in hand, converted the vanquished to the creed of Islam. When a few more centuries had rolled away the Mongol hordes of Genghis Khan swept over it; and once again it suffered desolation under the iron hand of Tamerlane, “Scourge of Asia.” But in spite of these waves of conquest and the minor struggles with Persians, Greeks, and Romans, that left their impress on the country, each of the several classes of Turkoman rugs, including even those made two centuries ago, show a remarkable conformity to definite types, however much may be their modification in small detail. Their nap is invariably short; in all of them some shade of dark red is the predominating colour; and in most of them some form of an octagon appears. They are, moreover, the best woven and the most beautiful of the Central Asiatic rugs.