Plate 37. Anatolian Prayer RugPlate 37. Anatolian Prayer Rug
Plate 37. Anatolian Prayer Rug
It is still possible to obtain many good specimens of Bergamos representing the craftsmanship of fifty or more years ago, when aniline dyes and European patterns were unknown east of the Hellespont. Almost without exception they are sterling fabrics that glory in a wealth of colour accentuated by depth of pile and sheen of soft lustrous wool. An observer is at once impressed by the tones of deep blue and madder red that a few lines or patches of ivory white bring out more clearly, and forms a favourable estimate of the value of these pieces independently of the drawing, which seems subservient to the part of giving spirit and quality to the colour scheme. In fact, it is to the genius of the dyer who applies his knowledge to the tinting of carefully selected wool, and to the pains of the weaver in constructing the foundation of warp and weft rather than to his skill in arranging artistic designs, that these pieces command as high a price as old Kirmans of similar age.
In two particulars Bergamos differ from most Asia Minor rugs: in shape they are nearly square, and prayer rugs are the exception rather than the rule. Nor do all the prayer rugs follow the same general pattern, as is usually the case with other classes. They may have low tent-shaped arches like those of Daghestans, high triangular arches with stepped sides and a panel above the spandrels as in the Kir-Shehrs, or they may have shapes unlike those of any other class. Moreover, the pieces not used as prayer rugs also have great diversity of pattern; but as a rule some large figure, as a medallion, occupies the centre of the field. Very frequently it is of hexagonal shape, with the sides at upper and lower ends of the rug serrated or fringed with latch-hooks. As is not the case with many of the Persian rugs, the field surrounding the medallion is almost always covered with small designs, arranged with careful precision so as to show a perfect balance with reference to the centre. Eight-pointed stars and other geometric figures are frequently used, but there is a leaning to floral designs, which, however, are often so conventionalised as almost to lose their identity. Most prominent of these is the Rhodian lily and the pomegranate; but the lily never shows such graceful drawing or such dainty colouring as in the Kulahs, and in some pieces even loses all resemblance to a floral form. The pomegranate, which suggests the Ladik, is more frequently seen in the main border stripe. Undulating vines do not find favour among the Bergamo weavers, and small isolated geometric designs are largely employed in the narrow border stripes, whilelarger, more complex figures often replace the floral in the main stripe.
In no other class of rugs are so many and such painstaking devices to avert the spell of the evil eye. Should an unexpected visitor surprise the weaver while at work, he may be required to part with a bit of his frock, which is then attached to the wide web of the end; should a similar occurrence of ill omen follow, another bit of different material and colour may be sewn upon this; and as a crowning talisman, a button may be affixed to both. Small cowrie shells from the Ægean shores are often used for such purposes; and now and then may be seen a woollen tassel dangling from the centre or from one of the ends of the rug.
Type Characteristics.Colours, principally red and blue, with minor quantities of yellow, white, and green.Knot, Ghiordes. Knots to inch horizontally five and one half to nine; perpendicularly, seven to eleven. The rows of knots are pressed down, so that the warp is concealed at back.Warp, wool; each of the two threads encircled by a knot is equally prominent at back.Weft, wool of fine diameter, dyed red. A thread of weft crosses from two to six times between every two rows of knots.Pile, wool; generally of medium length but frequently long.Border, from one to four stripes; most frequently of three.Sides, a weft selvage of two, three, or four cords, coloured red or blue, with occasionally some green or yellow.Both ends, a web, that is sometimes six or seven inches wide, coloured red and crossed by broad longitudinal stripes, which are generally blue, but may be black, white, brown, or yellow. Some device to avert the evil eye is frequently attached to the webs. Beyond the web is a tasselled warp fringe.Texture, moderately firm.Weaveat back is of fine grain.Usual length, three to seven feet.Usual width, three quarters to nine tenths length.
Ghiordes.—Whether, as has been maintained, the town of Ghiordes, that lies a day’s journey to the east of Pergamus, is on the site of the ancient Gordium where tradition says the father of Midas dedicated his chariot to Jupiter, and Alexander severed the bark which bound the pole to the yoke, it claims attention from the fact that the rugs woven there one and two centuries ago not only excelled similar products in all other parts of Asia Minor, but equalled the best fabrics woven in Persia during the same period. Indeed, a few connoisseurs would rank them still higher; yet with referenceto technique of weave and delicacy of colour and drawing, very few should be classed with those woven in the previous century by the protégés of Tamasp and Shah Abbas.
Plate 38. Mudjar Prayer RugPlate 38. Mudjar Prayer Rug
Plate 38. Mudjar Prayer Rug
So essentially do the modern rugs of the Ghiordes district differ from the old pieces in weave, colour, and pattern, and so great is their inferiority, that they have little interest; but fortunately it is still possible to purchase pieces from seventy-five to one hundred and fifty years of age, and others still older are in the hands of collectors or in museums. In determining their age the colours and drawing, as well as weave and pattern, are important indices. For instance, the reddish tones of the fields of pieces less than a century old have a pinkish or even magenta tinge, while in the oldest the red is of rich, deep colour. Similarly, in the case of blues, greens, yellows, and even the ivories that rarely occupy the field, a riper and richer colour marks the greater age. Likewise with the drawing, greater painstaking and higher artistic skill are apparent in the older rugs; though in some of the oldest the designs are less ornate than in those of a subsequent period. This is also true of the patterns as a whole; since the best types are found in rugs that are probably from one hundred and fifty to two hundred and fifty years old, whereas in the extremely old pieces there is an approach to archaic forms.
The difference between the odjaliks and namazliks, which are the kinds most frequently seen, is most noticeable. The colours, to be sure, are much the same, though as a rule lighter and duller tones predominate in the odjaliks. Their borders show a greater tendency to use geometric figures, some of which are profusely fringed with latch-hooks suggestive of Caucasian influences. They also contain archaic designs believed to be associated with sun worship, as well as many floral forms common to the prayer rugs. It is, however, in the fields that the distinction is most noticeable; since the large masses of uniform colour that make the namazliks so effective are wanting, and instead are frequently seen hexagonal-shaped medallions that are fringed with large rounded latch-hooks and contain a lozenge or other geometric design in the centre. At both ends of the fields are sometimes narrow panels containing quasi-floral forms, and stiff conventions occupy the intervening corner spaces.
In striking contrast to these odjaliks are the old Ghiordes prayer rugs, with the rich tones of solid colour in the fields and the delicate drawing of the borders. No doubt they were made with unusual care, since they were intended for religious purposes. The patternrepresents an entrance into a mosque; and it is not improbable that some of the earliest rugs were copied directly from archways, many of which still exist in Mohammedan countries.29Near the base of all Ghiordes arches, at each side, is a shoulder, which in old pieces was supported by a single pilaster or a pair. Sometimes these were ornamented with scroll work or floral forms, but finally many of them degenerated into floral devices that bore slight resemblance to columns, and in other rugs they have entirely disappeared. In some very old pieces the shoulders and the mihrab were rounded, but as a rule the shoulders are flattened at a very obtuse angle; and the mihrab is either plain or has stepped sides that culminate in a blunted apex. To further suggest the sacred purposes of the rug a lamp is often suspended from the niche, though floral forms may take its place, and not infrequently these too are wanting. Almost without exception some reminder of the tree of life, such as the small floral sprig or the Rhodian lily, is projected from the inner side of the arch and from all sides of the border against the field. In the spandrel, also, is almost invariably some floral or leaf form; though these may be very much conventionalised or even supplanted by geometric figures. Above the spandrel is a panel, which may contain some floral form, scroll device, or verse from the Koran; and another panel, though generally with different design, is almost invariably placed beneath the field. A scroll resembling a large S (PlateO, Fig. 9, Page 291) frequently appears in these panels. Its resemblance to forms found in Armenian dragon carpets of earlier centuries is very noticeable.
The border surrounding the field is as characteristic of this class as is the prayer arch. There are invariably a number of stripes, which generally consist of a wide central one, two secondary, and two or more small guard stripes. The drawing is distinctly floral, yet is widely different from the Persian. A design (PlateG, Fig. 1, opp. Page 192) frequently seen in the central stripe represents a large palmette or rosette partly surrounded by leaves, suggestive of the Heratidesign, and connected by tendrils with more delicate flowers or leaves. But the more usual design (PlateG, Fig. 3) consists of flowers and fruits that are arranged in quadrangular shape, so that the alternate units face in different directions as they extend around the border. Though it is far from naturalistic, its delicate lace-like drawing with clear definition and its tones in harmony with the central field, contribute largely to the beauty of the rug. The secondary stripes have generally repetitive leaf forms; and running through the guard stripes is a simple vine, ribbon, or wave design. Occasionally, however, the typical Ghiordes border is replaced by one borrowed from the near district of Kulah, and instead of the broad central stripe are several narrow parallel stripes studded by perpendicular rows of small floral figures (PlateG, Fig. 12). An unusual feature of these rugs is the linen nap which is sometimes used in the field instead of wool, for the reason that it retains its colour while wool darkens with age; and another is the silken fringe which is often seen at the corners of fine specimens. The nap is always short, and the rugs are closely woven.
Type Characteristics.Colours, principally red, blue, yellow, and white.Knot, Ghiordes. Knots to inch horizontally seven to twelve; perpendicularly, eight to sixteen. The rows of knots are pressed down, so that the warp is concealed and the weft is partly hidden at back.Warp, wool or cotton and in a few pieces raw silk. One of the two threads encircled by a knot is usually slightly depressed below the other at the back.Weft, wool or cotton. A thread of weft crosses twice between every two rows of knots.Pile, wool, and occasionally some cotton, clipped very short so as to be harsh to the touch.Border, six to nine stripes.Sides, a weft selvage of two or three cords, or only infrequently an added selvage of silk.Both ends, a narrow web and warp fringe. A few pieces have an added silk fringe at the corners.Texture, firm.Weaveat back is of very fine grain, but slightly rough.Usual length, five to seven feet.Usual width, two thirds to three quarters length.
Kulahs.—About fifty miles from Ghiordes, in a southeasterly direction, is the Turkish village of Kulah. Both places are surrounded by the same general character of hills and plains, and for the last several centuries the people of each have been subject to the same influences of race and religion. They have undoubtedly visited, intermarried, and become familiar with the arts and crafts of oneanother. It is not, therefore, surprising that some of their rugs should have similar technique of weave, and that a few resemble one another in general pattern and small designs. Moreover, such a close correspondence exists between many of the old rugs of both districts, that even the most experienced are sometimes at a loss to distinguish between them. In fact it is surprising that there is so marked a distinction between most of them. In the Kulahs the border designs are not so elaborately drawn, nor are the prayer arches so high. They have rarely the fringe that adorns the corners of some Ghiordes rugs, or more than one panel. The field usually contains floral figures, arranged in formal order; the spandrel is almost always extended in two narrow stripes, one at each side of the field; and the colours are always subdued. These and other characteristics of each class make it possible to distinguish between most of them.
As is the case with Ghiordes rugs, sedjadehs are almost unknown; but it is not unusual to see odjaliks. These resemble prayer rugs in the following respects: the borders are almost identical; the central fields contain the same floral figures resting on a similarly coloured ground; both ends of the hexagonal-shaped field resemble a mihrab; and the space between the field and border is covered with designs peculiar to the spandrels of the prayer rugs.
On account of their artistic drawing and soft colours the prayer rugs are favourite pieces with all collectors. It is true that the arch is flatter than that of any other rug of this group, and is defined either by plain sloping lines, or more frequently by stepped edges, so that it lacks the classic beauty of the Ghiordes type; but on the other hand the Rhodian lily and other floral forms characteristic of these pieces are delineated with a realism and graceful delicacy that are unequalled in any other Asia Minor rugs. Arranged on slender sprays along each side of the field, hanging as long clusters from the niche in place of a lamp, or placed on the panel in formal rows, they accentuate with their bright tones the subdued richness of the ground colours. Sometimes, however, these simple field designs are replaced by more formal drawings that represent a plat of land with a tomb shaded by a tall cypress and other trees with many leafy branches. Rugs with these designs are not uncommon in Germany, whither large quantities of Asia Minor prayer rugs were shipped many years ago, and where they are known as “Friedhofteppiche,” or “Grave Rugs,”
Plate 39. Daghestan Prayer RugPlate 39. Daghestan Prayer Rug
Plate 39. Daghestan Prayer Rug
The most pleasing features are in the fields, but the most distinguishingfeatures are in the borders, which are invariably of several stripes. Instead of the large central stripe with floral and repetitive designs common to most rugs is a series of parallel bands, from five to ten in number and about an inch in width, that contain rows of minute floral forms. These narrow bands are a distinguishing feature of the Kulahs, though they have occasionally been copied by the Ghiordes weavers. Nevertheless, they are sometimes replaced by the broad stripe containing rows of geometric-shaped designs, as in PlateG, Fig. 13 (opp. Page 192), which also are peculiar to these rugs. Strange as it may seem, these designs have doubtless been derived from leaf forms by successive degradation, as will be seen by comparing Figs. 13a, 13b, 13c, and 13d of PlateO(Page 291). There is still another border design that is so constantly found in the secondary stripe of these pieces and so rarely in any others that it might well be designated the “Kulah stripe” (PlateH, Fig. 10, opp. Page 194). The design consists of a repetitive figure suggestive of some Chinese device, but is in reality a degraded form of a vine, as will be seen by observing some of the very old border stripes. Between the inner secondary stripe and the field is usually a narrow stripe containing a continuous ribbon design, or a simple vine-like form, as in PlateF, Fig. 18 (opp. Page 158). Often a part of each succeeding undulation of the vine has been omitted and the remaining parts have been compressed, so as to leave small detached figures like a row of “f’s,” as in PlateH, Fig. 2. It is not unusual to see both vine and detached figures in the same rug.
Diversity prevails in the colours of field, spandrel, panel, and borders. In the field is generally a mellowed red, or a yellow tint that is described both as golden brown and apricot; blue also is occasionally seen, and white is very rare. But whatever the colour of the field, that of the spandrel is generally a light blue, indicative of the sky, and the overlying panel is frequently a dark blue. Green and brown often appear in the border, as well as a canary yellow peculiar to Asia Minor rugs. Moreover, a few of these pieces have a single small area of red or blue, that was doubtless inserted to avert the evil eye, since it shows no more relation to the surrounding colours than spilt ink might have; yet in spite of these contrasts and the fact that the nap lacks the lustre peculiar to many other classes, some of them are as beautiful as Ghiordes.
Between these old fabrics and the modern, which factory-like are produced in large quantities to meet the demands of a Westernmarket and taste, is the most noticeable difference, for the latter are inferior to the former in patterns, weave, and dyes. Furthermore, with the wool of many is mixed mohair, so that rapid deterioration follows slight usage.
Type Characteristics.Colours, principally red, brownish yellow, and blue, with minor quantities of green, dark brown, and white.Knot, Ghiordes, Knots to inch horizontally five to ten; perpendicularly, seven to twelve. The rows of knots are not firmly pressed down.Warp, wool; one of the two threads encircled by a knot is noticeably depressed at the back.Weft, in most rugs, of wool of medium diameter, sometimes dyed yellow. A thread of weft crosses twice between every two rows of knots. In other rugs, even very old, the weft consists of a coarse thread of jute crossing once between two rows of knots and alternating with a small thread of jute and another of wool crossing side by side once between the next two rows of knots.Pile, wool, of short or medium length.Border, six to nine stripes.Sides, a coloured mixed selvage of two, three, or four cords.Both ends, a coloured web and warp fringe.Texture, loose.Weaveat back is of moderately coarse grain.Usual length, five to seven feet.Usual width, three fifths to three quarters length.
Oushaks.—Fifty miles eastward from Kulah is the city of Oushak, famous during the XV and XVI Centuries for the carpets exported thence to Europe to adorn the halls of cathedrals and thrones of monarchs. But with the subsequent decadence in Asiatic art its glory ebbed, so that half a century ago it was but a small mud-housed city known for the excellence of its dyes and the wool which was taken there from the interior to be washed, spun, and then sold to the weavers of the surrounding country. Since then, however, its population has steadily grown, and the weaving industry has thrived, until now it is one of the most populous cities of Asia Minor, with looms more numerous than those of any other city. The weaving is done entirely by women and girls, most of whom are Mohammedans. Though they live principally in private houses, they are under the direction of large firms, who furnish the wool as well as the patterns, which are in accordance with European and American demands.
Important distinctions exist between the different grades of these rugs. Some are known as “Turkish Kirmans,” in which Persian designs are frequently introduced, others are of still finer workmanship, but the oldest and coarsest pieces were formerly known as “Yapraks.” These are distinguishable by their strong colours of red, green, and blue, of which only two as a rule are seen in a single rug, and are massed to produce striking effects. Their foundation of warp and weft, which are dyed in the same colours, is loosely woven and often of an inferior grade of wool. Many of them are too large and heavy for domestic use, but are well adapted for salons and public halls.
With such slight variations in pattern and none in colour, Oushaks would be of little interest were it not that their prototypes were striking pieces woven by artisans whom Sultan Solyman the Magnificent brought from the northwestern part of Persia, when he conquered it in the XVI Century. Some of them appear in the paintings of old masters, and when contrasted with the modern fabrics indicate how great is the decline in the craftsmanship of the weavers. Of the beautiful well-balanced designs once represented in the fields, only large stars and diamonds, defined by less pleasing lines and placed with less regularity, remain. All of the graceful arabesques and dainty floral motives that appeared as sub-patterns are omitted. As works of art, the modern products are little esteemed; but their durability, depth of pile, and wealth of colour make them excellent objects of utility.
Type Characteristics.Colours, principally red, blue, and green.Knot, Ghiordes. Knots to inch horizontally four to eight; perpendicularly, four to nine. A half knot, as it appears at back, is longer than wide. The rows of knots are not closely pressed down.Warp, wool. Each of the two threads encircled by a knot is equally prominent at back, or one is slightly depressed below the other.Weft, wool of medium diameter and generally dyed red. A thread of weft crosses twice between every two rows of knots.Pile, wool, clipped long.Border, usually of three stripes.Sides, generally a double overcasting, occasionally a selvage.Both ends, generally a web coloured red and a warp fringe.Texture, very loose.Weaveat back is of moderately coarse grain.Length, carpet sizes.Usual width, two thirds to four fifths length.
Ak-hissar.—Almost seventy-five miles by rail from Smyrna and a short distance to the west of Ghiordes is the Turkish town of Ak-Hissar, the White Citadel. Even before the building of the railroad rugs were woven in this district; and in recent years thework-house system has been established, and large quantities, that bear some resemblance to the modern products of Kulah and Oushak, have been exported.
Demirdji.—Half a century ago the town of Demirdji was almost uninhabited; but as a result of the Occidental demand for Oriental rugs and the disappearance of old pieces, it has grown to be an important manufacturing centre. Many of its weavers learned their trade at the historic Ghiordes, which is about twenty-five miles distant; but the fabrics are more closely woven and the wool is more carefully selected than is the case with the modern Ghiordes.
Kutayah.—On the main railroad that will eventually connect the Bosphorus with the Euphrates is the town of Kutayah. As it is on the edge of the Anatolian plateau, wool and goat’s hair have been for a long period important articles in its trade. Both of them are now used in the local manufacture of rugs, which in a measure resemble the products of Oushak.
Smyrna.—The location of Smyrna on a magnificent harbour and its connection by rail with all the important rug districts of the interior, have made it the principal centre for the export trade in Asia Minor rugs. Many of the people are also largely engaged in the industry of weaving, but almost all weavers are now in the employ of large companies who furnish the materials and patterns. As a result, the Smyrna rugs are mere copies of well-known types of other Turkish pieces, or, as is generally the case, of stereotyped patterns that have been evolved to meet the requirements of European and American tastes. Many of the rugs, to be sure, are well woven and serviceable, but they lack individuality of character.
Melez.—About seventy-five miles to the south of Smyrna and twenty from the Mediterranean Sea is the town of Melassa, or Melez. It is now little known, but was once the market place of an important rug-producing district, which included a large part of the classic province of Caria. Accordingly, the pieces that came from there were sometimes called Carian, but are more generally known as Melez.
Plate 40. Kabistan RugPlate 40. Kabistan Rug
Plate 40. Kabistan Rug
On their face they show a close relationship to the Anatolians,and also, though in a less degree, to many other Asia Minor rugs; yet as is to be expected of the products from one corner of the country, they have a distinct individuality in both pattern and colour. Occasionally an old piece is seen, in which the border is very narrow and the whole field is covered with parallel stripes on which are systematically arranged geometric and semi-floral forms; but as a rule the fields are not much wider, and often less wide, than each of the adjacent borders. Within this central space are frequently arranged prominent designs, which are widely different from the designs of any other rugs, and are suggestive of Chinese ornament, but were doubtless derived from floral or tree forms (PlateO, Fig. 12, Page 291). Moreover, projecting in regular order from the alternate sides of the narrow border stripe, next to the field, are sometimes seen thumb-like figures, that fit against one another like the cogs of a wheel (PlateH, Fig. 15, opp. Page 194). Each of these features, though not always present, is peculiar to this class.
Of the several border stripes, the central is generally as wide as the remainder and not altogether dissimilar to that of the Ladiks. Very frequently it consists of a row of palmettes between which are conventionalised leaves and flowers on slender stems; but now and then the palmettes are replaced by eight-pointed stars or other geometric figures, and the intervening spaces filled with corresponding designs. The secondary stripes are of a pronounced Caucasian type; and almost invariably in a smaller tertiary stripe is represented a waving line or the reciprocal sawtooth.
The prayer rugs are equally characteristic. In typical examples the lines defining the mihrab descend from the niche to meet the sides of the narrow field at an angle of forty-five degrees, and are then deflected towards its centre, to return again to its sides. The resulting drawing shows two equilateral triangles on each side of the field at the base of the mihrab, which in conjunction with the upper sides of the triangles has the appearance of an incomplete diamond. This effect, moreover, is frequently accentuated by a perpendicular row of diamonds extending from just below the niche to the base of the field. The sides of mihrab, field, and central designs are, as a rule, fringed with small geometric or conventionalised floral forms; and in the spacious spandrel are more realistic floral designs arranged on a trellis-like sub-pattern.
This individuality of pattern is accompanied by a less marked yet noticeable individuality of colour scheme. As is the case withmany Bergamos, the principal tone is a dark red, which generally appears in the central field, and is also used almost without exception in the broad end webs, the side selvages, and the threads of weft. Ivory white for the spandrel, some yellow and green for the borders, are common colours; but the one that rarely appears in any appreciable quantity in other rugs is a characteristic tone of lavender or mauve, which is present in almost every old Melez. Not always are these tones pleasing, as many of the rugs have been poorly dyed; but there are other pieces, now rapidly growing scarce, of which the colours are exceedingly rich and harmonious.
Type Characteristics.Colours, principally red, with minor quantities of blue, yellow, white, and some mauve.Knot, Ghiordes. Knots to inch horizontally five to eight; perpendicularly, six to eleven. A half knot, as it appears at back, is as long as wide or slightly longer. The rows of knots are not closely pressed down, yet the warp does not show at back.Warp, wool; each of the two threads encircled by a knot is equally prominent at back.Weft, wool of small diameter, dyed blue or red. A thread of weft generally crosses four times between every two rows of knots.Pile, wool, of medium length and sometimes short.Border, wide, from three to seven stripes.Sides, a selvage of two to four cords, usually coloured red.Lower end, a red web and loose warp fringe.Upper end, a red web, a braided selvage, and loose warp fringe.Texture, moderately loose.Weaveat back is of slightly coarse grain.Usual length, four and one half to six feet.Usual width, three fifths to three quarters length.
Isbarta.—In the town of Isbarta in the southern part of the province of Konieh are woven rugs which are sometimes known to the trade as “Spartas.” Like many other pieces made to meet the Western demand, they lack spontaneous individuality, but are often of excellent quality and coloured in delicate tones, arranged harmoniously.
Rhodian.—Even at a very early period the people of the islands bordering the southwestern coast of Asia Minor produced textile fabrics that rivalled many of the best products of the mainland. None of them were more beautiful or more interesting than those which came from the Island of Rhodes, where were blended the vigorous Grecian and the more subtle Oriental arts. Here was the inspiration of the sea, cloudless skies, luxuriant vegetation. Here was felt the deep influence of the Mohammedan and Christian religions, as well as an early pagan mythology; and there is little doubt that the cathedral walls and picturesque church of the valiant knights of St. John made an impression on the weavers. It is not surprising, therefore, that the fabrics should be of deep, rich colour full of suggestion, and that the drawing of the long central panels should remind one of cathedral windows.
Of the many beautiful rugs formerly woven in Rhodes only a few now remain, and these are generally in the hands of collectors. Some are odjaliks, some namazliks, some sedjadehs; but all, with the exception of a few crude and coarsely woven pieces, have colours and weave that bespeak a ripe age, amounting in many instances to one hundred years or more. On the field of odjaliks are represented as a rule the usual hexagonal figure with two sides at each end forming a triangle; and on the fields of the namazliks are prayer arches which, though characteristic, never equal the graceful drawing seen in Ghiordes rugs. It is the sedjadehs that awaken the greatest interest, as they have some striking peculiarities rarely seen in rugs of the mainland.
Their field is divided into two or three panels that extend almost the full length of the field, and terminate at one end in flat and often serrated arches. The spandrels are small; and placed transversely above them is a low panel, that contains designs of mechanically drawn leaves, vandykes resembling those of Ladiks, and other figures common to Asia Minor rugs. In fact, these pieces at once suggest prayer rugs containing two or more prayer arches, but the pattern is generally regarded as a representation of cathedral windows. Both colouring and designs give force to this idea. In each of the principal panels is a different ground colour, as red, blue, or green, which is never gaudy, yet exceedingly rich on account of the depth of pile; and in the overlying figures there is often a strangely contrasting splendour of brighter colouring. Furthermore, one of the most usual of these designs, arranged like pole medallions, consists of large eight-pointed stars with effulgent rays of brilliant hues. As we look at some of the rare old pieces with this pattern, cathedral windows almost appear before us with bright sunshine streaming in golden rays through the stained glass and brightening the interior with its more sombre tones of “dim religious light.” Sometimes the pole design is modified so as to suggest atree of life extending from one end of the panel to the other. An equally common design represents six very mechanically drawn leaves assembled in the form of a medallion (PlateO, Fig. 15, Page 291). Each of these leaves has two straight edges meeting at right angles and containing at the corner a small rectangular spot; but the remaining sides that form the circumference of the medallion are deeply serrated, so as to produce much the same effect as the rays of effulgent stars. In the fields are also frequently seen latch-hooks, and occasionally checkerboards with different colours for separate squares.
Between field and border is a close correspondence in both colours and small designs. The latter consist principally of geometric and semi-floral forms, as eight-pointed stars, the octagonal disc, and the geometric leaf that is typical of Kulah rugs. No other design is more prevalent than the last, which may be found in all parts of these rugs. Sometimes it is drawn most realistically so as to resemble the flower forms so common in spandrels of Kulahs; but again the outlines are most conventional with square-like projections at the edges and a bar of underlying field of contrasting colour crossing the face diagonally, as in the border stripe of PlateG, Fig. 13, (opp. Page 192), which shows the foliate origin of the latter.
The name “Makri” is frequently applied to these rugs, since they were often bought in the city of that name, which is one of the harbours of Southwestern Asia Minor nearest to Rhodes.
Type Characteristics.Colours, principally red and blue, also considerable yellow, green, and white.Knot, Ghiordes. Knots to inch horizontally five to eight; perpendicularly, seven to nine. The rows of knots are not firmly pressed down, so that the warp shows in places at back.Warp, wool; each of the two threads encircled by a knot is equally prominent at back, occasionally one to each knot is slightly depressed below the other.Weft, wool, of medium diameter, coloured red. A thread of warp usually crosses twice between every two rows of knots, rarely only once, and sometimes as many as four times.Pile, wool, clipped long.Border, two to three stripes.Sides, a double selvage of two, three, or four cords, usually coloured red or blue.Lower end, a web, either red or of several colours, and long warp fringe hanging loose or braided.Upper end, a web, either red or of several colours, beyond which is often a heavy braided selvage; also a long warp fringe hanging loose or braided.Texture, moderately loose.Weaveat back is of slightlycoarse grain.Length, four to seven feet.Width, three fifths to four fifths length.
Plate 41. Kuba RugPlate 41. Kuba Rug
Plate 41. Kuba Rug
Broussa.—At the base of Mt. Olympus and distant only twenty-five miles from the Sea of Marmora, with which it is connected by rail, is the city of Broussa. By reason of this location and its proximity to Constantinople, it is an important commercial centre; and on account of the excellence of the wool and silk obtained in the surrounding country, rugs are woven here for foreign markets. The fabrics are stoutly made and compare favourably with those of Smyrna.
Hereke.—In the town of Hereke, on the Sea of Marmora, is a Turkish factory, where large numbers of silk rugs are manufactured. Most of the silk is obtained in the immediate neighbourhood and from the country about Mt. Olympus. As the early weavers were brought from Kirman to instruct the artisans of the Sultan, and the patterns have been largely copied from old Persian and Asia Minor pieces, it is not surprising that many of the fabrics compare favourably with the silk rugs of Persia.
Koniehs.—At the base of Mt. Taurus and overlooking the salt desert of Central Asia Minor is the city of Konieh. Within its present walls is all that is left of the ancient Iconium that opened its gates to Xenophon, Cyrus, and Alexander, but drove forth the Apostle Paul. Finally it surrendered to Seljukian conquerors, who, realising the importance of its situation on one of the great highways between east and west and in an oasis of well-watered fields, orchards, and gardens which face a great barren plain, established there a Mussulman capital, that became noted for its opulence and culture. In later years it successfully resisted the assault of Frederic Barbarossa; but subsequently it declined, until now the only remaining vestiges of its former importance are several colleges, one hundred mosques, and the famous green tower surmounting the tomb of the whirling dervishes.
In few other cities of Asia Minor were greater inducements offered to the rug weavers. Surrounding them lay hills and plains that produced sheep with soft, fine fleeces. On the oaks that grew not far to the north lived the kermes, from which were obtained the vermilion dyes famous even through Persia. The political and commercial importance of the city, as well as the religious fanaticism of the people, aided them. Accordingly a great many choice pieces were formerly woven there, but on account of the remoteness of the city from the markets that supplied Europe, few found their way into channels of trade.
Large numbers were used solely for religious purposes, but other kinds are as frequently seen. All of them contain both geometric and floral forms. The geometric forms resemble designs prevalent in Eastern Anatolia and in Caucasia, such as latch-hooks, eight-pointed stars, and barber-pole stripes; and the floral forms consist of mechanically drawn palm leaves and the tree-of-life design.
Probably in no other Asia Minor rug is such latitude in the drawing of the prayer arch. Sometimes it begins below the middle of the field and rises at a sharp angle to a point near the upper end; again it may be exceedingly flat; but generally it has the same pitch as the arches of Kulahs, and, like them, the sides, as a rule, are stepped or serrated. Furthermore, it is not unusual to see latch-hooks projecting from each step or serration into the spandrel, which is filled with small floral and geometric forms. From the niche is occasionally suspended a lamp; and arranged against the border, on each side of the field, is a row of conventionalised flowers, or small sprigs which resemble three triangular-shaped petals at the end of a straight stem. These floral or foliate designs are one of the most constant features of this class. The borders are more geometric than those of almost any other Asia Minor rugs, and even when vines are represented they are drawn with stiff formality.
Whatever may be lacking in artistic drawing is frequently atoned for by the excellence of the colour scheme, which occasionally rivals that of the Ghiordes and Kulahs. Rich reds or blues are almost invariably found in the fields, where there is sufficient depth of nap to enhance their richness; and the borders are brightened by attractive tones of yellow, green, and white. Contrasted with these old pieces, the modern rugs of Konieh have little artistic merit, but are large pieces desirable solely for their durability.
Type Characteristics.Colours, principally red and blue, with minor quantities of yellow, green, and white.Knot, Ghiordes. Knots to inch horizontally five to eight; perpendicularly, six to ten. The rows of knots are not very firmly pressed down.Warp, wool; each of the two threads encircled by a knot is equally prominent at back.Weft, wool, of medium diameter, dyed red. A thread of weft crossestwice between every two rows of knots.Pile, wool, of medium length.Border, from two to five stripes, with frequently an outer edging.Sides, generally a selvage of two or three cords, but occasionally an overcasting.Both ends, a web and warp fringe.Texture, only moderately firm.Weaveat back is of slightly coarse grain.Usual length, four and one half to six feet.Usual width, three fifths to three quarters length.
Ladiks.—On the ruins of ancient Laodicea is the mud-walled town of the village of Ladik, once the centre of an important rug industry. Among the surrounding hills are still woven pieces which resemble in pattern, though they poorly imitate in weave and colour, the early prototypes that have been classed among the masterpieces of Asia Minor. Few of these old rugs remain, and they are often badly worn in spots; yet they display tones mellowed by the touch of more than a century, and rival the Ghiordes in beauty of design.
As is the case with other classes of rugs woven in Turkish countries, the sedjadehs and odjaliks lack the interesting details of the namazliks, from which they widely differ. On the central fields of many of them are oblong hexagonal-shaped medallions, often three in number, that contain designs of stars or other geometric figures. Between the fields and the borders of the ends are generally spacious panels, on which are represented rows of vandykes. These figures are one of the most permanent characteristics of this class of rugs; and though their origin is uncertain, it is not improbable that they are derived from arrowheads, which were one of the emblems of the Chaldean deity Hoa, the reputed inventor of Cufic writing. The borders are also geometric, consisting, as a rule, of three stripes, of which the central contains an angular vine that in different pieces may be very simple or very ornate. One of the central stripes often adopted is represented in PlateG, Fig. 10 (opp. Page 192) and shows a vine with conventionalised leaf. Latch-hooks are common in the sedjadehs, and when floral forms are present the fact is generally disguised by the harsh, mechanical drawing.
In contrast with these pieces, the namazliks with their interesting arches and dainty drawing are most pleasing. In a large number of them the central fields occupy about one half the space within the border, the spandrels extend for a considerable distance above the arch, and the panels are larger than in any other prayer rug. Occasionally arches resembling those of the Ghiordes or Kir-Shehrsare seen; but they are to be regarded merely as copies, since the typical arch differs widely from any other and gives to this class one of its greatest charms. Instead of rising to the apex in lines of many serrations, each side of the arch rises from the border and falls in one large serration, then rises again to form the niche. The arch is often fringed with latch-hooks, and extending above the apex of each serration and the niche are perpendicular devices that may, also, be a development of the latch-hook, since they have not been traced to any other satisfactory origin. But whatever their origin may be, their shape as well as that of the arch at once suggests Saracenic mosques. In the spandrel are constantly seen serrated leaves, rosettes, and designs peculiar to the Ladik. The large panel is equally typical, and consists of reciprocally drawn vandykes, from which rise perpendicular stems supporting leaves and pomegranates. These are generally five in number, and are so gracefully and naturalistically drawn that it seems surprising that the vandykes, from which they spring, are ornamented with a profusion of latch-hooks. The central fields are sometimes without ornament, but as a rule they contain some suggestions of the tree of life either in the central design or in the three-leaf sprigs arranged about the borders. The latter are as characteristic as any other part of the rug, and consist of four stripes separated by dotted lines. The main stripe most frequently contains a row of delicately drawn lilies alternating with rosettes, though occasionally a very formal vine with conventionalised leaf is substituted for it. In the stripes at each side are very angular vines with three-cleft leaves, and in the narrow innermost stripe is generally a ribbon pattern.
All of the drawing has clear definition accentuated by rich and strongly contrasting colours. The fields of the namazliks, like those of the Ghiordes, are entirely occupied by masses of unshaded blue, red, or brown, that are relieved only by the colours of superimposed designs. But as is not the case with Ghiordes, there is often a strong contrast between the colours of centre and ends; yet the tones are always in perfect harmony. Other rugs may have more delicate drawing or more exquisite finish; but in the barbaric arrangement of strong colour and in the uniqueness of graceful designs, none exceed the old prayer Ladiks.