Plate 31. Kulah Prayer RugPlate 31. Kulah Prayer Rug
Plate 31. Kulah Prayer Rug
In the pattern much latitude is exercised, but only in the oldest pieces are found the gracefully flowing lines suggestive of the highest Persian art. In many pieces a central medallion and triangular-shaped corners, separated by a field of plain or slightly shaded colour, is a favourite pattern. But the defining lines are severe, and lack the delicate drawing characteristic of Kermanshahs and Sarouks. Or the field may be covered with a lattice-work pattern that contains small repetitive forms, consisting of slender stems supporting one or more flowers. Frequently a rug is covered with a medley of designs composed of conventionalised flowers, crudely drawn trees, as well as birds, animals, or human beings. The borders generally consist of an outer edging of plain colour, and three stripes, on which are often represented purely geometric forms, but more frequently the undulating vine and pendent leaves, such as are common to most Persian rugs. Fortunately many sterling pieces still remain that have none of the earmarks of factory-made rugs, but are beautiful with their soft wool and lustrous colours, as well as interesting with their blending of Persian and Kurdish features.
Type Characteristics.Colours, principally red, also blue, ivory, green, yellow, and chocolate.Knot, Ghiordes. Knots to inch horizontally six to ten; perpendicularly, eight to twelve. The rows of knots are pressed down, so that the warp is concealed at back and the weft partly hidden.Warp, wool; one of the two threads encircled by a knot is doubled under the other.Weft, wool, of medium or coarse diameter, frequently dyed red. A thread of weft crosses twice between every two rows of knots.Pile, of medium length, usually wool, but frequently partly of camel’s hair.Border, of three stripes, often with an outer edging.Sides, a double overcasting in red or purple.Lower end, a web that is occasionally coloured or a narrow braided selvage.Upper end, a web with loose warp fringe and sometimes a braided selvage. The webbing is occasionally turned back and hemmed.Texture, very firm.Weaveat back is of coarse grain.Length, six to sixteen feet.Width, one quarter to three fifths length.
Kermanshahs.—On an ancient highway between Bagdad and Teheran is the city of Kermanshah. As it is situated near the frontiers of northwestern Persia, facing the Turkish provinces, and is surrounded by mountains where once wandered bands of homeless marauding Kurds who recognised no government, it was formerly a most important stronghold of defence. A century ago Robert Kerr Porter, who visited the city, referred to the luxurious gardens and orchards that surrounded it, and to the villages of the vicinity in which were made “carpets of most beautiful colour and fabric.” Within later years the moat has filled with rubbish, the encircling walls have crumbled, and the deserted bazaars and caravansaries show that its present population of about twelve thousand is but a small part of what it has been. With its decline in political importance followed a decline in industrial activities; yet for a long time it remained a rug-producing centre of importance. In 1880 Sir George Birdwood wrote that “the finest Oriental rugs of our time, which at the Vienna Exhibition astonished all beholders, are those made in the palace of the Governor of Kermanshah, in Kurdistan, and are only disposed of as presents.”25And in 1890 a traveller26spoke of the weaving as follows: “It is a process carried on in homes, hovels, and tents by women and children.... The vegetable dyes used are soft and artistic, especially a wonderful red and the various shades of indigo. The dull, rich tints, even when new, are quite beautiful. The women pursue their work chiefly in odds and ends of time, and in some cases make it much of a pastime.”
From this city and the surrounding hills are still obtained large quantities of rugs, which follow the same patterns that for years have been characteristic of this district. Yet most of the modern Kermanshahs are made elsewhere in the workhouses of exporting companies. So noticeable is the resemblance in drawing and colouring of some of them to the Kirmans of Southeastern Persia, that they are offered now and then by dealers as real Kirmans, though they lack the fine technique and artistic merit of the latter. They possess, however, the same wealth of floral expression, for throughout border and field are sprays of flowers on delicate vines and foliate stalks. Most of the pieces now seen contain at the centre of the field a large medallion, which may have serrated or lobed edges, be oval or of diamond shape, and with or without pendants. The corners are
defined by lines that do not always conform to those of the medallion; and the borders have always several stripes, of which the main one is usually but little wider than the others. In all these different parts are floral and foliage motives that find expression in sunflowers, roses, tulips, daisies, and many simpler forms, supported by delicate branching sprays and vines.
There are, however, other patterns less frequently met with, as it is not unusual to see elaborate pear designs, and sometimes the cypress or the palm tree naturalistically drawn. Covering the field of a rare old Kermanshah recently seen were thirty large panels, which like so many small rugs contained central fields that were alternately coloured blue and ivory. Surrounding each of these little fields, on which were represented the arch of a temple and the tree of life, were borders wherein were woven verses from the Koran, and at the intersections of the borders were floral designs like roses. Encircling all the panels was a wide border containing escutcheons in which were woven other verses. Without doubt this rug was used for sacred purposes. In fact, a larger proportion of Kermanshahs than almost any other Persian rugs have prayer arches as well as verses from the Koran inscribed in some part of them, but with very few exceptions they are recently woven and bear no evidence of devotional usage.
The general colour scheme is distinctive, for the tones are much lighter than those of most other Persian rugs. Frequently a field of ivory surrounds the central medallion, though sometimes a light rose red is used. Other colours are light blue, green, and buff, which are softened by the floccy quality of the excellent and moderately short-clipped wool. One feature common to almost all of them is the narrow edging of pinkish red that surrounds the border. This edging, the foliate scrolls, the soft light tones, and the rather coarse weaving, that leaves the white or sometimes pinkish weft exposed at the back, are characteristics by which these rugs may readily be distinguished. As they come in all sizes from small mats to large carpets, and have tones that harmonise with almost any surroundings, they are a most popular class with those who care little for association and ignore the fact that they are chemically washed.
Type Characteristics.Colours, principally light rose and ivory, also blue, green, and buff.Knot, Sehna. Knots to inch horizontally twelve to eighteen, perpendicularly eleven to eighteen. The rowsof knots are pressed down, so that the warp is concealed at back, but the weft is conspicuous.Warp, cotton; one of the two threads encircled by a knot is doubled under the other.Weft, cotton, of medium diameter, sometimes dyed pink. A thread of weft crosses twice between every two rows of knots.Pile, wool, soft and of medium length.Border, frequently of three stripes of almost equal width, but sometimes many stripes; also an outer edging that is generally red, but occasionally blue.Sides, a double overcasting in same colour as edging.Lower end, a narrow web and warp loops, or short warp fringe.Upper end, a narrow web and short warp fringe.Texture, firm.Weaveat back is of moderately coarse grain.Usual length, four to fourteen feet.Usual width, three fifths to four fifths length.
Western Kurdistans.—Within the land lying between the Anti-Taurus and Zagros mountains, where the Euphrates and Tigris rivers have their sources, dwell a people almost as untamed as when in the dawn of history they were designated the “Warriors;” or centuries later, under the name “Carduchis,” opposed the retreat of Xenophon and his ten thousand Greeks. Now they are known as “Kurds,” of whom large numbers, wild, brave, and hospitable, live a nomadic life among table-lands partly covered with sycamores and oaks, or follow their sheep over lofty pine-crowned mountains, that for long months are enveloped in snow. Doubtless the cheering influence of green hillsides and the rich vegetation of innumerable valleys, where streams flow perennially, is in a measure responsible for their more sprightly aspect when contrasted with that of the Persians. They recognise no law but the will of their chief, to whom they maintain strictest fealty. “There was up to a recent period no more picturesque or interesting scene to be witnessed in the East than the court of one of these great Kurdish chiefs, where, like another Saladin, the bey ruled in patriarchial state, surrounded by his clansmen with reverence and affection, and attended by a body-guard of young Kurdish warriors, clad in chain armor, with flaunting silken scarfs, and bearing javelin, lance, and sword, as in the time of the Crusades.”27
Plate 32. Melez Prayer RugPlate 32. Melez Prayer Rug
Plate 32. Melez Prayer Rug
Large numbers, also, are settled in Persia, where they cultivate the soil of small tracts of land, or live in villages of stone houses. Many of them are scattered around Lake Urumiah. Others have made their homes in the district of Kermanshah, and not a few havewandered as far as Khorassan. But wherever they may be, they are distinguished by their appearance; for the men are bold and handsome, and the young women, whom custom permits to appear unveiled in public, are beautiful as well as graceful.
There is no racial distinction between the Kurds who live the pastoral life and those who dwell in villages, or between the Kurds of Asiatic Turkey and those of Persia; yet environment has produced a marked difference in their textile fabrics. Those woven by the tribes that live among the mountains that encircle Lake Van and extend to the north of Diarbekr embody the wild characteristics of the weavers. They are strong and coarse, with close weave, long nap, and bold patterns, that suggest Caucasian influence devoid of artistic feeling. In some of them is a large central diamond or lozenge surrounded by latch-hooks, as well as floral forms so conventionalised as to be purely geometric; now and then Arabic symbols and letters are scattered over the field. Moreover, the colours lack the delicate shades of Persian rugs, but possess rich, strong hues obtained from native dyes that applied to the excellent wool give it a warm, lustrous appearance. Brown is very largely used. There are also dark reds and blues brightened by dashes of white and yellow. Only the Kazaks, Tcherkess, and one or two Asia Minor weaves are trimmed with such long nap, which, together with the deep colours and long shaggy fringe, give these pieces a semi-barbaric appearance possessed by no other rugs. Sometimes they are confused with the Mosuls; but as a rule the pile is longer, and they are more coarsely woven. In fact, the yarn is so coarse that it is not unusual to see pieces with only thirty or forty knots to the square inch. Like the Persian-Kurdish rugs, they rarely come in large, almost square shapes, and are frequently decidedly oblong. They may, however, easily be distinguished from them by their cruder patterns, darker colours, coarser texture, and the fact that each of the two threads of warp encircled by a knot is equally prominent at the back.
Type Characteristics.Colours, principally brown, red, and blue, with minor quantities of yellow, green, and white, and the natural colour of the undyed wool.Knot, Ghiordes. Knots to inch horizontally four to seven; perpendicularly, six to nine. A half knot, as it appears at back, is as long as, or longer than, wide. The rows of knots are closely pressed down.Warp, wool; each of the two threads encircled by a knot is equally prominent at back.Weft,wool, of coarse diameter, and often dyed a reddish colour. A thread of weft crosses twice between every two rows of knots.Pile, wool, occasionally camel’s or goat’s hair clipped long.Border, generally of three stripes.Sides, a heavy double overcasting, usually in brown or black, occasionally in several different colours.Lower end, a narrow web, through which runs a coloured cord, and warp loops.Upper end, a narrow web, one or more rows of knots and long, coarse warp fringe.Texture, very stout.Weaveat back is of very coarse grain.Length, five to sixteen feet.Width, two fifths to two thirds length.
Persian Kurdistans.—Nowhere is the influence of association among weavers more evident than in the Kurdish rugs woven by the tribes settled in the rich valleys of Northwestern Persia, as is apparent in weave, colours, and pattern, which differ widely from those seen in the Kurdish rugs of Asiatic Turkey. The warp is only rarely of coarse goats’ hair, and is generally soft, brown wool. The pile is much shorter, so that the drawing is clearly defined. Likewise, the colours are more varied and of more delicate tones so as to include lighter shades of green, rose, and ivory with the darker reds, blues, and browns. But the chief distinction consists of the more artistic pattern. The medallion in the centre of the field with corner pieces in which appear some form of repetitive pattern is most common. Instead of large figures are often the more dainty Herati designs borrowed from the Feraghans and the Sehnas, or the pear design from the Sarabends. Now and then is seen a rare old piece with field completely covered with drawings of the tree of life and strange floral conceits; but the pattern that is pre-eminently typical of this type of Kurdish pieces is the Mina Khani, though it is occasionally adopted in other rugs. The white and yellowish flowers, connected by a lattice work sub-pattern of brown or olive, rests on a ground of dark blue, that in accordance with a feature peculiar to rugs of Kurdish weaves varies from one end of the field to the other, so as to suggest that their wandering life often made it difficult to obtain the roots and herbs necessary to produce similar shades. As is rarely the case with other patterns, the naturalistic flowers that are pendent from the undulating vine of the main stripe and the flowers of the field have nearly the same drawing. The two remaining stripes of the narrow border have most simple vines.
Almost without exception rugs of this class are stoutly woven.To assure firmness, one thread of warp is depressed below the other in tying the knots; and the weft that is thrown across for filling is of fair quality. On account of the firm texture, excellent wool, and good colours it is still possible to obtain moderately old pieces, that as objects of utility as well as ornament are desirable for their sterling qualities.
A similarity exists between the Persian-Kurdish, Mosul, and Bijar rugs; but a precise, even if easily overlooked, difference in the weave serves to distinguish one from the other. As may be seen by examining the backs of typical specimens, in Mosuls every thread of warp lies in the same plane parallel with the surface of the pile; in the Persian Kurdistans one of the two threads of warp encircled by a knot is depressed at an acute angle to that plane; and in Bijars one of the two threads of warp encircled by a knot is doubled under the other so as to be at right angles to that plane.
Type Characteristics.Colours, principally red and blue, also yellow, green, and white.Knot, Ghiordes. Knots to inch horizontally seven to ten; perpendicularly, eight to twelve. A half knot, as it appears at back, is no longer than wide and is frequently not so long. The yarn is loosely woven, so that each separate ply is distinct. The rows of knots are pressed down, so that the warp is largely concealed and the weft partly hidden at back.Warp, wool; one of the two threads encircled by a knot is generally much depressed below the other at back; but sometimes each is equally prominent.Weft, wool, of medium diameter. A thread of weft usually crosses twice between every two rows of knots, only rarely once.Pile, wool, and occasionally some camel’s hair of medium length.Border, three to four stripes.Sides, a heavy double overcasting in dark colour.Lower end, web crossed by a parti-coloured cord, and warp loops.Upper end, web crossed by a parti-coloured cord, and loose warp fringe.Texture, very firm.Weaveat back is of coarse grain.Usual length, six to twelve feet.Usual width, five eighths to two thirds length.
Karajes.—Dwelling near Hamadan, in the northwestern part of Persia, are tribes who weave rugs that are known in the markets as Karajes. In their colour scheme, length of nap, and texture they resemble many of the Kurdistans; but in the technicalities of weave they show a marked difference. As a rule, a single thread of weft crosses only once between two rows of knots, or in a few pieces twothreads of weft pass side by side as though one. In this particular they resemble Hamadans; but the alignment of their knots at the back is more regular, their weft is inserted with some slack, their warp is of wool, and their weft is almost always of wool. They are generally runners, with long nap of soft, lustrous wool, with rich colours, and with border of three stripes. The pattern is Iranian, and very often consists of a small bush or sprig of leaf and flower disposed in formal array throughout the field. Sometimes the floral forms are placed within the diamonds formed by a trellis pattern, but more frequently they are arranged in rows like the pear designs of Sarabends. In some pieces they are very much conventionalised and suggest similar figures seen in rugs of Southern Caucasia; and in others stem, leaf, and flower are very realistic. Another pattern frequently followed consists of three or four large diamond-shaped medallions extending from one end of the field to the other. The borders are moderately narrow, and an undulating vine of well-known Persian character generally appears in one or more of the stripes. As these pieces are almost always comparatively old, the vegetable dyes that were used for colouring have mellowed, and have a richness of tone that is accentuated by the depth of pile and softness of wool. The prevailing tone of many is a deep plum colour.
Type Characteristics.Colours, principally dark blue or plum and red, with minor quantities of yellow, brown, and white.Knot, Ghiordes. Knots to inch horizontally six to twelve; perpendicularly, seven to twelve. A half knot, as it appears at back, is as long as wide, and occasionally is longer. The rows of knots, which have even alignment at back, are not firmly pressed down.Warp, wool, rarely cotton; each of the two threads encircled by a knot is equally prominent at back.Weft, wool, rarely cotton; a single thread of medium diameter crosses once between every two rows of knots; but in parts of the same rug two, three, or even four threads of small diameter will cross side by side as a single coarse thread. Occasionally a thread of weft crosses three or four times. The filling of weft stands up as high as the knots at the back, giving an even surface.Pile, wool, of medium length or moderately long.Border, of three stripes.Sides, a heavy double overcasting.Lower end, web and warp loops.Upper end, web and short fringe.Texture, moderately loose.Weaveat back is of coarse grain.Usual length, eight to fourteen feet.Usual width, three eighths to one half length.
Plate 33. Melez RugPlate 33. Melez Rug
Plate 33. Melez Rug
Tabriz.—Although Tabriz, capital of the province of Azerbijan, is situated in a remote corner of Persia, from the earliest times it has been one of the most important centres in the Orient for the production of carpets. They were well known in the days of the Caliphs; and some of the earliest masterpieces that now remain were woven there during the reign of Shah Tamasp, who extended to this industry his royal patronage. This city has been for a long period on the great routes of caravans passing to Trebizond and Tiflis from the country to the south and east, so that it has become the principal mart of Persia for the export of rugs gathered from surrounding regions. Nevertheless, it still continues to produce its own pieces; but the weavers are in the employ of foreign companies who prescribe the character of workmanship. As a consequence, the rugs are of good material, excellently woven; and though many of the old dyes are no longer used, the colours as a rule are fair; yet on account of the mathematical exactness of their formal patterns the truly Oriental spirit is largely lacking.
Since the rugs are made solely to meet the requirements of Western buyers, the patterns are various. Most of them consist of a large central medallion surrounded by a broad field of ivory, blue, or red that extends to the sides and ends. In others, a small diamond occupies the centre and is surrounded by a series of concentric medallions. Although in these respects they correspond with Kermanshahs, Sarouks, and Kashans, the patterns of their fields lack the long scrolls and interlacing branches, and consist frequently of short, slender stems supporting fronds, leaves, flowers, or the pear designs arranged so as to present almost the appearance of lace-work. Sometimes the drawing is a delicate tracery representing intertwining arabesques. A field completely covered with the small designs peculiar to Sehnas, or containing the disjunct forms of nomadic rugs, is never seen; and yet it is not improbable that many of the early Tabriz weavers were Kurds. Sometimes the flowers are similar to the roses of Kirmans, or are realistically drawn compositæ surrounded by delicate leaves on graceful stems; some times the small designs are as formal as the palmettes of old Ispahans, from which they were doubtless copied; again, the naturalistic and conventional may be blended together in an harmonious whole. But whatever the pattern, the different parts show the perfect balance so frequently seen in the antique pieces of three or four centuries ago. Nevertheless, to these types are many exceptions, since the weavers will produce for hire any class of rug or copy any coloured drawing.
The borders differ from those of Kermanshahs, with which these rugs are frequently compared, in the fact that in their central stripe the continuous vine of leaf and flower is less conspicuous; and in its place are often palmettes, pears, shrubs, or formal trees separated by foliated scrolls. Not infrequently the smaller stripes, also, have a repetitive pattern of leaf and flower, though in some of the many stripes is usually a well-drawn vine. Again, the border may consist of a series of cartouches that have been copied from much older rugs and contain verses of the Koran or of Persian poets. Within recent years this tendency among the Tabriz and Kermanshah weavers to imitate not only borders but also fields of old masterpieces is increasing.
A feature peculiar to a very large number of these rugs is the adoption of very finely spun linen for the warp; though cotton, which is used for the weft, is sometimes substituted. The knots are carefully tied, and the closely woven texture presents an appearance at the back similar to that of Sarouks; but the almost concealed weft is generally either white or pink. The weave compared with that of Kermanshahs is finer, but the wool of the closely shorn nap is neither so soft to the touch nor so silky, the colours are harsher, and the patterns more formal. These rugs are made in all sizes, though most are large and almost square.
Type characteristics.Colours, principally red, blue, and ivory.Knot, Ghiordes. Knots to inch horizontally twelve to twenty; perpendicularly, ten to twenty-two. The rows of knots are pressed down, so that the warp is hidden and the weft partly concealed at back.Warp, generally cotton, frequently linen; one of the two threads encircled by a knot is doubled under the other.Weft, as a rule, is cotton, occasionally it is wool or linen, of fine diameter, and frequently dyed pink. A thread of weft crosses twice between every two rows of knots.Pile, wool, clipped short and harsh to the touch.Border, from five to eight stripes and an outer edging.Sides, a two-cord selvage.Both ends, a narrow web and loose warp fringe.Texture, firm.Weaveat back is of fine texture.Usual length, nine to eighteen feet.Usual width, two thirds to four fifths length.
Gorevans.—Of the many rugs now made in Persia and designed primarily for use, few are of such moderate price as the Gorevans,which, during recent years, have been imported in large numbers from the province of Azerbijan in Northwestern Persia. A hasty glance suggests Occidental craftsmanship, but in every essential they are distinctly Oriental. Their stout weave, large size, and nearly square shape place them in the class of Persian pieces often called carpets, to which belong the Kermanshahs, Muskabads, Mesheds, and rugs of Tabriz. Yet they are frequently larger than any of these, and are readily distinguished from them by their colours and patterns. It is true that they have the same light shades, but the tones are in a distinctly different scale, consisting principally of dull brick-red, light terra cotta, buff, dark blue, dull green, yellow, and ivory, which, when once recognised, are rarely mistaken for those of any other rugs. Nor are the colours distributed in patches so small as to blend when viewed at a short distance, but are of sufficient masses to be separately observed and analysed.
The patterns are equally distinctive. The field is generally covered with a number of concentric hexagonal-shaped medallions, of which the longer sides of the largest are often marked with conspicuous indentations such as are not seen in classes made in other districts. All of the medallions are covered with large designs, in which the artist has departed from the usual forms of vine, leaf, and flower, that poorly imitate the splendid examples of so-called “Ispahans,” and in many instances has represented them in the archaic drawing of the oldest remaining Persian carpets. Hard, straight lines with angles replacing graceful curves define the medallions, corners, stems, leaves, and flowers. And not infrequently the formal treatment shows a European influence, as when all semblance of leaf and flower has disappeared in the extremely conventionalised forms that are placed with set regularity in the field. A very noticeable feature of these rugs is the manner in which the designs are coloured, as it is not unusual to represent a large figure in two strongly contrasting colours, as blue and pink separated by a stiffly drawn line.
The designs of the corners are similar to those of the central medallions, but the designs of the borders are dissimilar. The small stripes are marked with Persian vines of well-known floral and leaf forms that show nothing of the drawing characteristic of the field. The main stripe occasionally has cartouches and star medallions, but in most instances has the turtle pattern, though its treatment differs from the usual form seen in Feraghans. Aco-ordination in colour exists between field and border. The ground of both the main stripe and one of the medallions is often a dark blue or a red, while the ground of the other stripes corresponds with those of other medallions.
All of the Gorevans are modern pieces, and so lack the interest of those that follow traditional patterns; but their stout weave, warm colours, and archaic designs make them both serviceable and pleasing.
Type Characteristics.Colours, principally dull red, dark blue, and buff, with minor quantities of green, yellow, and white.Knot, Ghiordes. Knots to inch horizontally six to eight; perpendicularly, six to ten. The most conspicuous half of a knot, as it appears at the back, is, as a rule, longer than wide. The rows of knots are somewhat pressed down, but the warp is rarely entirely concealed at back.Warp, cotton; one of the two threads encircled by a knot is usually depressed below the other at back; sometimes both threads are equally prominent.Weft, cotton, of coarse diameter, sometimes dyed blue. A thread of weft crosses only once between every two rows of knots, or frequently twice.Pile, wool, of medium length.Border, generally of three stripes, occasionally four or five.Sides, a two-cord double selvage.Both ends, a short warp fringe.Texture, rather loose.Weaveat back is of very coarse grain.Usual length, ten to sixteen feet.Usual width, three fifths to three quarters length.
Bakshis.—A close relationship exists between the Gorevans, which are a comparatively modern product, and several other less known sub-classes of earlier origin that are woven in small towns in the east central part of the province of Azerbijan. One of these towns, located fifty miles to the southeast of Tabriz, is Bakshis, which formerly produced rugs that were highly esteemed by the Persians, before the weavers were corrupted by a spirit of commercialism. Those which are exported to-day are of little artistic value, are poorly coloured, and carelessly woven. The patterns are inferior copies of other well-known classes.
Plate 34. Rhodian RugPlate 34. Rhodian Rug
Plate 34. Rhodian Rug
Serapis.—The rugs known as Serapis are named after the village of Sirab in the mountainous district between Tabriz and Ardebil; but they are made not only there, but also in the country farther to the east. The large sizes are frequently mistaken for Gorevans, asthey are of similar shape and have similar finish of sides and ends, yet as a rule they are better woven. Many of them follow the same patterns of concentric medallions, but the lines of others are more artistically drawn. Although the borders lack the gracefully symmetric vines of old Iranian pieces, the drawing is interesting in its individuality and is in harmony with that of the field. All the colours are cheerful. A field of ivory or some light shade of buff usually surrounds the central medallions, on which appear soft and pleasing tones of smaller designs. Yet on the whole there is a tendency to employ richer and deeper tones than those of Gorevans. The smaller pieces often contain more elaborate patterns, but there are always the same pleasing and unobtrusive shades of colour.
Type Characteristics.Colours, principally red, blue, and ivory, with minor quantities of green and yellow.Knot, generally Sehna, frequently Ghiordes. Knots to inch horizontally six to ten; perpendicularly, seven to twelve. The rows of knots are firmly pressed down, so that the warp does not show at back.Warp, cotton; one of the two threads encircled by a knot is generally much depressed below the other at back, and frequently doubled under the other.Weft, cotton, of coarse diameter. 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 cords, or double overcasting attached figure-eight fashion to the sides. The selvage or overcasting is usually in red or buff.Lower end, a narrow web and warp loops or short warp fringe.Upper end, a narrow web and warp fringe.Texture, stout.Weaveat back is of coarse grain.Usual length, ten to eighteen feet.Usual width, two thirds to three quarters length.
Herez.—The city of Herez is in the extreme eastern part of the province of Azerbijan, where for a long time the weavers steadily adhered to the sterling values of early fabrics and produced pieces that were followed with slight modification in many of the former Gorevans. In a measure the rugs of Tabriz also are reflected in the medallion pattern of some of these pieces, but for their gracefully flowing lines are substituted more rectangular ones; and in place of many colours are few, of which blue and a reddish copper are particularly noticeable. Another well-known and interesting type consists of a field of white, on which, with formal precision, are represented, in delicate shades of red, blue, yellow, and green,archaic leaves and flowers supported by stems and tendrils that are so conventionalised as to form geometric lines and angles. At regular intervals the branching tendrils assume the shape of arches, of which in larger pieces there are frequently one or two dozen; and so closely do they resemble prayer arches that these rugs are sometimes mistaken for namazliks. The borders usually consist of three stripes. The outer and inner are narrow guards containing some simple floral figure, and the broad central stripe has often a continuous vine with formal leaves and a conspicuous design suggestive of the cloud-band. The tones are never harsh; many of the pieces are large and almost square, and the wool of the pile is generally excellent.
Type Characteristics.Colours, principally ivory, light blue, and reddish brown, also some yellow and green.Knot, Ghiordes. Knots to inch horizontally five to ten; perpendicularly, six to twelve. The most conspicuous half of a knot, as it appears at the back, is longer than wide. The rows of knots are only slightly pressed down, so that the weft is noticeable at back.Warp, cotton; one of the two threads encircled by a knot is depressed below the other at back, or each thread is equally prominent.Weft, of cotton, seldom of wool, of moderately coarse diameter. A thread of weft crosses twice between every two rows of knots.Pile, wool of medium length.Border, generally of three stripes.Sides, a two-cord double selvage.Lower end, a very narrow web and short warp fringe.Upper end, a short warp fringe.Texture, loose.Weaveat back is of very coarse grain.Usual length, nine to fifteen feet.Usual width, two thirds to seven eighths length.
Suj-Bulaks.—About fifty miles to the south of Lake Urumiah and the same distance from the western boundary of Persia is the old Kurdish capital of Suj-Bulak. Kurds still largely predominate in the district and comprise most of the population of the city, to the discomfort of the much smaller number of Persians, for whose protection a large garrison was formerly maintained. Accordingly, the rugs made in this vicinity are strongly characteristic of Kurdish pieces in the strong texture, the excellent quality of wool, the rich, dark colours, the finish of sides and ends. The patterns also are largely Kurdish, but frequently show the influence of Persian association.
In typical old pieces deep reds and blues are largely used. Oneof them is generally the ground colour of the central field, and shows the Kurdish influence by a gradual shading from end to end; the other appears in the overlying pattern, which partakes of a floral character. The drawing sometimes represents flowering plants, such as the rose bush, arranged in perpendicular rows and brightened by tints of white, green, or yellow. Detached flowers not infrequently line the edges of the field. The wide borders also, as a rule, have vines and floral forms.
Type Characteristics.Colours, principally dark red and blue, with minor quantities of brown, green, yellow, and ivory.Knot, Ghiordes. Knots to inch horizontally seven to ten; perpendicularly, eight to twelve. The rows of knots are, as a rule, pressed down, so that the alignment of each half knot is very uneven; but frequently this feature is not regularly maintained in all parts of the same rug, so that here and there the warp is noticeable at back.Warp, wool; each of the two threads encircled by a knot is generally equally prominent at back, but occasionally one is depressed below the other.Weft, wool, of medium diameter. A thread of weft crosses twice between every two rows of knots.Pile, wool of medium length.Border, of three to four stripes.Sides, a double selvage of two or three cords in blue, red, or brown.Lower end, a web through which runs a parti-coloured cord, and a warp fringe. Frequently there is a braided selvage in addition to the web.Upper end, the same as lower, excepting that the web is occasionally turned back and hemmed.Texture, moderately loose.Weaveat back is of slightly coarse grain.Usual length, six to seven feet.Usual width, two fifths to three fifths length.
Karadaghs.—In the extreme northwestern part of Persia, between the city of Tabriz and the river Aras, is a mountain range called Kara Dagh, which signifies the “Black Mountain,” On its slopes and in the adjoining valleys rugs have been woven for at least several hundred years, and at one time were well known in Europe, but few have reached this country. Most of them are produced for home use, so that they are, as a rule, well woven, of good material, and of vegetable dyes. They resemble in colour scheme, weave, and finish of sides and ends the rugs of Karabagh, which immediately adjoins this district on the north. Indeed, in no other rugs of Persia are the traditions of Iranian weavers so much disregarded and Caucasian ideas so closely followed.
The field of many of these rugs is completely covered with conventionalised flowers of several different colours, so arranged that diagonal lines are of similar colours. Sometimes it is covered with a pattern of hexagonal-shaped figures containing geometric forms or conventionalised floral designs. Again, it may contain the Herati pattern or one similar to the Mina-Khani. In fact, some repetitive pattern of small design is the usual type; but now and then some form of pole medallion, which the weavers have learned from their more southern neighbours, is substituted. The patterns of the borders are either mechanically drawn vines or contain geometric figures characteristic of Caucasian pieces. For guard stripes the reciprocal trefoil is constantly used.
The colour scheme is generally bright and pleasing. A favourite colour for the field is blue or a camel’s hair yellow; sometimes rose is seen. The nap of modern pieces is medium long and of old pieces is short. The weave of the latter is excellent, so that the closely pressed knots and stout threads of weft make at the back an even surface unlike the coarse appearance of many rugs.
Type Characteristics.Colours, principally blue, red, yellow, green, and white. Knot, Ghiordes.Knotsto inch horizontally seven to eleven; perpendicularly, seven to eleven. The rows of knots are not firmly pressed down, so that the warp appears at back, and the weft is prominent.Warp, wool; each of the threads encircled by a knot is equally distinct at back.Weft, wool, of coarse diameter, occasionally dyed. A thread of weft crosses twice between every two rows of knots.Pile, wool, of moderate length.Border, three to six stripes.Sides, a double selvage of two or three cords.Both ends, a narrow web and short warp fringe.Texture, moderately firm.Weaveat back is of rather coarse grain.Usual length, five to nine feet.Usual width, two fifths to two thirds length.
Mosuls.—Near the ruins of ancient Nineveh, on the bank of the Tigris, is the city of Mosul. Once it was not only an important mart for wares carried up and down the river, and for vast caravans from east and west, but it became noted for its textiles from which was derived the name “muslin.” At length on account of pestilence, misrule, and the sack of armies its population and industries have dwindled; though it is still the capital and commercial centre of a district that lies between the high table-lands surrounding Lake Van and the low plains of Bagdad, and that extends across the Mesopotamianvalley to the mountain ridges bordering Western Persia. Within this extensive area are large stretches of rich pasture, where Abraham once fed his flocks, and where each year Kurdish nomads from the north drive their sheep when the winter snows cover their own hillsides. Arabs, Turks, Armenians, Jews, and Christians likewise mingle with the natives, so that the population is as mixed as can be found anywhere in the Orient.
Plate 35. Konieh Prayer RugPlate 35. Konieh Prayer Rug
Plate 35. Konieh Prayer Rug
Thus it happens that the rugs marketed in the city of Mosul are made by different races and show great diversity of character. It would, indeed, be often difficult to distinguish them if the weave were disregarded; for though they are prone to yellow and russet hues, and the long wool is floccy as well as lustrous, there is no pattern that can be considered truly typical. Many of them borrow Caucasian designs, such as stars, latch-hooks, diagonal bands, and barber-pole stripes. Others have patterns adopted almost bodily from Kurdish pieces. But however much the nomadic rugs are copied, a Persian influence is always shown by the way in which the severer features are softened. In fact, a very large percentage of rugs that come from Mosul are made by the tribes that wander as far east as the great mountain divides along the borders of Western Persia, and adopt patterns and colour schemes current in Azerbijan and Ardelan. It accordingly happens that medallion patterns resembling those of Bijars, but with bolder and less graceful outlines, are seen. More frequently the field is covered with small figures common to Feraghans, as well as with the well-known pear designs; but the former are coarsely drawn, and the latter lack the gracefully rounded lines seen in Sarabends and are often as geometric as those of the Baku rugs. Somewhere in almost all these pieces appears evidence of some conventionalised floral form; but now and then a rare old piece is found which was woven in the plains of Mesopotamia, with field completely covered with a naturalistically drawn tulip that grows on the banks of the Tigris and Euphrates. Its bright flowers and leaves, supported by a delicate stalk, constitute one of the most beautiful designs seen in any rug.
The borders are rarely wide, and generally consist of three stripes, one of which usually has some simple vine, and the others some well-known geometric pattern. It is, also, not unusual to find an outer edging surrounding the border. In a few of these pieces camel’s hair is used even to the extent of occupying the whole field; and goat’shair or sheep’s wool, dyed to a similar colour, is constantly employed. One of the most usual colours is some shade of yellow. Reddish hues also prevail. These rugs frequently have the same pleasing effect of slightly graduated changes so common in the ground colour of Kurdistans, but as a whole the colour scheme is lighter. On the other hand, they follow the shading adopted in Persian rugs, which in a measure eliminates the sudden transition between adjacent areas of strongly contrasting colour so noticeable in nomadic pieces. On account of the present remoteness of the Mosul district from important highways of travel, many excellent pieces, which with careful use should acquire the rich tones of those now old, are still woven there.
Type Characteristics.Colours, principally yellow and brownish red, with minor quantities of blue, green, and white.Knot, Ghiordes. Knots to inch horizontally five to seven; perpendicularly, seven to nine. A half knot, as it appears at back, is as long as wide and frequently longer. The yarn is not drawn tightly against the warp. The rows of knots are firmly pressed down, so that the warp is concealed at back.Warp, almost always wool, rarely cotton; each of the two threads encircled by a knot is equally prominent at back.Weft, generally of wool, of coarse diameter and frequently dyed red or orange, but occasionally of cotton. As a rule, a thread of weft crosses twice between two rows of knots, but sometimes crosses only once; or two or three threads cross side by side, as in Karajes.Pile, wool and occasionally camel’s hair, of medium length.Border, of three stripes with frequently an outer edging of solid colour.Sidesare generally a heavy double overcasting, but in a few pieces there is a two-cord weft selvage or double selvage.Lower end, a web.Upper end, a web and warp fringe; occasionally there is a heavy braided selvage, or the web is turned back and hemmed.Texture, moderately firm.Weaveat back is of coarse grain.Usual length, six to ten feet.Usual width, two fifths to three quarters length.
Now and then are seen comparatively scarce rugs, such as the Teheran, Gulistan, Kara-Geuz, Bibikabad, Afshar, and Gozene, that were woven within the Iranian boundaries. Some of them are no longer produced, and others are woven in such small numbers that but few are exported.