Plate 27. Gorevan RugPlate 27. Gorevan Rug
Plate 27. Gorevan Rug
Niris.—A resemblance exists between the rugs that take their name from Lake Niris and those of Shiraz, which is distant only fifty miles to the westward; for many of each class are woven with the same silky wool, obtained from sheep that graze in the intervening mountain ranges, and the shepherd weavers about the lake have acquired ideas from the old capital. This resemblance exists mostly in the soft, floccy appearance of the nap, and in the barber-pole or parti-coloured overcasting of the sides. The webs of each end are broad and have long fringes; but generally those of the Shiraz are embroidered and crossed with one or more parti-coloured cords, whilst those of Niris pieces are, as a rule, flatly woven in stripes of different colours. There is also an occasional resemblance in pattern, but the best known pattern of the Niris is rarely seen in the Shiraz. On the other hand, they are more firmly woven; and there is a slight difference in the character of their weave, since one of the two threads of warp encircled by a knot is depressed below the other, and the weft is of wool coloured red, whereas in the Shiraz it is frequently of cotton.
The pears are the favourite design, and, like those in Sarabends, extend over the field in orderly array; but they are much larger and consist of an assemblage of bright colours isolated from one another, yet grouped gracefully in a way that might readily suggest the origin of crown jewels sometimes ascribed to them. Frequently the ground is a dark blue, and the pears are of red, blue, green, and ivory. Violet and yellow are also employed. In other types, less usually seen, the field is covered with a lattice-work pattern containing small figures. The typical border has a broad central stripe of vine and flower, with narrow guards of simpler vine or reciprocal trefoil. Barber-pole stripes are also characteristic of the borders.
Type Characteristics.Colours, principally blue, red, yellow, green, and ivory.Knot, Ghiordes. Knots to inch horizontally six to eleven; perpendicularly, seven to fifteen. The rows of knots are not closely pressed down, so that at the back the warp is noticeable and the weft conspicuous.Warp, wool; one of the two threads encircled by a knot is 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, generally of three stripes, sometimes as many as seven.Sides, a heavy double overcasting in a barber-pole stripe or in short lengths of differentcolours, such as red, blue, green, yellow, and black.Bothends, a broad web of coloured stripes, one row of knots, and loose warp fringe.Texture, loose.Weaveat back is of slightly coarse grain.Usual length, four to seven feet.Usual width, three quarters to four fifths length.
Feraghans.—Stretching eastward from the base of Mt. Elwund is the plain of Feraghan. Its length does not exceed forty-five miles, nor its breadth ten or fifteen, yet here are clustered several hundred villages. On account of its altitude of seven thousand feet, the ground is covered with snow in winter, and the people are then huddled in their low mud houses, and the flocks and herds are gathered within the village walls. But in the spring the men are cultivating the fields, and the sheep are grazing on the banks of numerous streams. It is a plain of fertility and industry. For generations it has been productive of large numbers of fine rugs, and it is still possible among its villages to find some of those old pieces that have been regarded by the Persians themselves as the best examples of the textile art.
When the characteristic patterns of Feraghans have once been carefully observed, they are never forgotten; yet it is surprising to note the many distinctions observable in a large collection. These patterns may conveniently be divided into two groups, namely: one in which the field is entirely covered with diaper designs, and the other in which the field contains a central medallion surrounded by uniform colour. Probably nine tenths of these rugs fall within the first group, which is divisible into three sub-groups: those in which the field is covered with the Herati design; those in which the field is covered with the Guli Hinnai design; and those in which the field is covered with some other small diaper design.
The Herati design is the one most frequently seen, and is found in the very oldest of existing Feraghans. As a rule, the crumpled leaf does not exceed a length of four or five inches, and the rosettes are proportionally small, so that the ground colour is almost entirely concealed, and at a short distance is not distinguishable; but there are other pieces in which the leaf is over a foot in length, and the figures less closely clustered, so that the ground enters prominently into the colour scheme. The prevailing colour of the leaf and rosette is generally rose red, which gives a distinctly reddish tone to the rug; though the small designs have shades of green, yellow,white, and light blue. The ground is usually a rich, dark blue; but occasionally red or even ivory is used. In very few other rugs are the corners separated from the field, unless there is a central medallion; but in almost all Feraghans small triangular-shaped corners, with colours contrasting with those of the field, are separated from it by lines bearing teeth or serrated edges.
Surrounding the field is a border that has from five to seven stripes. The main stripe is about three times as wide as any other, and may have a ground colour of red, blue, or ivory white; but in many of the best pieces it is moss green, with blue, yellow, or red appearing in the overlying pattern. Of different but corresponding shades is the colour of the ground and designs of other stripes. Probably three fourths of the Feraghans now seen have the well-known turtle design in the main stripe; but it is sometimes replaced by the rose design shown in PlateE, Fig. 12 (opp. Page 156), or by an undulating vine with rosette or palmettes. On the innermost stripe, which is very narrow, is invariably represented some reciprocal figure, as the trefoil or sawtooth; and on the other stripes are undulating vines, with floral or quasi-floral figures.
The Feraghans with fields covered with Guli Hinnai designs instead of the Herati show a difference in both drawing and colouring, though the general effect is much the same. In place of crumpled leaves and rosettes of reddish hue are the star-like flowers of the Hinnai plants that brighten the mountains surrounding the Feraghan plain with their large yellow or ivory coloured petals. The pattern, as a whole, is slightly more prominent, and the prevailing colour tone, which is rich, is less red and more yellow. There is, however, a very noticeable difference in the pattern of the third sub-group, though specimens are not frequently seen. In these the small figures of conventionalised flowers sometimes have geometric shapes and are arranged in diagonal or perpendicular rows. Moreover, they generally lack the rich colouring of the preceding sub-groups.
The central medallion is found not only in modern but also in old Feraghans. It is generally of diamond or hexagonal shape, with serrated edges and with pendants. Almost invariably Herati figures cover its surface, and not infrequently some lattice-work design with small conventionalised leaves or flowers appear faintly on the field of uniform colour surrounding it. As a rule, pieces of this group are of a more striking and handsome appearance than thosein which the entire field is covered with numerous minute figures of equally rich hues that blend and produce, when viewed at a distance, an undefined colour. The border designs are similar to those of the other group. All of the old pieces were stoutly woven; and though the nap was short, many of those that remain are still serviceable.
Type Characteristics.Colours, principally red and dark blue, with minor quantities of yellow, light blue, green, and white.Knot, Sehna, rarely Ghiordes. Knots to inch horizontally eight to thirteen; perpendicularly, seven to eighteen. The rows of knots are pressed down, so that the warp is usually concealed at back.Warp, cotton; each of the two threads encircled by a knot is equally prominent at back.Weft, cotton, occasionally dyed blue or pink. A thread of weft of fine or medium diameter crosses twice between every two rows of knots, or occasionally a thread of coarse diameter with much slack crosses only once, so that the transverse warp produces a quincunx effect.Pile, wool, clipped short.Border, three stripes.Sides, a double overcasting in dark colour.Lower end, a web.Upper end, a web and warp fringe.Texture, firm.Weaveat back is of slightly coarse grain.Usual length, four to twelve feet.Usual width, three fifths to two thirds length.
Hamadans.—A little to the northeast of Elwund and at an altitude that overlooks a small, well-cultivated valley adjacent to the Feraghan plain is the city of Hamadan. On this site was the ancient city of Ecbatana, capital of Media; and here guarded by Jews is a tomb, which tradition declares is the burial place of Esther and Mordecai. Within the encircling walls are gardens, bazaars, and mosques; yet the present city of forty thousand inhabitants with its general misery and squalor has little to remind one of the magnificence of that former capital which for a short period was mistress of the world.
Plate 28. Bergamo Prayer RugPlate 28. Bergamo Prayer Rug
Plate 28. Bergamo Prayer Rug
Like Yezd, Hamadan is famous for its namads; and like Yezd it once produced, according to tradition, most beautiful silk carpets, though no longer are any woven there. But its looms have been busy for the last few generations weaving rugs of wool and camels’ hair, which have such marked individuality that they bear unmistakably on their face the stamp of identification. The few old rugs that remain are sterling pieces, which are stoutly woven and of excellent dyes. They come in many sizes; some are simply mats,others sedjadehs, and an unusually large number are runners. The typical pattern of the mats and smaller sedjadehs consists of a central diamond-shaped medallion, surrounded by a field of contrasting colour, from which are set off the triangular-shaped corners. In the large sedjadehs and in the runners, which are sometimes twenty feet or more in length, are often three or more pole medallions, though the pole device may be omitted. These medallions and corners are covered with small, carefully drawn geometric figures, or more frequently with floral designs such as appear in Feraghans, and as a rule are defined by serrated lines or are fringed with hooks or comb-like teeth. The colour of the surrounding field is unobtrusive. In some pieces it is void of pattern, and its monotonous tone is broken only by slight variations of shade; yet not infrequently it is marked with faint lines of slightly darker or lighter tint, like a delicate tracery. Not only are the borders wide, but a broad edging, which is at least one half and sometimes two thirds as wide as all the coloured stripes combined, surrounds them. As it is usually of camels’ hair and without pattern, it is a very noticeable characteristic. The main stripe has an undulating vine with conventionalised flowers, and the two guard stripes have a simpler vine, or, more frequently, the reciprocal trefoils.
To this general type, however, are many exceptions. Sometimes the figures of the medallion and corners are more geometric; sometimes the corners are omitted; the outside edging may be decorated with large conventionalised floral or geometric figures; and occasionally a camel or some other animal is represented in the field or border. A few of the old rugs were strikingly handsome. Dr. George Birdwood refers to a large Hamadan that formerly hung in the India Museum in these words:23“An irregular lozenge form, a little island of bright clustering flowers, of which the prevailing colours are red and blue, adorns the centre; while the wide extended ground of yellow, in irregular shades, surrounds it with a rippling amber sea; and there are blue pieces in the corners, within the broad blue border worked in arabesques. It is a carpet not to be laid on a floor, but to be hung in a gallery, to be looked at like a golden sunset. It was a sacrilege to remove it from the mosque where it evidently was once spread under the great dome.Beati possidentes.”
Most of the old pieces have disappeared, and in their places aremodern products with pile of wool or goat’s hair often dyed in garish colours. There are also many nondescript rugs, which were gathered from wandering tribes or surrounding villages and taken to Hamadan, since for a long time it has been one of the great rug markets of Persia. When exported from there they were often classed as products of that city.
Moderately old Hamadans contain more camel’s hair than any other class of rugs, since in very many of them it forms the pile of both field and outer edging, where its soft tones of pale chestnut colour contrast with the bright shades of blue, red, and yellow yarn used in other parts of the field and border. This lavish use of camel’s hair, the broad encircling edging, the cotton warp, and a single thread of coarse weft passing once between two rows of knots, distinguish them from all other rugs.
Type Characteristics.Colours, principally the chestnut of camel’s hair with red and blue.Knot, Ghiordes. Knots to inch horizontally, six to nine; perpendicularly, eight to twelve. The rows of knots are firmly pressed down.Warp, cotton; each of the two threads encircled by a knot is equally prominent at back.Weft, generally cotton, frequently wool; of coarse diameter. A thread of weft crosses only once without slack between every two rows of knots, so that the white spots of transverse cotton warp exposed at back have a quincunx appearance.Pile, in old rugs, mostly camel’s hair and some wool; in recent rugs, mostly wool clipped short.Border, wide, generally of three or four stripes, and a broad outer edging of camel’s hair.Sides, overcast, generally in brown or red.Lower end, a narrow web and warp loops.Upper end, a narrow web turned back and hemmed.Texture, very firm.Weave, at back is of moderately coarse grain.Length, three to twenty-four feet.Width, two fifths to three quarters length.
Irans.—Although neither a city nor district of Persia is called Iran, a well-defined class of rugs is known to the trade by that name. They are woven by some of the old Iranian stock dwelling principally in the province of Irak-Ajemi. These people follow no particular pattern or colour scheme of their own, but to a large extent copy those of a few well-known Persian classes; yet in other respects their rugs have a noticeable individuality. They are woven with a Ghiordes knot and so loosely that if the rug be observed from the front, as it is bent backward in a plane parallel to the directionof the weft, the foundation threads of warp and weft, which are of cotton, will show distinctly between the knots. Each of the two threads of warp encircled by a single knot are equally prominent at the back. Ordinarily the threads of weft cross twice between the rows of knots, but occasionally they cross only once, as in Hamadans. Many of the fabrics regarded as Sarabends, Feraghans, and even Hamadans are in reality Irans, which on account of their inferior workmanship are much less valuable.
Type Characteristics.Colours, principally blue and red, with minor quantities of ivory, yellow, green, and brown.Knot, Ghiordes. Knots to inch horizontally, six to eleven; perpendicularly, seven to eleven. A half knot as it appears at back is frequently longer, measured in the direction of the length of the rug, than wide. The rows of knots are not pressed down closely, so that the warp is noticeable at back.Warp, cotton; each of the two threads encircled by a knot is equally prominent at back; they are not closely strung, so that each half knot stands out distinctly.Weft, cotton; a thread of weft of coarse diameter as a rule crosses twice between each two rows of knots, and only rarely crosses but once. The weft is conspicuous between the knots at front when the rug is bent backwards.Pile, wool of medium length.Border, generally four to six stripes.Sides, a heavy double overcasting that is generally brown or black, but sometimes red.Lower end, a narrow web.Upper end, a narrow web and loose warp fringe.Texture, loose.Weaveat back is of coarse grain.Usual length, five to ten feet.Usual width, two fifths to three quarters length.
Sarouks.—Towards the western end of the Feraghan plain and at an altitude of seventy-five hundred feet is the mud-walled village of Sarouk. Here, shaded by poplars, are clustered one hundred and fifty houses, with floors, roofs, and sides of mud that has dried and cracked until it admits the wind. The sun and light enter through the open doors, for there are no windows. Nor are there chimneys, but simply openings between the rafters to permit the escape of smoke from the open fireplace in the floor below and the entrance of more wind. At times the atmosphere is not only oppressive with smoke, but is laden with odours that arise from the pens beneath and beside the houses, where fowls, sheep, and goats are huddled. During the winter and early spring snow lies on the ground; a little later a hot summer follows. Yet amid these depressing surroundings and under these adverse conditions lived weavers who gave the name of their little village to some of the most beautiful rugs made in all the East.
Now and then is seen an old piece with surface like velvet and with mellowed tones of perfect harmony that has come from these huts or surrounding hills; but probably not one in a score, perhaps not one in a hundred, of the Sarouks now offered for sale in this country was woven there, as most of them are made in the workhouses of larger cities, though they follow essentially the general appearance and technique of old and genuine pieces, even if lacking some of their best qualities. Nevertheless, the modern pieces are of handsome colour, of graceful pattern, and are well woven. Some of them, which were made two or three decades ago, had large designs of the cypress, willow, or the tree of life, as well as realistically drawn animals represented in the fields; but the great majority of those now seen invariably follow a pattern consisting of a large medallion with pendants, or of two or more concentric medallions resting on the field, from which are set off the four corners. Defining the edges of both medallions and corners are lines that are most artistically irregular, yet correspond with one another.
Between each part is the greatest co-ordination, for the designs of field, corners, medallions, and borders are similar. On long delicate stems that bend and interlock like carved tracery are leaves, buds, and flowers, suggesting the craftsmanship of the best days of old Iran. The borders generally have only three stripes: a broad main stripe on which appears an elaborately drawn undulating vine with pendent flowers, and a narrow guard stripe on each side. Sometimes the guards are ornamented with only a simple vine, but more frequently with a reciprocal pattern, which, however, is so well drawn as to conflict in no wise with the harmony of the floral forms. In the drawing of the borders the weavers exercise greater latitude than in any other part of the rug; for occasionally they add a narrow outer edging of dark colour, place the reciprocal figure next to the innermost stripe as a fringe to the field, or increase the number of stripes to seven. Rarely is the medallion wanting in modern pieces, but now and then the pendants are replaced by bunches of flowers, and in some pieces the corners extend along the sides in undulating lines until they meet near the centre.
Plate 29. Ghiordes Prayer RugPlate 29. Ghiordes Prayer Rug
Plate 29. Ghiordes Prayer Rug
All of these pieces are so closely woven that the fine bluish weft is hardly discernible at the back. Very few other rugs havesuch short-cut wool, which has a velvety appearance, rendered more effective by the soft, rich colours that are always in perfect harmony and excellent taste. As a rule they are dark. Ever present in the ground colours are deep blues and reds, suggestive of the hues of the so-called “Ispahans;” while olives, delicate greens, and ivory represent with consummate dignity of tone and design a lavish tracery of leaves and foliage motives.
Type Characteristics.Colours, principally dark blue and red, with minor quantities of green, olive, buff, and ivory.Knot, Sehna. Knots to inch horizontally twelve to eighteen; perpendicularly, twelve to twenty. The rows of knots are pressed down, so that the warp is concealed and the weft is partly hidden at back.Warp, cotton, rarely linen; one of the two threads encircled by a knot is almost always doubled under the other; in a few pieces it is only depressed.Weft, cotton, of small diameter, dyed blue. A thread of weft of fine diameter crosses twice between every two rows of knots.Pile, wool, short and velvety.Border, generally of three stripes but sometimes as many as seven. Occasionally there is an outer edging of dark colour.Sides, a tightly wound double overcasting of red, blue, or black wool.Both ends, a narrow web, or web and short warp fringe.Texture, very firm.Weaveat back is of fine grain.Length, four to twelve feet.Width, two thirds to three quarters length.
Kashans.—Near the centre of the province of Irak-Ajemi, on the ancient and well-travelled highway between Ispahan and Teheran, is the city of Kashan, from which, according to an old tradition, the three Wise Men of the East followed the Star of Bethlehem. Like many of the cities of Persia it is now largely in ruins; its homes are infested with scorpions; for many months of the year the heat, which in a measure is due to the proximity of the great salt desert that extends far into Khorassan, is unendurable; yet in spite of these inconveniences, for which perhaps familiarity has in a measure lent contempt, forty thousand people live there. In the past it has produced some of the greatest artists and artisans of weaving. It was once the home of Maksoud, whom Shah Ismael I ordered to weave the famous carpet of the Mosque of Ardebil, which, ranking among the greatest woven products that still exist, bears unmistakable evidence of the wonderful technique and artistic skill then practised in Kashan. Without a doubt other textilemasterpieces of the XVI and XVII Centuries were woven there, for it would be unreasonable to believe that the city where Maksoud had learned his art was not at that time a prominent rug-producing centre.
According to Persian tradition many of the antique silk carpets came from Kashan. At any rate, it has been for a long time customary to take the raw silk from other places to be spun and dyed there. Some of it is woven into rugs, which are considered among the best of modern pieces, though the demand for them is small.
On the other hand, the woollen pieces are now found in every market, though it is only within recent years that they have been generally known. Occasionally they are defined as a higher grade of Sarouks, on account of the striking resemblance in texture, colours, and designs; yet there are certain distinctions: the warp is often linen, the nap is a little shorter, the texture slightly firmer, and there are a great number of border stripes. A feature that is more frequently found in these two classes than in any other is the fringe of hooks or short comb-like teeth that border the innermost stripe and extend into the field. Without doubt Kashans are among the most perfect as well as the most expensive woollen products of the modern Persian looms. Their velvet-like surface and rich sheen give them an appearance that to those unfamiliar with rugs seems like that of silken pieces. The fine wool is dyed with rich, deep tones of blue, olive, red, and brown; the perfectly balanced pattern is artistic as well as ornate; and on account of the very short nap the drawing of each minute detail is clear. In place of bold designs accentuated by masses of colour are delicate tracings of floral and foliage motives, of graceful arabesques and foliated stalks, so expressed in rhythmic lines and harmonious tones as to give a sense of the greatest refinement. Even though these rugs be modern and chemically washed, their wealth of artistic workmanship and exquisite colour make them exceedingly handsome.
Type Characteristics.Colours, principally dark blue, red, and yellowish brown, with minor quantities of light blue and green.Knot, Sehna. Knots to inch horizontally sixteen to twenty; perpendicularly, sixteen to twenty-four. The rows of knots are firmly pressed down so that the warp is concealed and the weft almost hidden at back.Warp, generally cotton, rarely linen; one of the two threads encircled by a knot is doubled under the other.Weft, generally cotton, of small diameter, dyed blue; rarely linen. Athread of weft crosses twice between every two rows of knots.Pile, wool, very short and velvety.Border, generally of seven stripes.Sides, a tightly wound double overcasting in dark red, blue, or brown.Lower end, a narrow web.Upper end, a narrow web and short warp fringe.Texture, very firm.Weaveat back is of very fine grain.Usual length, six to ten feet.Usual width, three fifths to three quarters length.
Sababends.—Standing on the top of lofty Elwund, that rises on the boundary between the provinces of Ardelan and Irak-Ajemi, in Northwestern Persia, one would see within a radius of ninety miles as prolific a centre of rug weaving as anywhere exists. Just within this distance to the northwest are Sehna and Bijar, to the southeast is Sultanabad, to the southwest is Kermanshah; and skirting the mountain on the eastern side are the high plains where lie the districts of Hamadan, Feraghan, and Sarawan, as well as the village of Sarouk and less important centres of weaving.
Among the valleys of the Sarawan district, that lies on the northern flanks of mountain ranges extending as far as Ispahan, are made the rugs which, by a corruption of the word Sarawan, are known as the Sarabends. No other rugs of Persia have a pattern that is so simple, and that for generations has been followed with so little variation. Nor are there any other modern rugs that have changed less from the old styles in respect to colour and quality. The typical pattern of the field consists of rows of pear designs arranged in transverse lines, with the smaller ends pointing in different directions in alternate lines. The pears of the field show great diversity of shape, but those of the borders are long, narrow, and most angular; yet they never assume the rectilinear figures found in Baku rugs. Only very rarely is there any departure from this pattern; though in a few old pieces is an adaptation of the Herati design, and now and then is seen a geometric figure, or human form, or the date when the piece was woven.
The ground colour of the field may be blue, red, or white. If blue, it is so largely covered with pinkish or rose-coloured pears that the prevailing hue, when the pieces are viewed from a distance, is light red. If, on the other hand, the field is red, the pears are mostly blue; and if the field is ivory white, the pears are red and blue. In all old pieces the blue has rich, deep tones, the red has mellowed into soft rose or delicate pink, and the white has turnedto ivory. This pleasing effect is increased by shades of yellow and green, which are added to the other colours of the pears.
With few exceptions the borders have a large number of narrow stripes, of which the central is about one third the aggregate width. Its ground colour is ivory white, but the angular vine and pendent, narrow pears have the same colours as those of the field. On each side of it is usually a stripe with ground colour corresponding to that of the field and with an undulating vine and rosette. Almost invariably there is an outer stripe of reciprocal trefoil in red and blue, which may be balanced by a reciprocal sawtooth adjoining the field. It is not unusual to see large pieces with two white stripes, and very rarely one is seen with three.
The best of these pieces are made in the town of Mirabad, which signifies the “city of Mir,” and are accordingly called Mir-Sarabends. They can be distinguished from others, known to the trade as Royal Sarabends, by the fact that in tying the knots the yarn is so twisted that one thread of warp is doubled under the other; and in the latter each of the two threads appear with equal prominence at the back. Neither of them should ever be mistaken for Iran imitations, in which the pile is of much looser texture and is tied with the Ghiordes knot. For durability, there are very few modern pieces that will give the satisfaction of Sarabends; for as a rule they are stoutly and closely woven, and though there is monotony in the pattern, those coloured with vegetable dyes will grow more beautiful with age.
Type Characteristics.Colours, principally red or blue, with minor quantities of ivory, yellow, and green.Knot, Sehna. Knots to inch horizontally eight to thirteen; perpendicularly, nine to thirteen. The rows of knots are firmly pressed down, so that the warp does not show at back.Warp, cotton. In Mir-Sarabends one of the two threads encircled by a knot is doubled under the other at back. In Royal Sarabends each is equally prominent.Weft, cotton, of fine diameter, and dyed red or blue. A thread of weft crosses twice between every two rows of knots.Pile, wool of short or medium length.Border, five to seven stripes, and occasionally even more.Sides, a red double overcasting.Lower end, a web, or web and short warp fringe.Upper end, a web and short warp fringe.Texture, firm.Weaveat back is of moderately fine grain.Length, five to eighteen feet.Usual width, two fifths to two thirds length.
Only now and then is seen a prayer Ghiordes that represents such a high type of artistic skill. The weaving follows more closely the fine technique of the Persian than that of the Asia Minor weaver. Yet it is the drawing and colouring that claim attention. The delicate tracery of the spandrel, the minute delineation of tendril and leaf in the border, and the perfect balance of every part of one side with a corresponding part in the other, resemble the finest workmanship of old Iran. Not only so, but the beautiful border pattern of rosette and leaf is so suggestive of the well-known Herati design that it seems not improbable that here is shown the influence of those Persian weavers that Solyman the Magnificent took with him to Asia Minor after his capture of Tabriz. The colour also displays dainty tones and careful shading found in no other class of Asia Minor rugs. Such pieces are usually regarded as products of the XVI Century.
Property of the Author
COLOUR PLATE V--GHIORDES PRAYER RUG
Burujirds.—About sixty miles to the west of Sultanabad and forty to the south of the Sarawan district is the city of Burujird. It is in a rich, well-watered valley and is surrounded by numerous hamlets. Most of the population are engaged in agriculture; and only a small part, who are stimulated by the increased prices occasioned by the rug industry of Sultanabad, are weavers. They produce pieces that resemble closely the Sarabend rugs, as the field is generally occupied with pear designs; but on account of the Ghiordes knot and cotton warp and weft, they might be mistaken for Iran rugs.
Sultanabads.—Southeastward from the plain of Feraghan is the city of Sultanabad, which in recent years has become important as the centre of a great rug industry controlled by Europeans and Americans. Higher prices, resulting from the constantly increasing Western demand for Persian rugs, have stimulated the native weavers to more persistent efforts. Those who are too poor to purchase wool and dyes24are supplied by the companies. Others, who are more dependent, are paid regular wages. Thus it happens that not only large numbers of looms are constantly at work in the city, but a hundred hamlets and villages that lie within a day’s journey produce rugs that are marketed there. But while the output has been increased the true artistic spirit has been suppressed, and patterns favoured or supplied by foreign purchasers only are in demand. Most of the rugs are well woven, though there is a difference in grades. Some take the name of the city, others are called Savalans, from a range of mountains that lie to the north, and others are known as Mahals. Most of them are large pieces, rather coarsely woven.
Muskabads.—In the district of Muskabad, a short distance to the northwest of Sultanabad, are produced rugs very similar to the Mahals. They come in the same large carpet sizes and nearly square shapes; they have almost the same harmonious colour scheme of unobtrusive red, yellow, blue, green, and ivory; they have the same cotton warp and weft, the same finish of sides and ends; but as a rule they are less closely woven. The patterns are varied. Occasionally they have large figures such as are seen in Gorevans,though these are more usual in Mahals. In some of them the field is covered with conventionalised leaf and floral form. But the usual type has two or more concentric medallions of different colours covered with the small Herati designs so distinctive of the Feraghans. When such is the case, the border has usually the turtle pattern in the main stripe and some stiffly drawn vine and floral pattern in the smaller stripes. But the velvety appearance, the elegant finish of old Feraghans, is always lacking. The nap is of soft wool of medium length, but the surface of the back displays coarse texture. These pieces lack the artistic qualities of most Persian rugs; but on account of their excellent quality of material and stoutness of weave they are very serviceable.
Type Characteristics.Colours, principally red, blue, and ivory, with minor quantities of green and brown.Knot, Ghiordes or Sehna. Knots to inch horizontally seven to fourteen; perpendicularly, eight to twelve. The rows of knots are not firmly pressed down.Warp, cotton; one of the two threads encircled by a knot is generally depressed at back, and frequently nearly doubled under the other.Weft, cotton, of medium to coarse diameter. A thread of weft crosses twice between every two rows of knots.Pile, wool, of medium length.Border, three to five stripes, with a narrow outer edging.Sides, a double overcasting.Lower end, a very narrow web and short warp fringe.Upper end, short warp fringe.Texture, moderately firm.Weaveat back is of very coarse grain.Length, ten to eighteen feet.Width, two thirds to seven eighths length.
Joshaghans.—Lying to the southeast of Sultanabad and to the north of Ispahan is a district where a century ago were woven some of the best carpets of Persia, known as Joshaghans or Djushghans. Even long before then it was noted for its textile fabrics; but during the reign of Nadir Shah, who removed many of the best artisans from the central to the northwestern part of Persia, the carpet weaving received a new impulse, and continued to flourish there until nearly the middle of the last century. Since that time it has almost ceased, so that the genuine Joshaghans of rich, deep colour and skilfully drawn pattern are all sixty or more years of age. They may still be found scattered throughout the country, and should be carefully preserved; for they merit the high esteem accorded to them by the Persians themselves.
Plate 30. Ghiordes RugPlate 30. Ghiordes Rug
Plate 30. Ghiordes Rug
In a few of these pieces are seen the Shah Abbas pattern. In otherpieces the field is covered with scrolls, or with a lattice-work pattern in which small floral forms are the motives. Again it is occupied by pear designs encircled by small rounded figures, which combined form the outlines of a larger pear, while in the intervening spaces are small floral forms. The principal border stripe generally consists of floral designs, which not infrequently are some form of the Herati pattern. The secondary stripes often contain floral vines.
Whatever the pattern of the field, the effect is always striking and beautiful; for the lines are never harsh, and the colours are rich. The ground is very frequently a rose tint, but is sometimes dark blue; and the overlying designs are rose, yellow, green, and ivory. The colours of the border are generally the same as those of the smaller designs, so that the effect is always harmonious. These rugs are excellently woven; and the soft lustrous wool of the pile, which is usually longer than that of Sarabends and Feraghans, has often an appearance like plush.
Type Characteristics.Colours, principally red and blue, with lesser quantities of yellow, green, brown, and ivory.Knot, Ghiordes. Knots to inch horizontally seven to eleven; perpendicularly, eight to thirteen. The rows of knots are not always firmly pressed down, so that the warp may be seen at back.Warp, usually cotton, occasionally wool; one of the two threads encircled by a knot is usually depressed below the other at the back.Weft, wool, sometimes dyed red, brown, or reddish brown, but frequently of natural colour. A thread of weft generally crosses twice, but sometimes three times between every two rows of knots.Pile, wool of short or medium length.Border, usually three stripes.Sides, a double overcasting that is generally brown or black.Lower end, a web.Upper end, a web and warp fringe.Texture, moderately firm.Weaveat back is of moderately fine grain.Usual length, eight to sixteen feet.Usual width, two fifths to two thirds length.
Sehnas.—Seldom has prophecy been more precisely fulfilled than the one made a decade ago that the old Persian rugs would rapidly disappear from the market. Nor is it better exemplified than in the case of those woven before the middle of the last century in Sehna, capital of Ardelan, for to-day it is exceedingly difficult to obtain any of them. Nevertheless, there are still many looms among the four or five thousand families of the city, where true to early traditions are woven modern fabrics that maintain the samefloral Persian patterns, the same colour, the same general character of weave; but they lack the fine technique of the older pieces. It is, indeed, surprising that these modern pieces so closely resemble the old in all save quality, when it is considered that Sehna is distant only fifty miles from the western border of Persia; that it is surrounded by Kurdish tribes who for generations have woven rugs with nomadic features; and that it is not far distant from other important rug centres.
To one familiar with the leading characteristics it is possible at once to distinguish these rugs. Their nap is exceedingly short, and the weave is so distinctive that with eyes closed an expert will generally recognise them after rubbing the hand across the front and back. Their patterns, also, conform to well-established types, yet have sufficient variety to be always interesting. They may be conveniently divided into two groups: one represents the entire field covered with floral designs, and the other represents a field of uniform colour with a medallion at the centre, or with two or more concentric medallions. The former, which is undoubtedly the older group, has generally a small diaper pattern of the Herati design or floral figures daintily drawn. To obviate too great monotony, a number of the old pieces have the leaves and flowers so adjusted that the ground conveys the effect of lattice work, or less often have small trees of cypress regularly placed amid the other floral designs. Again, the field may be covered with large pear designs placed in rows. Of modern pieces the most beautiful pattern, as a rule, consists of a field of rich, uniform colour, as ivory or red, containing at its centre a single medallion of contrasting ground colour, which is generally dark blue or even black. The four corners of the field have serrated edges and are covered with floral designs similar to those of the medallion. The borders, which are invariably narrow, usually consist of three stripes, but sometimes of only two. With very few exceptions they are floral, and in the main one, that has a ground colour of yellow or red, are represented designs which are also similar to those of the medallion. Some of the old Sehnas had borders that were less floral than more modern pieces, and the turtle design so common to Feraghans was often used. Isolated and adventitious designs, such as are seen in all nomadic rugs, are never found in these pieces, nor are the floriated scrolls that are peculiar to Sarouks, Kashans, and Kermanshahs.
As is seldom the case with modern rugs, occasionally both linenand silk are used for the warp, and silk for overcasting, but generally the warp is cotton and the overcasting is of wool. The city of Sehna has given its name to the kind of knot with which almost all the rugs of China and Turkestan as well as many of the rugs of India and Persia are tied; yet strange as it may seem, its own weavers have been inconsistent in its use. To be sure, most of its rugs have the Sehna knot, but a surprisingly large proportion of both recent and comparatively old pieces have the Ghiordes knot. Only a few other rugs ever adopt the same style of weaving; for a thread of weft passes between two rows of knots but once, so that at the back only alternate threads of white cotton warp appear between these knots and thus give to the weave a checkered appearance or quincunx effect. Moreover, the yarn of the knots is not drawn tightly against the warp, so that in whatever direction the hand is rubbed the surface feels like a file. Very few other rugs are so closely woven, as four hundred knots to the square inch are not uncommon; and in very old pieces nearly double that number are now and then met with. Since both warp and weft are of fine threads and the nap is very short, these rugs are exceedingly thin and, accordingly, are not well adapted for floor use.
Some old saddle-bags are still to be found, rich in their fields of deep blues and floral forms of brighter tones, but unfortunately they are somewhat marred by the long slit in the centre made to fit the saddle.
Type Characteristics.Colours, principally dark blue, red, and ivory, with lesser quantities of green, light blue, and yellow.Knot, Sehna, often Ghiordes. Knots to inch horizontally eleven to twenty; perpendicularly, twelve to twenty-four. The rows of knots are closely pressed down, but the yarn of knots is not drawn tight against the warp.Warp, generally cotton, occasionally linen, rarely silk. Each of the two threads encircled by a knot is equally prominent at back.Weft, generally cotton, occasionally wool or linen, rarely silk. A single thread of small diameter crosses only once between every two rows of knots, so that the white spots of transverse warp exposed at back have a quincunx appearance.Pile, wool clipped very short.Border, three stripes.Sides, a tightly wound double overcasting.Lower end, a short web, or web and warp loops, or web and short warp fringe.Upper end, short web and fringe.Texture, very firm.Weaveat back is of fine grain but very rough.Length, three to seven feet.Width, two thirds to three quarters length.
Bijars.—One hundred miles beyond Hamadan, on the road to Tabriz, is the city of Bijar, capital of the district of Gehrous. It is surrounded by barren mountains that rise out of high table-lands, where for miles scarcely a habitation or bush breaks the monotony, and where not even a blade of grass or flower brightens the cracked and sun-parched earth, except for a short season of the year. As is the case throughout nearly all Persia, the spirit of desolation has crept into the city; the grapevine climbs over ruined walls; the shade of poplars and willows falls alike on decaying palace and crumbling houses. Yet there still remain caravansaries, schools, and mosques, as well as a population of five thousand people. Without doubt the importance of the city is partly due to the regiment of soldiers that the governor maintains to keep in subjection the bands of robbers and fierce Kurds who, in large numbers, live throughout the surrounding country. Nor are they the only tribes of fierce foreign blood dwelling in this region; for it is stated that during the invasions of the Timurids, a body of Turkomans from the fortress town of old Saraks, where the corners of Persia and Afghanistan meet Turkestan, followed the conqueror westward and settled here. After them is named a small river that flows a short distance to the north and finally empties into Lake Urumiah; and it is not unusual to apply the name Saraks to the rugs woven about Bijar, though they have none of the Turkoman characteristics.
By adopting some of the best qualities of both Persian and Kurdish rugs, the Bijar weavers have produced pieces of unusual merit. The foundation is generally of wool; but unlike almost all other rugs with nomadic features one thread of warp to each knot is doubled beneath the other in the process of weaving, so that it is almost or entirely concealed. Bijars are accordingly pieces of great firmness and durability. Moreover, their threads of warp and weft are of coarse diameter, so that they are invariably thick even when the nap is not long. They are also distinctive in the effective massing of bright and strong colours. Perhaps the association with ranges of treeless hills, with salt wastes, with vast plains where rainless months leave the grass parched and the flowers withered, has deadened the Persian love for the brilliant, joyous colours so acutely cherished in other parts of Asia; but by the weavers of Bijar it is not unusual to discard many of the Persian colours, which, however rich, are subdued and sombre, and adopt the brighter huesseen in some of the rugs of Asia Minor. Yet, as is not always the case with the latter, there is no sense of outraged taste; and though crimson reds, deep blues, or tawny camel’s hair be brought in relief against a field of strongly contrasting colour, the effect, except in modern pieces of poor dyes, is never displeasing.