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CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
r77 
 
 
 
,, IHIS is No. ^7<5 of an edition of 5oo copies. 
 Printed by The University Press, Cambridge, 
 U.S. A., for the Ti£Fany Studios. 
 Presented to 
 
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Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924096276930 
 
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 Copyright, 1906 
 Bt Tiffaht Studios 
 
 THE traiVERSITT PRESS, CAMBRIDGE, U.S.A. 
 
TS 
 
 PREFACE 
 
 T, 
 
 HE Tiffany Studios collection of 
 antique Oriental rugs has been carefully 
 and gradually made, and has become one 
 of the most notable collections of antique 
 rugs now to be seen in America. With 
 intent to furnish concise information re- 
 garding it, the following catalogue has 
 been compiled. 
 
 An attempt has been made to show in 
 the collection, as a whole, the sequence of 
 the art of the weaver from the fifteenth 
 century to the time when Oriental rugs 
 were first produced commercially, and in 
 individual specimens the types that have 
 inspired and governed weavers through 
 the years. Each rug has been critically 
 analyzed and stands itself as surest evi- 
 dence of the claims made for it. The 
 consensus of the trained opinions of rec- 
 ognized modern authorities regarding all 
 historical and technical facts concerning the 
 subject, together with our own independ- 
 
[viii] 
 ent conclusions based on original research, 
 are presented to students in the following 
 descriptions of specimens. 
 
 The classification has been made as 
 simple as possible, each rug being at- 
 tributed broadly to the country in which 
 it was produced. When, however, im- 
 portant tribal distinctions have presented 
 themselves with sufficient force to de- 
 mand independent recognition, the spe- 
 cial province, town, or community has 
 been designated. 
 
 In addition to these broad geographi- 
 cal divisions certain of the historical classi- 
 fications have been accepted that obtain 
 throughout the entire realm of art; the 
 great monarchs of history who have espe- 
 cially patronized and developed the arts 
 representing a classification in themselves, 
 which must always be carefully considered; 
 these various points of view throwing 
 light on each other, all being necessary 
 in the illumination of the subject as a 
 whole. 
 
PERSIAN PORTUGUESE RUGS 
 
PERSIAN PORTUGUESE RUGS 
 
 W, 
 
 HEREVER the rugs known as 
 Persian Portuguese may have been woven, 
 and whoever were the weavers, the name 
 itself applies to a well-known style, easily 
 recognized, mirrored in which are the 
 changing conditions that marked the or- 
 nament of Persia during the sixteenth and 
 seventeenth centuries. The designs of 
 Persia in the sixteenth century were greatly 
 influenced by Chinese ornament, which fil- 
 tered into Persia through India, and which 
 Persian weavers copied without compre- 
 hension of any symbolic import. 
 
 From these Chino-Persian designs, in 
 later centuries definite styles evolved. 
 The name "Persian Portuguese" is given 
 to rugs made by expert Persian workmen 
 on Portuguese looms, and also to rugs 
 made in the sixteenth and seventeenth 
 centuries in Persia for wealthy Portu- 
 guese nabobs. These are distinguished 
 
The from others by differences in weave and 
 
 TW'^'^y design. The combination of red field 
 Studios 11 , 1 , I 
 
 Collectio ^ deep green border was most popular, 
 
 and the lavish use of leaf and flower forms, 
 
 held together by vines and tendrils, marked 
 
 with pronounced style the rugs of the early 
 
 sixteenth century. 
 
 The fullest sort of palette has been 
 used by the artist weaver of these rugs, 
 which were many of them, without doubt, 
 woven on royal looms in that most glori- 
 ous of centuries which held the years of 
 activity of the two mighty monarchs, — 
 Akbar in India (i558-i6o5) and Shah 
 Abbass in Persia (i585-i628). 
 
 PERSIAN PORTUGUESE RUG 
 XVI CENTURY 
 
 xTlS the various shades of red in old Chinese porce- 
 lains vary, each, whether it be peach-blow, chicken's 
 blood, sang de bceuf, or any other variety, having 
 a glory all its own, so in the wools used by the 
 weavers of the sixteenth century are to be found 
 tones many and various, from deep maroon to 
 
[5] 
 light rose pink. The ground color of this rug is Notable 
 that known as "dregs of wine," and only by con- Anlique 
 trast with the claret, garnet, and maroon shades in Oriental 
 other rugs can the virility and strength of this superb ^"S'* 
 color be thoroughly appreciated. In this specimen 
 the balance of the design has been most perfectly ob- 
 served and follows a well thought out plan . Rosette , 
 palmate, and cloud forms fill the field, leaving no 
 portion without its appropriate ornamentation. 
 
 The colors blue, green, yellow, and red, in vari- 
 ous tones and half tones, ordinarily found in rugs 
 of this style, have been enriched in this rug by an 
 addition of a dark brown and a peculiar blue, so 
 that the full octave is completed and there remains 
 little for the colorist to demand. In the enlarge- 
 ment of the design the utmost liberty has been taken 
 with it, and it has been elaborated to its fullest 
 extent. Independent rosettes quite unrelated to 
 the general scheme are scattered over the field, as 
 though placed there simply to cover space. It is 
 not possible to centralize the design, as its com- 
 ponent parts make a well-balanced repeat, which 
 entirely fills the field. 
 
 In the broad border, on either side of which are 
 narrow stripes bearing old Iran designs, highly 
 conventionalized palmate forms are interrupted by 
 lotus rosettes, which with a rather angular but deli- 
 cate tracery are well shown on the bluish green 
 ground. [No. 3626—18.7 x 7 .8\ 
 
[6] 
 
 The ------------------------------------- 
 
 Tiffany PERSIAN PORTUGUESE RUG 
 studios XVI CENTURY 
 
 Collection 
 
 In this rug have been preserved the six colors often 
 sought but seldom found in sixteenth century rugs 
 obtainable at the present time ; namely : light and 
 dark green, light and dark blue, yellow, and red. 
 The red is of the indescribable shade highly prized 
 by connoisseurs. 
 
 In but few of the worn places has any dye been 
 apphed to the warp and woof, so that an estimate 
 may be formed of the color values of the rug itself. 
 Great simplicity marks the arrangement of the 
 flower, leaf, and cloud forms. Four rosettes with 
 outer whorls of dark blue are placed on the field 
 alternately with green and yellow palmates, each 
 of the latter being elaborated with the cloud band. 
 These forms are connected by delicate tracery, 
 terminating in Persian flower motifs on either side 
 of the upper and lower palmate. 
 
 The color of the tracery over the field is green 
 outlined with yellow, instead of white or light blue 
 tendrils, as are more often found. It is important 
 to note the treatment of the centres, when endeavor- 
 ing to trace the age of specimens of sixteenth cen- 
 tury weaving. No attempt has been made in this 
 rug to provide a central ornament. A simple dia- 
 mond form is made by interlacing of leaves and 
 
[7] 
 flowers. In the more studied designs which ap- Notable 
 peared in large rugs made later in the century there Antique 
 was frequently a balancing of cloud and floral motifs Oriental 
 in attempt to centralize the design, which somewhat ■""fl'* 
 distorted the original plan. 
 
 In the border the yellow tracery, on a moss- 
 green ground, connects masses of small leaves and 
 flowers which alternate with the twenty large pal- 
 mate forms that almost invariably surround rugs of 
 this style and size . (Note especially the primitive sawtooth 
 inner border stripe.) \No. 3628 — 6.8 a; 4.6] 
 
 PERSIAN PORTUGUESE RUG 
 XVI CENTURY 
 
 1 HE color in the field of this rug has been softened 
 by years of exposure to a deep rose pink, and time 
 has mellowed the colors used in the design so that 
 they mingle with the background most harmoni- 
 ously. The colors which predominate are the same 
 as in No. 8638, making an unusual pair of the two 
 rugs in combination. 
 
 The design shows a studied effort to balance the 
 cloud and palmate forms in the centre of the rug, 
 and in the border the floral designs are placed upon 
 the typical green ground. [No. 3632 — 6.4 x 4.5] 
 
[8] 
 
 The ' 
 
 Tiffany PERSIAN PORTUGUESE RUG 
 Studios XVI CENTURY 
 
 Collection 
 
 IN this rug the cloud band is more apparent in the 
 design than in No. 8628, appearing in different 
 colors interwoven with profile and sectional flower 
 forms. The introduction of six white buds, which 
 with cloud bands describe a circle around the cen- 
 tral palmate forms in the field, varies the scheme of 
 design sufficiently to make it utterly unlike others of 
 the same general class. 
 
 The color scheme is rich and strong, and the 
 tracing in light color over the field is most delicate 
 and refined. [No. 3612 — 6.8x4.4] 
 
 ISPAHAN RUG {FRAGMENT) 
 
 L HE design in this rug has lost the flowing 
 and undulating vine effect common in so-called 
 "Persian Portuguese" specimens, and has been 
 blocked off in angular fashion by the formal placing 
 of the stems throughout the field in so conventional 
 a way as to exhibit individual interpretation of what 
 had become at the period an established style. 
 
[9] 
 
 Upon a wine-red ground appear the customary Notable 
 
 palmate and cloud forms, with the introduction of Antique 
 
 the pomegranate and whorl rosettes in the usual Oriental 
 
 colors. [No. 3627— 6.5x5.9] ^«^* 
 
 I SP AH AN— XVII CENTURY 
 
 jTxS the pattern used in Persian Portuguese rugs 
 developed it lost certain characteristics as it was 
 variously interpreted, and settled into different 
 designs, which have been perpetuated by weavers 
 all over Persia. 
 
 Several variants of it are found in old Djusha- 
 ghan rugs, in which the cloud band loses itself in 
 rectangular lines, and finally merely serves to 
 bound compartments within which tribal motifs 
 find expression. 
 
 In this rug we find a seventeenth century 
 rendering of a design which originated in the 
 sixteenth century. [No. 3633 — 13.3x6.3] 
 
 ISPAHAN RUG 
 
 L HE fire color greatly prized by Flemish artists 
 is found in these border strips of seventeenth 
 century carpet in varying shades of burnt orange. 
 
[10] 
 
 The The ground color changing from green to blue, 
 
 Tiffany and the tracery of crimson alternating with green, 
 Studios add charm and interest to these fragments. 
 Collection ["jVo, 3636— 12x1 .3] 
 
 [No. 3637 — 12x1.3] 
 
 PERSIAN RUG — XVI CENTVRY 
 
 Upon a mellow ruby red ground are spread 
 palmate and floral forms of an East Indian charac- 
 ter, in colors rich and soft. 
 
 The border is of deep sky-blue, and carries at 
 intervals, on a somewhat angular vine tracery, small 
 rosettes with balancing lance leaves on either side, 
 which alternate with large palmate forms. 
 
 [No. 3610—8.4x6.0] 
 
 ISPAHAN RUG 
 
 X^ lELD of rich wine color with conventional 
 flowers, vines, and cloud bands, preserving a well- 
 balanced and harmonious design. 
 
 The rich green border is highly ornate, and the 
 forms which ornament it both in their profile and 
 
ISPAHAN RUG 
 
 No.36i6] [S.7xi.7 
 
 Illustration shows ^ length 
 
sectional arrangement, as well as in their color and Notable 
 
 massing, indicate a late sixteenth centui-y handling Antique 
 
 of the designs of the period. Oriental 
 
 [No. 3616— 8.7x^.7] Rugs 
 
 ANTIQUE DJ U SHAGHAN 
 XVII CENTURY 
 
 1 HE color scheme in this rug shows a ground of 
 pinkish red which bears the same relation to other 
 textile reds that ' ' peach-blow " does to other reds in 
 porcelain. 
 
 Blue, both dark and light, is conservatively 
 handled, while yellow, brown, fawn, and slight 
 touches of green are found in the principal designs, 
 and the occasional use of an exquisite pink completes 
 the scale which began with the same color in deeper 
 tone. 
 
 Balancing each other at the sides and ends of 
 the field are forms which in turn repeat in outline 
 one-half of the central medallion, while small corner 
 spaces are marked off by the seemingly careless 
 handling of the floral form, which is used as chief 
 motif of ornament throughout the rug. So skil- 
 fully is this form treated that it is almost impossible 
 to analyze the design. In one part of the rug it 
 appears to be an independent leaf, when suddenly 
 
The closer analysis reveals it as an encircling form 
 
 Tiffany making a flower in itself. 
 
 bitadios Again, this motif is never used twice alike and 
 
 Collection. jjQ studied order is observed. Four floral diamond 
 forms break the main design and give it symmetri- 
 cal balance. Above one of these, at the right hand 
 upper part of the rug, the yellow which is elsewhere 
 somewhat faded shows in almost untouched perfec- 
 tion in the long leaf form which extends toward the 
 border of the rug. 
 
 Flower whorls, lance leaves, buds, and many 
 petalled blossoms are scattered between the larger 
 designs, giving the flower strewn quality to the carpet 
 which was so highly prized in the days of good Shah 
 Abbass and later monarchs who were patrons of 
 the arts. 
 
 At the upper end of the carpet loops are tied in 
 native fashion to serve as hangers. There has been 
 comparatively little repairing done in the upper 
 border, so that in its velvety beauty it has served 
 those as standard who have endeavored to keep the 
 carpet in repair. In contrast to this the lower border 
 presents a most interesting study, as it is an absolute 
 naaze of repairing, tender and loving service having 
 been long ago rendered, in most artistic fashion, by 
 those who have mended for preservation and not in 
 order to render the carpet salable. Each design 
 has been carefully restored and there is almost as 
 great art work shown in some of the repairs as in 
 
as 
 
 [i3] 
 the original carpet, and while they help to prove Notable 
 the age of the rug, they take in no way from its Antique 
 artistic merit. Oriental 
 
 In its entirety this rug suggests Persia as re- ^"-9^ 
 trospectively seen through the mist of years. And 
 as ' ' from the heauty of the rose the nightingale 
 learned speech," so after a patient contemplation of 
 beauty the weaver was forced to express himself, 
 and roseate hues have settled upon the surface of 
 this product of an ancient loom of Iran , which are 
 wrought by time, and time alone. 
 
 [No. 6376—11.2x6.0] 
 
 PERSIAN RUG EARLY XVI CENTURY 
 
 In this rug the reasons are most plainly evident 
 for classing Herat rugs by themselves, as they were 
 in the early centuries of royal patronage in rug 
 weaving quite unlike rugs made in other parts of 
 Persia. Both in weave and color scheme the rugs 
 of Herat testify to their geographical position. Filled 
 with enthusiasm for things Persian, the weavers 
 employed in the ancient capital of Afghanistan 
 bore evidence to their Turkoman lineage in their 
 handling of color and in their tendency to bound 
 their designs by either diamond or octagonal forms. 
 
The The motif used in the central ornaments within 
 
 Tiffany each square on the field of this rug is found in later 
 
 btuaws JJerat carpets, outlining the principal palmate forms 
 
 Collection -j^ ^j^^^j ^^^^ become known as the Herati border, the 
 
 other member of which is the well-known rosette 
 
 between two lance leaves, this latter developing in 
 
 modern carpets into the so-called fish or Herati 
 
 design used by Feraghan weavers. 
 
 The main border stripe, bound by two narrow 
 bands in which the floral ornamentation adheres to 
 Persian tradition, is confessedly East Indian, without 
 any of the exuberance and graceful curves found in 
 the later designs of the rugs of Herat. 
 
 [No. 3613— 6.8 x4.d0] 
 
 ANTIQUE PERSIAN RUG 
 
 rLXAMINATION with a powerful glass of the 
 wool of which this rug is made reveals a quality 
 that is recognizable as a seventeenth century south 
 of Persia product. 
 
 The wool of Cashmere alone can compete with 
 this, and there is in the two products a sufficient 
 diffierence in the filaments to make it possible to 
 distinguish between them. 
 
[i5] 
 
 The weaver was a nomad, and he tied with an Notable 
 easily made knot his carefully prepared materials, Antique 
 using wool for warp, woof, and pile," — wool so lus- Oriental 
 trous that no silk excels it in beauty. Rugs 
 
 A variant of the Herati lance-leaf pattern has 
 been used with spontaneity and freedom in the de- 
 sign that covers the golden yellow field with shades 
 of red, green, blue, and violet. Neither time nor 
 wear will ever subdue these wonderful color values, 
 and as sometimes one priceless gem is seen to 
 greater advantage with nothing of lesser value near, 
 so this rug will, in appropriate setting, reign supreme. 
 
 [No. 6965—7.4 x 4.10] 
 
 FERAGHAN 
 
 /v. FERAGHAN rug of great beauty and interest, 
 showing in the broad border a Kirman design 
 which has for centuries adorned the state carpets 
 of Southern Persia. It is most unusual to find it 
 in the weavings of the Feraghan district. 
 
 The field of the rug is blue, upon which the 
 Herati design in soft, harmonious colors is carefully 
 laid. In the corners flat rosette flower forms — 
 pink, violet, blue, and red — are arranged in rows 
 upon a ground that changes from blue to green 
 with subtle charm. 
 
[16] 
 The Eight borders surround the field, the inner one 
 
 Tiffany of that exquisite Oriental pink which is the despair 
 btudios of tjjg modern colorist. The second and outer 
 o eciion Ijorders are of Serebend nature, while the wide 
 border is of supreme interest. One familiar with 
 old Kirman styles before any European influence 
 had altered them will see in this interpretation of 
 them an entire lack of ability on the part of the 
 weaver to interpret them, and in this very fact lies 
 the chief charm and greatest interest in this old rug. 
 In the Kirman design which this copies, conven- 
 tionally drawn birds balance each other on either 
 side of a basket of fruit, and between these are 
 jars or vases of flatly drawn flowers, without any 
 semblance of shading, perspective, or naturalistic 
 efiect. Even later on in the evolution of the design, 
 when flowers were less formally arranged, the birds 
 still appeared in the Kirman design . It is interest- 
 ing to note the unfamiliarity of the weaver of this 
 fabric with the design he has employed to add to 
 this rug special importance and significance. 
 
 Along the lower border there is no appearance 
 of birds. For a length of about three feet along the 
 side the vases are placed transversely to the field, 
 and after that resume their upright position. 
 
 In the top border both vase and bird forms are 
 more skilfully handled than elsewhere, showing 
 that a proper realization of the necessity for correct 
 drawing has been forced upon the weaver. 
 
K II R A S S A N 
 No. 362i] [li.llx3.6 
 
[17] 
 The rug is not only beautiful, but holds much Notable 
 of human interest to add to its charm. Antique 
 
 [No. 3764 — 13 X 6. 10] Oriental 
 
 Rugs 
 
 KHORASSAN 
 
 JriERATI pattern outlined in rose color and tan, 
 on a varied green field, which is soft in tone and so 
 shaded as to give an elusive quality to the design. 
 Palms on a deep rich blue ground are set in the 
 outer border, transversely to the field along the 
 sides, and at both top and bottom of the rug. 
 
 [No. 3624— 4.11x3.6] 
 
 MOUSSOUL FERAGHAN 
 
 IVIANY borders surround a dark blue field in 
 which the design is laid in crisp and clear though 
 thoroughly refined colors. 
 
 [No. 2993— 9.10x5.5] 
 
 KHORASSAN 
 
 -D RANCH palms in soft pink and dark blue are 
 arranged on a sand colored background, which 
 
[i8] 
 The suggest the primitive Khorassan method of making 
 Tiffany designs by placing natural flowers upon the earth. 
 Studios The vine efiect in main border stripe is some- 
 
 Collection times used in the field of antique Khorassans. 
 
 (See No. 3566.) [No. 5109 5.5 X 3] 
 
 KHORASSAN 
 
 l\. SERIES of Khorassan borders, consisting of 
 branch palms and vines, are arranged vertically 
 upon a gold colored field, in shades of blue and 
 rose. [No. 556(5—5.4x5.7] 
 
 (SeS border in Rug No. 109.) 
 
 PER AG HAN 
 
 JLJARK blue field well covered with grilles, rosettes, 
 and lance leaves in soft dark colors. Main border 
 stripe carries a formal design on a green ground. 
 
 [No. 5777—6.9 x 4.5] 
 
 FERAGHAN 
 
 L HE field of this rug is green, which serves as an 
 unusually rich background for the large * ' crown 
 
»->w.>Si^i 
 
 ^ :?.»►; 
 
 FERAGHAN 
 
 No. 6766] [6.9 xi 
 
[^9] 
 
 jewel palms" which are set regularly upon it in Notable 
 
 rows . Antique 
 
 In the border are soft rich red, blue, and green Oriental 
 
 tones that correspond with the colors within the ""'9^ 
 palm forms in the field. [No. 6766 — 6.9 x 4] 
 
 FERAGHAN 
 
 OTEM palm-leaf," rich blue field with design 
 in red, yellow, and light blue. Main border is of 
 nondescript pattern on a soft green ground. Color 
 combinations are rich and beautiful throughout the 
 rug. [No. 3186 — 6x3.9] 
 
 KIRMAN 
 
 i\. KIRMAN interpretation in soft colors of the 
 Herati design, which is more floral than the Fera- 
 ghan rendering, but not so full of curves and circular 
 effects as in old rugs of Eastern Persia. 
 
 An old Kirman vine pattern fills the main border 
 with yellow and blue devices on a deep rose ground, 
 and the narrow stripes carry a Mina Khani design 
 and profile flower forms on dark, light blue, and 
 yellow stripes . [No . 5429 — 6.6x^.4] 
 
Tiff^^riy KIRMAN 
 
 m!aMenimai**!,'P7nwsm»mi 
 
 Studios 
 Collection 
 
 l\. DARK blue field, with red, yellow, green, and 
 light blue Kirman, Herati design, is broken by a 
 lance-leaf Arabesque medaUion in which floral and 
 grille forms rest upon a cream ground. 
 
 This color is also used in the main border, in 
 which is an old Kirman device. Seven narrow 
 borders enhance and complete the decorative scheme. 
 
 [No. 6718—6x4.2] 
 
 SEREBEND 
 
 /V SMALL "jewel-palm" device covers in typical 
 Serebend fashion a soft red ground, about which are 
 nine borders, two of them showing Serebend designs 
 on a green ground. The general color efiect is red 
 and soft green. [No. 5005 — 6.4 x 4] 
 
 ^i^'^f^f^W^^Htt " 
 
 DJUSHAGHAN 
 
 mti»-tii*«»-i<Mmwst»im 
 
 xVN antique rug of rich coloring and beautiful 
 combinations of color in the designs, which rest 
 upon a dark blue field. 
 
K I R M A N 
 
 NO.G718] [6xU.2 
 
In the main border is an Arabic rendering of Notable 
 
 the eight-pointed star, which forms a continuous Antique 
 
 design. The rug is dated and is over two hundred Oriental 
 
 years old. [No. 3595 — 5x 3.8] ^«^« 
 
 FE RAG HAN 
 
 V lELD of soft red, with Herati pattern in dull green , 
 blue, and yellow. Serebend influence is shown in 
 the main border stripe. \No. 2991 — 6x4] 
 
 FERAGHAN 
 
 /VN oblong red panel of Arabic derivation, with 
 pendants taking the outline form of a Chinese jade 
 ornament, force into corner spaces a flower-covered 
 lattice upon a peacock blue ground. 
 
 The main border of green carries dark and light 
 red vines and foliate forms . [No . 2937 — 6 .6x3.10] 
 
 FERAGHAN 
 
 ■«s[ra>ssi»:7.T»-i 
 
 xxBSOLUTE Feraghan design in field, which is 
 of rich blue, and in the reciprocal device used as 
 guard stripe and inner confining border. 
 
The Elaborate Arabesque medallions alternate with 
 ^a/«'*y rosettes on green ground in shades of red, tan, 
 violet, and blue in the main border stripe. 
 
 [No. 5910 — 6,6 x3.H] 
 
 Studios 
 Collection 
 
 FERAGHAN 
 
 u. 
 
 I PON a matchless dark blue field the ' ' crown- 
 jewel palm" is wrought, with evident intent to 
 produce a scintillating effect, in soft but strong 
 colors. 
 
 The ground of the main border stripe is green. 
 
 [No. 3761 — 6.1 X 4] 
 
 DJUSHAGHAN 
 
 UEEP rich pomegranate field with a famous Iran 
 design in dark blue and yellow tracery ornamented 
 with flowers and conventional forms in white, dark 
 and light blue, yellow, and red. 
 
 The eight-pointed star is used in the tribal 
 border in such a way as to produce a continuous 
 effect. The narrow borders carry a Mina Khani 
 device in blue and gold color on a soft red ground. 
 
 [No. 3306—18.7x7.3] 
 
FERAGHAN 
 
 No. 2937] [6.6x3.10 
 
[^3] 
 
 ""■"■"■■" Notable 
 
 FERAGHAN RUG Antique 
 
 HMMMMMai^MMMMiiMHMMMWaMMMWK».MMM Oriental 
 
 A Rags 
 
 LLf-OVER red effect, though green is used in the 
 
 ground of the main border, which is of Serebend 
 
 nature, and dark blue, light blue, and yellow in the 
 
 details of the Herati pattern in the field. [No. 292i] 
 
 SEREBEND 
 
 OlX narrow border stripes surround the red field, 
 a cream ground carrying an attractive design in the 
 main stripe. A soft all-over red effect makes this 
 a most attractive fabric. [No. 6719 — 7.11 x 4.2] 
 
 KH OR ASS AN 
 
 LuERISE, light and dark blue, and yellow blended 
 in unmistakable Khorassan fashion. 
 
 [No. 6921 — 13.7x6.9] 
 
 KURD 
 
 J-jARGE, loose "pear" design on a deep blue 
 ground, with Kurdish borders in soft old red, 
 yellow, blue, green, and tan. [No.2855 — 12.3x^.7] 
 
[M] 
 
 JT^/ ■■— ■ HI M WWII III II L i .i iii> gMW B i a 
 
 Tiffany. FERAGHAN 
 
 tJlUiUlOS HffliinW1rtnT-i i - III -r i KHI Hii r iiiiii ii ii Ml ia "'---"-"^"-^ -■- iJ -^M ii I 'n- . -^— ■■-■— 
 
 fllMMl^'^- ltl«W>«a*AtM« 
 
 Collection 
 
 Jl REVALANGE of amethyst color in the main 
 border stripe, on a soft green ground, and in the 
 corner spaces adds value to the color scheme, in 
 which the typical Feraghan design is carefully 
 wrought both in the field and border. 
 
 [No. 6756—13.4x6.7] 
 
 FERAGHAN 
 
 J_/EEP blue field with red border, Herati design 
 in dark rich tones. [No. 2056—12.9 x 6.4] 
 
 ■a.vilMiii,i*si»aimm«*i^intjgm 
 
 SHIRAZ 
 
 X ELLOW silky field, bold Cossack design in red, 
 blue, ^een, dark and light blue. 
 
 [No. 3302— 14.10x5.10] 
 
 i ■'t .m ia wMwattj^ ^'W 
 
 SHIRAZ 
 
 J^MALL mosaic "pear" design in blue, green, 
 red, and yellow upon a dark blue field, surrounded 
 
F E R A G H A N 
 
 No. 3761] [6.1 xU 
 
by six borders , the broadest of which carries diagonal Notable 
 stripes. {No.336^ — H.6x7.1] Antique 
 
 ^ Oriental 
 
 Rugs 
 
 SEREBEND 
 
 JTiED ground with jewel palm in shades of blue. 
 In the main border, which is one of many stripes, 
 the typical Serebend design is laid on a cream 
 ground. [No. 2268—9.6 x 5.i\ 
 
 IRAN 
 
 In soft reds, blues, greens, and yellows an all-over 
 design is laid on a dark blue ground. The same 
 colors are found in the borders. 
 
 [No. 2262 — 14.11x9.5] 
 
 SEREBEND 
 
 JJjIGHT borders carrying small and interesting 
 devices surround a rich red field, upon which jewel 
 palms are closely set. 
 
 [No. 2249—9.7x5.4] 
 
. [26] 
 
 The ' 
 Tiffany KURDISTAN 
 
 Studios 
 Collection 
 
 XJLUE medallions with pendants on a deep red 
 field. Corners are cut off by wavy, serrated lines 
 and carry the same design that adorns the field. 
 The ground of its main border is a rich cream. 
 
 [No. 2272—7.9x5.4] 
 
 FERAGHAN 
 
 DLUE field with regular Feraghan design. Main 
 border with red ground between narrow stripes of 
 green and yellow. ■ [No. 2054 — 13.1 x 7.1] 
 
 ANTIQUE HERAT I 
 
 mmmmmiiimmmmmmmmmmmm^mmmmmmmammmmmmmmm^mmmmmmmmmmmmmmmmmmimmm 
 
 Mythological design with rudely drawn 
 
 device representing the arms of Persia — the rising 
 sun behind a lion — and the conflict between 
 good and evil, as illustrated by a lion overcoming 
 a hare. Soft colors artistically blended tend to 
 conceal the pictorial nature of the design. 
 
 [No. 5432—13x6.4] 
 
[^7] 
 
 Notable 
 SEREBEND Antique 
 
 ■nHHMMIMMB^KBHMMaMMBBIMnHMMMBa Oriental 
 
 Rugs 
 
 k^OFT rich red field upon which are small elon- 
 gated jewel palms. The main border design on a 
 cream ground lies between two narrow stripes 
 carrying reciprocal trefoil pattern in blue and 
 brown. [No. 2245— iO x 4.10] 
 
 GULISTAN 
 
 13 LACK ground with design in cerise, yellow, 
 white, and light blue. [No. 5897— 14.1 x 6.9] 
 
 MOUSSOUL 
 
 JriEAVY pile, silky and lustrous, in strong reds, 
 blues, greens, tans, and yellow. 
 
 [No. 2887—14.7x6.3] 
 
 SEREBEND 
 
 JL HREE narrow borders on either side of the main 
 border, which shows the Serebend design in a cream 
 
The ground. Red field with small jewel palms in green, 
 T'ljaray blue, and yeUow. {No.6363—H.5x7.2] 
 
 Studios 
 Collection 
 
 CAB I STAN 
 
 J_/ARK blue field covered with a variant of the 
 Herati design in light contrasting colors. 
 
 [No. 2856—9.1x5.4] 
 
 KHOR ASSAM 
 
 J_/EEP rose medallion with light blue centre and 
 outline. Herati pattern, though not absolute, is 
 suggestively rendered in the design. 
 
 [No. 2260—8.2x5.1] 
 
 KURDISTAN 
 
 J\. KURDISTAN version of the Herati design, which 
 is carefully rendered in rich dark colors on a blue 
 field in which the ground changes from dark to 
 light at intervals. [No. 5761 —20 x 7.11] 
 

 INDO-PEllSIAN 
 Afo. 3752] [6x3.i 
 
[29] 
 
 ISotable 
 
 INDO-PERSIAN Antique 
 
 .,,M,M.MHiMma_MiMHM«n»MMM«^a^Mw>w Oriental 
 
 Rugs 
 
 JrlUG showing strong East Indian characteristics 
 with Arabic rose colored field and floral design in 
 burnt orange, Ughtrose, sky blue, green, and cream. 
 The palmate and rosette forms are connected 
 by vine tracery in soft jade color. 
 
 [No. 3752— 6x3.4] 
 
 A PAIR OF HAMADAN RUNNERS 
 
 Upon a soft cream ground are medallions and 
 outline designs in natural colored camels' hair. 
 Green, blue, yellow, and red in rich shades are used 
 in the borders. 
 
 Kenardh of this quality are not easily obtainable 
 at the present time. [No. 3479 — 48.8 x 5] 
 
 [No. 3480—19.9x3] 
 
 HAMADAN 
 
 i^ATURAL colored wool or hair all through the 
 field, border and outer edge makes a rich soft back- 
 
[3o] 
 The ground for an all-over minute design in rich colors. 
 Tiffany Unusual and rare specimen ; there is no cotton used 
 Studios in warp, woof, or pile. [No. 3038— i5.6 x 3A1\ 
 
 Collection 
 
 HAMADAN 
 
 jfVRABESQUE medallions and pendants of soft 
 colors are set at intervals upon a rose colored field, 
 which is diapered with small "palm leaf" design. 
 Four narrow Hamadan borders surround the 
 field and separate it from a wide outer band of 
 natural colored camels' hair, upon which stem 
 "palm leaves" are set transversely to the field on 
 the sides and at the top and bottom of the rug. 
 
 [No.6958—il.5x6.6] 
 
 SEREBEND 
 
 U NUSUAL and beautiful Serebend showing great 
 wealth of color in the seven borders, with pre- 
 dominance of light blue, light green, and violet, 
 in amethyst, emerald, and sapphire tints in the palm 
 design throughout the field. 
 
 [N0.6821 — 8.H ar4.5] 
 
[3x1 
 
 ■""■'"""'■'""■""■''"■"'■■'■""""'''■■■■"' Notable 
 
 MOUSSOUL SERE BEND Antique 
 
 Oriental 
 
 DRugs 
 EEP blue ground with a variant of the Moussoul 
 
 tree design in the main border stripe. 
 
 [No. 2269—9.6x5.4] 
 
 SEREBEND 
 
 OMALL "pear" design in soft colors on a cream 
 colored field with brown and reds in subdued tints 
 in the borders. [No. 6849—8.4 x 6.9] 
 
 KHORASSAN 
 
 1 HE gourd palm is attractively shown on a cream 
 ground over the field, which is surrounded by a 
 double border stripe in which, in soft shades of 
 blue, green, and cream, the design is laid on a rose 
 ground. [No. 5000] 
 
 KHORASSAN 
 
 JL/EEP rose field with Khorassan palm in pink and 
 tans, with slight semblance of a vine in light shades 
 
[3.] 
 The of green. Dark and light blue, yellow, and soft 
 Tiffany red are found in the border design. 
 
 [No. 2214—5.8x3.5] 
 
 Studios 
 Collection 
 
 KHORASSAN 
 
 xVHORASSAN palms in pink and light blue, each 
 one by itself, in a small section formed by a con- 
 ventionally arranged golden yellow lattice upon a 
 dark blue field. [No. 501U —5.7x 3.9] 
 
 A PAIR OF KURDISH KENARM 
 
 /VN unusual ground of light blue with lavish use 
 of soft red in the design, which covers it with lattice 
 and lance-leaf pattern. 
 
 The border design has been borrowed from 
 Cabistan weavers, and in it are touches of ' ' Gulistan 
 pink." [No. 3033 — 13.9 x 2.10] 
 
 [No. 3034 — 13x2.11] 
 
 A PAIR OF MOUSSOUL KENAREH 
 
 L-iARGE, loose Moussoul, "pear" design, com- 
 posed of flowers springing from a basket or jardiniere 
 
[33] 
 base, are woven in strong but soft colors, con- Notable 
 trasting with the dark blue ground. Antique 
 
 The borders are laid in dull yellow, olive, tan, Oriental 
 and primary colors and show nomadic handling of ^"fl'* 
 design. [No. 3096 — id A x 3.6] 
 
 [No. 3097 — 16x3. ^ 
 
 SEREBEND 
 
 /\. SMALL "crown-jewel pear" design in topaz, 
 ruby, and sapphire, with emerald tip, covers the 
 field of rich dark blue, about which is a Vandyke 
 border outlined with sawtooth design in cream 
 color. 
 
 Several narrow borders in soft cream, tan, blue, 
 and Persian pink carry variants of the Serebend 
 patterns. [No. 6031 — 16.5 x 3.6] 
 
 A PAIR OF FERAGHAN KEN A RE H 
 
 OUPERB old rose ground with strongly marked 
 design in blues, tans, and moss-green, favoring the 
 Khorassan treatment of the Herati pattern. 
 
 The arrangement of the "crown-jewel pear" 
 
[34J 
 The design in the widest border stripe also suggests a 
 Tiffany more Eastern origin than the Feraghan district. 
 Studios [yVo SOU — d4x 2.10] 
 
 Collection [-^^ 5^45 — 13 x 2.11] 
 
 A PAIR OF SEREBEND KENAREH 
 
 J^OFT in tone, the design with which field is 
 strewn small and compact, the borders true to type, 
 observing in color the scheme ordinarily used by 
 the Serebend weavers, these hall strips commend 
 themselves by their combined beauty and utility. 
 
 [No. 3853 — 16.8x3.2] 
 [No. 3854 — 16.6x3] 
 
 A PAIR OF KURDISTAN KENARM 
 
 Jl IELD of soft dull canary, upon which a Turkish 
 tree or plant design is laid in colors which blend 
 with the ground most harmoniously. 
 
 The reciprocal trefoil in the borders shows to 
 advantage attractive combinations of blue with brown 
 in the outer, and brown with pink in the inner, 
 stripe. [No. 5087 — 15.7 x 2.5] 
 
 [No. 5088—14.8x3.5] 
 
[35] 
 
 "■' ■—"■■■"■ Notable 
 
 TURKOMAN Antique 
 
 _nMMi_i,»,M«i^IMBHnMMHMiiMMiWMB Orieiltal 
 
 Rugs 
 
 J. HE rich red field of this antique Turkoman rug 
 is surrounded by an inconspicuous narrow border 
 with reciprocal design in the outer stripe. 
 
 The field is squared ofiF by dark lines carrying 
 dots and small circles of Varying colors. The in- 
 tersection of these squares makes the centre of a 
 diamond form marked off by an ornamental border. 
 Analysis of the designs which fill the diamonds 
 reveals the fact that there is a great difference in the 
 patterns used at the top and bottom of the rug. 
 
 The weaver began by filling the squares with 
 unrelated forms consisting of tree, leaf, and angular 
 motifs. After following this scheme for about three 
 feet, stars are used to fill the diamond forms, to the 
 exclusion of other motifs. 
 
 [No. 3617 — 12. 10x6. 8\ 
 
 91S«!W*'<.»'^-'' '-f 
 
 TURKOMAN RUG 
 
 VV HILE this is an old rug the design is of simple 
 and direct nature, antedating many fabrics which 
 show greater elaboration, skill of workmanship, and 
 more carefully chosen colors. This is, in fact. 
 
[36] 
 The without the shghtest suggestion of commercialism. 
 Tiffany a rug made by a dweller in some primitive Turkoman 
 Studios tent f^j. native use. 
 Collection jn the octagon the eight divisions of location 
 
 were without doubt originally indicated, and in an- 
 cient Mongolian and Tartar thought these divisions 
 were supposed to be presided over by animal deities, 
 just as in all early calculations the divisions of the 
 zodiac are represented as under the control of pre- 
 siding forces. 
 
 The powers of Hght and the powers of darkness 
 formed the two extremes, and as such are repre- 
 sented by light and shade. A semi-barbaric art 
 endeavored to express this pictorially, and the oc- 
 tagon with its light and dark boundaries was often 
 used. In very early designs the animals controlling 
 the elements were crowded into circular and octag- 
 onal forms. [No. 3619 — 11.2x47] 
 
CAUCASIAN AND TRANS 
 CAUCASIAN RUGS 
 
CAUCASIAN AND TRANS- 
 
 CAUCASIAN RUGS 
 
 T> 
 
 HE rugs of the Caucasus are easily 
 recognized as they adhere in weave and 
 design to style and methods that have ob- 
 tained through the centuries. 
 
 Geometric ornament finds its fullest ex- 
 pression in the patterns employed by the 
 weavers of this region, and while each 
 tribe has some distinctive style by which 
 its product may be known, the interrela- 
 tion of life and thought brings about many 
 changes and produces a great deal that is 
 mongrel in design. For this reason an- 
 tique specimens which can offer credentials 
 and prove their claims to recognition are 
 becoming increasingly rare and valuable. 
 
 Daghestan, Kabistan, Baku, Derbend, 
 Tchichi, and Circassian are the most impor- 
 tant of the Caucasian rugs, while Shirvan, 
 Kazak, Soumac, and Karabagh rugs are 
 known as Trans-Caucasian products. 
 
[4o] 
 W^ny DAGHESTAN 
 
 Studios 
 Collection 
 
 U PON a deep blue ground are laid four diamond- 
 shaped medallions, two red and two of cream color, 
 bearing odd decorative designs in yellow, green, and 
 blue, between which small octagonal oblong and 
 diamond forms are scattered. 
 
 This rug belongs to the veteran corps of fabrics ^ 
 an antique specimen, honorable by reason of merit 
 and service, quality and ancestry. Both warp and 
 woof are of wool — soft, well prepared, and pliable. 
 Carefully selected colors are used with fidelity to 
 a tribal original, which in fact this bears every 
 evidence of being. 
 
 [No. 2702—7.10x4] 
 
 ■Mimakm*^ismmM 
 
 KAZAK 
 
 J_JARK blue and dark green figures composed of 
 " latch hooks " are laid on a field of lustrous red. 
 
 " Tarantula " border design in red, blue, green, 
 and yellow on a deep cream ground. A typical 
 K^ak both in weave and design. 
 
 [A^o. 2039—9x3.5] 
 
KARABAGH 
 
 No. 2330] [9.6 x lt.9 
 
 Illustration sbow.i J length 
 
w ^ 
 
 SHIRVAN Antique 
 
 mmmmmmmmmm^i^^mmmmmmmL-^.^mmamm^m Oriental 
 
 Rugs 
 
 J_/ARK blue field with a variant of "tarantula" 
 design on a cream ground in the main border. 
 
 [No. 2979— 7.3x^.6] 
 
 DAGHESTAN 
 
 jfV CREAM colored lattice, with touches of light 
 blue, deep red, and yellow, spreads in delicate 
 tracery over a deep tan ground. 
 
 One of the tribal designs of Daghestan, is laid 
 on a leaf-green border stripe, while a reciprocal 
 trefoil adorns an inner border of robin's egg blue, 
 and an outer stripe of dark blue. 
 
 [No. 3567— 5.1x4.1] 
 
 KARABAGH 
 
 J\ KIRMAN design, upon a superb dark blue 
 ground, showing nomadic semi-geometric floral 
 forms in red, yellow, green, soft pink, and violet. 
 
 Upon an all-cream ground in the wide border 
 are Kirman tree designs and archaic bird forms. 
 
Xhe The outer border is laid in dark green and carries 
 Tiffany a vine pattern in soft red, blue, and cream. 
 ^'«<^'o» [No. 2330—9.6 x 4.9] 
 
 Collection 
 
 BAKU 
 
 S. 
 
 HLKY wool, well prepared and dyed in primary 
 colors, — yellow, blue, and red, — has been used in 
 the making of this rare rug. 
 
 A succession of Daghestan serrated medallion 
 forms extend from end to end of the field, which 
 is of a wondrous shade of blue. 
 
 [No.-2639—7.i0x3.7] 
 
 BAKU 
 
 /V MAUVE medallion with inner medallion of 
 tan with pink centre rests upon a sky-blue field. 
 
 Archaic plant forms with birds on either side 
 balancing each other are found in the border. 
 
 [No. 3569—3.8x2.11] 
 
 BAKU 
 
 J. HROUGH the centre of the field and edging it 
 on either side, bold forms, carrying loose "pear" 
 
BAKU 
 
 No. 203S] [5.9 J- 5.5 
 
designs in tawny shades, lie upon a black back- Notable 
 
 ground. Antique 
 
 In the border are flat flower forms in tan and Oriental 
 
 brown on a light blue ground. 3^ 
 
 [No. 2638—5.9x5.3] 
 
 SHIRVAN BAKU 
 
 i\. SMALL but choice specimen of weaving, in 
 which are all the distinctive features that gave 
 beauty to the finest rugs produced in the Daghestan 
 province. 
 
 The pile is of wool of superior quality and is 
 clipped very close, making the fabric thin and 
 pliable. 
 
 Soft tan, brown, light blue, and black were the 
 colors usually employed by the weavers of the sea- 
 port town in rugs of this general design. 
 
 Upon a black field large, loose, heavy "pear" 
 forms are distributed with apparent disregard to 
 the central medallion and corner spaces cut off" by 
 serrated lines, which interrupt the symmetry of the 
 field design. 
 
 In the corners and in the main border stripe are 
 flat four-petalled flowers repetitively arranged on a 
 light blue ground. 
 
 Both the color scheme and design of this rug are 
 true to type. [No. 3^22—6.1 x 5.6] 
 
[44] 
 
 The " 
 
 Tiffany SHIRVAN BAKU 
 
 Studios 
 Collection 
 
 /VN interesting companion rug to No. 3433, though 
 differing from it in the more lavish use of tans and 
 hrowns in the typical Baku design. 
 
 Four-petalled blossoms in soft pinkish tan lie 
 upon a light blue ground in the corner spaces. 
 
 Both corrosive black dye and a fugitive pink color 
 have been used in this rug and are among the, ear- 
 marks of its origin, as in certain districts in the 
 Shirvan province both of these dyes were commonly 
 used in the reproduction of time-honored fabrics. 
 
 [No. 3577—6.2x3.6] 
 
 KAZAK PRAYER RUG 
 
 L HE field divided into four cross sections changes 
 from dark blue to red, then to yellow,. and finally to 
 green in the upper part of the prayer niche. Upon 
 these oblong spaces are octagon forms surrounded 
 by latch hooks of rudest and most barbaric nature. 
 There are three borders, the inner one green, the 
 outer red, with a middle and main stripe carrying 
 a variant of the "tarantula" design on a cream 
 ground. [No. 3510— 5.4 x 3.5] 
 
SllIRV-V^ BAKU 
 
[45] ________ 
 
 i mm I l l )°»n n » M ii ■ ■ ■ —■ ■ I iiii-ii i n Mi wi iii n ii m i inmi ii— «— ^qIq})]^ 
 
 CAB I STAN RUG Antique 
 
 ■_Mi» _. . • Oriental 
 
 Rugs 
 
 L HERE is enough tribal distinction about this rug 
 to difiFerentiate it from others of the same general 
 style. 
 
 A small black diamond in the upper part of 
 each of the ' ' pear" forms, which are stiffly arranged 
 upon a black background, breaks the monotony and 
 makes a strong contrast to the light shades of pink, 
 green, red, and cream of which the "pear" is 
 composed. 
 
 With the Gabistan diagonal, and vine and flower 
 borders, is a main stripe carrying a conventional 
 design on a cream ground. 
 
 [No. 6088—10.7x6.3] 
 
 KARABAGH 
 
 A 
 
 MARVEL of lustrous color in topaz, emerald, 
 ruby, and amethyst tints. 
 
 The field of rich dark blue is well covered with 
 small medallions and various devices indiscrim- 
 inately arranged. 
 
 A hook border Kne of camels' hair in natural 
 color surrounds the field, adding a feature of 
 unusual interest. On a superb golden yellow 
 
[461 
 The ground is a border design of upright plant and 
 Tiffany flower forms. In the outer border stripe a cream 
 otudios colored vine carries crisp red blossoms, and light 
 Collection g^een leaves on a dark black-brown ground. 
 
 [No.2571 — 8.7 x3.2] 
 
 KAZAK 
 
 JLiATTICE of metallic blue on a field of natural 
 colored wool, with cream border carrying floral 
 forms in soft tones and halftones of red, blue, 
 green, yellow, and rose color. 
 
 [No. 6166 — 8.8x3.5] 
 
 SHIRVAN 
 
 J_jFFULGENT stars in blue, yellow, cream, and 
 red on a dark blue field with "chichi" design on 
 a cream ground in the border. 
 
 [No.3178— 7.9x3. iO] 
 
 aM>B& * ft J?i**' w«W" 
 
 SHIRVAN 
 
 JliEAVY rug in deep rich shades. 
 
 [No. 3177—8x3.9] 
 
[^7] 
 
 DAGHESTAN Antique 
 
 - Oriental 
 
 Medallion forms on a dark blue field, with a 
 typical tribal design in green, cream, red, brown, 
 and blue on a light yellow ground in the main 
 border. 
 
 [No. 5660— 9.8x4.3] 
 
 SHIR VAN 
 
 A PREDOMINANCE of cream color gives an all- 
 over light effect to this fabric, although the field is 
 of dark blue and the color values strong. 
 
 [No. 3182 — 9.3x4.2] 
 
 MOVSSOUL FERAGHAN 
 
 iVlANY borders surround the dark blue field, in 
 which the design is laid in crisp and clear though 
 thoroughly refined colors. 
 
 [No. 2993 — 9.10x5.5] 
 
[48] 
 
 The ---------------—--—-—-—— 
 
 Tijfany SHIRVAN 
 
 Studios 
 Collection 
 
 J-JlAMOND forms in green, red, and cream ex- 
 tend from end to end of a dark blue field, and 
 Shirvan tribal border in red, blue, yellow, cream, 
 pink, and light green. [No. 3183 — S.iOx 3.4] 
 
 SHIRVAN PRAYER RUG 
 
 JL/EEP tan prayer panel with plant forms in the 
 spaces made by serrated lattice in blue, which 
 crosses the field diagonally. 
 
 A reciprocal trefoil in yellow and blue separates 
 the field from the border, which consists of a broad 
 stripe, bearing typical Shirvan device, between two 
 dark stripes ornamented with rosettes. 
 
 [No. 3i66 — 4x3.8\ 
 
 SHIRVAN PRAYER RUG 
 
 W HITE prayer panel without the serrated lattice 
 that is usually foimd in Shirvans of this quality and 
 style. The plant forms, however, are so placed in 
 rows across the field as to follow a diagonal color 
 arrangement. 
 
[49] 
 
 Many small borders take the place of the usual Notable 
 
 broad border with narrow stripe on either side. Antique 
 
 Two camels facing the prayer niche make an Oriental 
 
 unusual and interesting feature of the design. •""9'* 
 
 [^0.5568 — 3.7 a; 3] 
 
 SHIRVAN PRAYER RUG 
 
 vJOLDEN yellow field with serrated lattice in dark 
 blue outlined with red, a plant form in each division. 
 Reciprocal trefoil in blue and brown svurounds 
 the field as a confining border. 
 
 [No. 2202 — 3.8 x 3.4] 
 
 CABISTAN 
 
 Upon a cream ground a plain dark blue lattice 
 divides the field into small eight-sided compart- 
 ments, in each of which is a geometric form in light 
 blue, light green, red, and black. The latter is of 
 so corrosive a nature that it has worn down wher- 
 ever it has been used, thus throwing the designs 
 in color into high reUef and giving an interesting 
 cpiahty and value to the rug. 
 
 [No.3^57 — 4.5x2.id] 
 
[5o] 
 
 The —'— ■ - ■•-*— ---' 
 
 Tiffany DAG HE STAN 
 
 Studios 
 Collection 
 
 J_JEEP red field in which are three sectional flower 
 designs in dark blue, yellow, tan, and cream color. 
 Small unrelated devices and stilF tree forms are 
 scattered throughout the field. 
 
 The main border is of deep cream, upon which 
 in blue and red is a t^-pical Shirvan design, supposed 
 to have been originally a form of the sacred tree. 
 
 [yVo. 5423 — 6 a; 5.5] 
 
 KAZAK 
 
 xVN interesting specimen of pure Kazak weaving 
 in color tones soft and beautiful of light blue, tan, 
 and apricot pink, with sheen not unlike the bloom 
 of a peach. [No. 3518 — i.l x 2.7] 
 
 GUENDGE 
 
 1 HIS rug, in strong primary colors coarsely woven, 
 is a shepherd rug of the Lake Gotcha district. The 
 design is of crude nature. A large outline form in 
 yellow edged with blue fills the field, which is of 
 
rich red. Within each end of this form is a green Notable 
 figure, and in the centre an eight-sided oblong Antique 
 medaUion surrounded by a series of shepherds' Oriental 
 crooks. In the centre of this medaUion, on a dark ^"9'* 
 blue ground, are six animals crudely drawn. Stars 
 and many small animals, presumably sheep, are 
 scattered over the field of this nomad product. 
 
 [No. 3563—6.8 x 3.4] 
 
 »f?"*^j.-eej«KH!« 
 
 CABISTAN 
 
 x\.LL-WOOL rug made in the eastern part of the 
 Daghestan province. An oblong figure of square and 
 octagon shape in blue, with cream colored border, 
 lies upon the red field, almost completely filling it. 
 In the centre of this figure is an octagon of dark 
 blue ornamented with double T forms, in balancing 
 positions around a smaller octagon. The colors are 
 red, blue, and cream, with shades of tan and dark 
 brown, the latter as ground in the two narrow 
 borders. Tree design in main border. 
 
 [No. 2984—4.2 x 3.0] 
 
 CABISTAN 
 
 VV ANDERING weavers have in this rug so skil- 
 fully combined native with adopted motifs and 
 
Collection 
 
 [Sal 
 
 The methods that it is unique and of great interest. The 
 
 Tiffany pattern on the dark blue field changes at intervals 
 
 Studios throughout its entire length. The seven border 
 
 stripes are laid in solid colors — green, pink, old 
 
 rose, red, two shades of blue, and ivory — and are 
 
 toned to soft and varying tints, with an occasional 
 
 vagrant motif of design as ornamentation. 
 
 [No. 6672— 13.7 X 3.3] 
 
 ANTIQUE SHIRVAN 
 
 GrROUND of both field and main border of soft 
 tans and browns with small oblong diamond forms 
 in red, blue, and green powdering the field and an 
 archaic Shirvan design in soft colors in the main 
 border. [No. 3758—10.6 x 3.3] 
 
RUGS OF ASIA MINOR 
 
RUGS OF ASIA MINOR 
 
 A. 
 
 .S influenced one by the other, the 
 weavers of Asia Minor have always been 
 accustomed to incorporate borrowed mo- 
 tifs with their own tribal designs, so that 
 only the evidence of local handling and 
 craftsmanship makes it possible to distin- 
 guish one rug from another; for while 
 there are certain features in their designs 
 common to all, the weavers of different 
 localities lay claim of priority to either 
 their invention or adoption. Grouped in 
 families, Ghiordez, Kulah, Melhaz, and 
 Ladik rugs lead in importance all the 
 weavings of Asiatic Turkey. 
 
 Originally the designs in Asia Minor 
 rugs were worked in strong primary colors. 
 From Bergama in the northwest, all along 
 the eastern shores of the Mediterranean, 
 in Cairo, Morocco, and even in Spain, 
 under Arabic and Moorish rule. Christians, 
 Hebrews, and Mohammedans have shared 
 
[56] 
 The and exchanged patterns. In the rugs woven 
 Slides ^y these people there are strong points of 
 Collection resemblance, and without knowledge of 
 technical methods in weaving and the prep- 
 aration of materials employed by individu- 
 als, one might easily mistake a Moorish for 
 an Asia Minor rug when considering fabrics 
 made during the early period when strong 
 colors were used by all weavers alike. 
 
 Later, Italian and French influences 
 produced changes in designs, softened 
 colors, and gave halftones and tints innu- 
 merable to the colorist. 
 
 Antique Kulah rugs trace their ancestry 
 to the Island of Rhodes, and occasionally 
 in the older weavings a motif will stand 
 out as absolutely Rhodian. 
 
 Ghiordez weavers have drawn inspi- 
 ration from Byzantine and other sources, 
 and there are many motifs in designs in 
 Ghiordez rugs that are conceded to have 
 been first used by the weavers of that 
 district. When such appear in Kulah 
 rugs they may be distinguished from orig- 
 inal Kulah designs, and vice versa. 
 
,f^,^^).,^iJrA,- . 
 
 '^'vH<^St^^5 
 
 GHIORDEZ PRAYER RUG 
 
 T<o.3786\ {b.-2x3.i0 
 
[57] 
 
 Notable 
 
 A GROUP OF FOUR GHIORDEZ RUGS Antique 
 
 ■^■■'""^■"■■^'■■■^iii^iiiMii—ii'i^iiiiiMMMMB—MB— ■««■— iMi«^ Oriental 
 
 jLX. critical examination of these weaves and 
 designs will reveal with hardly an exception strictly 
 Ghiordez features. 
 
 The prayer niche in each rug is high. In two 
 of the rugs the wavy water motif appears in the 
 narrow guard stripes (Nos. 8682 and 3683). In 
 neither the broad nor narrow borders are there any 
 distinctively Kulah designs, and in each and every 
 one there is a blocking of the design which forces 
 its component parts into squares. 
 
 The rugs have been carefully repaired in order 
 to preserve them. Bits of more recent weaving 
 have been skilfully used to finish the ends and re- 
 place worn parts. [No. 3680 — 4.7 a; 3.9] 
 
 [No. 3681— 5.5 x^] 
 [No. 3682—5.7 x 4.3] 
 [No. 3683—5.7 x 3.4] 
 
 vJREENISH tan panel powdered with fleck design 
 often seen in borders of Kulah rugs. 
 
 [No. 3680—4.7 x 3.9] 
 
 L AN prayer panel, main border design in blue, 
 red, and light green laid on a cream-white ground. 
 
 [No. 3681— 5.5x4] 
 
[58] 
 
 „.«. ± RAYER panel of robin's egg blue is unbroken 
 ^, J. save by profile pinks in red and white which edge 
 
 Collection t^^^ field. 
 
 Red predominates elsewhere in the rug — laid 
 in tree design on white in the main border, in the 
 narrow guard stripes in two shades on either side 
 of a wavy white line, and as ground color in the space 
 above the prayer niche. [No. 3682 — 5.7 x 4.5] 
 
 JL AN prayer panel edged with profile flower forms. 
 
 [No. 3683—5.7 x 3.4] 
 
 GHIORDEZ PRAYER RUG 
 
 IVlANY distinctly Ghiordez features mingle with 
 strong Kulah characteristics in- this product of 
 Western Asia Minor, which is most unusual in color 
 effect, both field and border being of the same yellow- 
 ish tan, upon which formal, as well as reaUstic 
 floral motifs in red, blue, and brown, are delicately 
 etched. [No. 3786—5.2 x 3.i0] 
 
 GHIORDEZ PRAYER RUG 
 
 J3LUE prayer panel edged with profile flower 
 forms. In the main border a variant of the tree 
 design is laid in soft harmonious colors on a cream 
 
^iMMMi^i'''^''^'^ : r^.v; 
 
 ^i'-:^. 
 
 
 GHIORDEZ PRAYER RUG 
 
 So. 3TS8] [oxU.2 
 
[59] 
 
 ground, and water motifs fill the narrow guard Notable 
 
 stripes and outline the prayer niche. Antique 
 
 [No. 3788—5 X 4.2] Oriental 
 
 Rugs 
 
 NINETEENTH CENTURY GHIORDEZ RUG 
 
 Jr^RAYER rug in cerise, green, blue, and tan colors. 
 
 [No. 2145—5.4 X 3.8] 
 
 NINETEENTH CENTURY GHIORDEZ RUGS 
 
 (BECTASH MOHAMMEDAN) 
 
 A. DISTINCT class of rugs are those made by the 
 ' ' Shriners " of the Orient. In them the designs in 
 the field are mainly architectural and should be 
 studied from the base of the prayer panel. 
 
 The "pavement," the "columns," and symbolic 
 flower and tree forms are significantly used, while 
 liberties are taken with borrowed designs that are 
 used merely for decorative purposes. 
 
 [No. 2172-6.4x4] 
 
 In all four of these rugs the tree drawn in various 
 ways appears in the field. The lightest of French 
 shades are used in the designs, which are nondescript 
 and in the main merely decorative. 
 
Collection 
 
 [60] 
 The The Bectash Mohammedans have seceded from 
 Tiffany the orthodox faith and are not governed by the law^s 
 Studios of Islam. 
 
 In the rugs which they make are peculiarities 
 which render them immediately recognizable and 
 entirely unlike all other Asia Minor weavings. 
 
 [No. 2199—6 X 3.7] 
 [No. 2179—5.10x3.7] 
 [No. 2176—6.2 X 3.8] 
 [No. 2188—4.10 X 3.5] 
 
 BECTASH MOHAMMEDAN RUG 
 (ANATOLIAN) 
 
 IN this antique Asia Minor prayer rug are shown 
 Ghiordez, Kulah, and Bergama features in both 
 design and weave. 
 
 The color of the field is of a cerise which ante- 
 dates the use of aniUne dyes, and the blue and yellow 
 are of extraordinary quality. [No. 2703 — 4.4 x 3] 
 
 NINETEENTH CENTURY GHIORDEZ RUG 
 
 JL HERE is in this rug a departure from Ghiordez 
 tradition in the use of color, and by the introduc- 
 tion of cerise the scheme becomes quite unrelated 
 to any other style. 
 
'M 
 
 ^...^%„v:nV- \ . .^^S^F«^^J^^a^«'H^^l*^^]^t,-,.r:,^^ 
 
 GHIORDEZ RUG (BECTASH MOHAMMEDAN) 
 No. 2176] [0.2x3.8 
 
[6i] 
 
 While many strictly Ghiordez motifs have been Notable 
 used in the design, the appearance of seven Kulah Antique 
 stripes in the border adds a great interest to the fabric. Oriental 
 
 It is curious to note the added respect with which """9^ 
 a rug is treated if, instead of more or less, there 
 are exactly seven of the typical stripes in a Ghiordez 
 or Kulah rug. Quite naturally allusion is made to 
 the ' ' seven days of creation border " or the ' ' border 
 of the seven heavens." 
 
 Far back in the long ago, before symbols had 
 given birth to patterns, when thought lay under- 
 neath all manifestation in form, the ancients, when 
 endeavoring to express belief, resorted to one and an- 
 other sign. Tracing back along the lines of Moham- 
 medan lore, we find that the seven planets, the 
 seven days of creation, and the seven heavens were 
 often significantly portrayed, and there is a strong 
 feeling among Orientals that the use of seven similar 
 stripes in a border originally indicated an allusion 
 to some one or the other of the most important 
 groups of seven. 
 
 " Seven heavens Allah made 
 First> Paradise . . . 
 The next ... the Gate of Eternity, 
 The third . . . the Peaceful House, 
 The fourth . . . Felicity, 
 The fifth was . . . Home of Golden Light, 
 The sixth ... the Garden of Delight, 
 The seventh ... the Footstool of the Throne, 
 
 And each and every one. 
 Sphere above sphere and treasure over treasure, 
 The great decree of God made for reward and pleasure." 
 
[63] 
 
 The With the birth of estabHshed patterns symbolic 
 
 Tiffany design passed into decadence, and finally, without 
 
 Studios any especial significance, patterns reproduced them- 
 
 Collection selves, so that, bereft entirely of all meaning, they 
 
 were handled unscrupulously and without thought 
 
 until they became empty forms, however beautiful. 
 
 There have been changes through the years in 
 
 both the design and colors used in Asia Minor 
 
 products. Aniline dyes are so utterly unlike those 
 
 used in ancient times that they at once stamp a 
 
 fabric as modern, but the conservative shades of 
 
 crimson, cherry, and cerise which are found in this 
 
 antique rug are surpassingly beautiful and mark 
 
 the period of manufacture with a great degree of 
 
 certainty. These shades of crimson, yellow, and 
 
 light blue form a series of colors most entrancingly 
 
 combined to enhance the beauty of the green in the 
 
 central panel, which shows the intentional shading 
 
 often imitated in modern rugs. 
 
 (See No. 3359 and No. 3173.) ["yVo. 2186— 9 A X 5.2] 
 
 NINETEENTH CENTURY GHIORDEZ 
 PRAYER RUG 
 
 1 HE crimson in this rug is of very unusual tone 
 and has been so skilfully shaded and outlined with 
 a light reddish brown as to vary the quality of the 
 color in a most interesting way. 
 
NINETEENTH CENTURY GHIORDEZ RUG 
 
 No. 2186] [9.^x5.2 
 
 Illustration shows J length 
 
[63] 
 Upon a field of alternate crimson and green Notable 
 stripes the prayer panel is laid in white. The Antique 
 designs throughout the rug, with the exception of Oriental 
 the Kulah stripes, are of strictly Ghiordez nature. ^"S'* 
 The inner, second, third, and outer narrow guard 
 stripes carry the wavy line conceded to be a water 
 motif when used by the Ghiordez weavers. 
 
 (See No. 2186 and No. 2172.) [JVo. 339 — 8.4 X 5.4] 
 
 GHIORDEZ KULAH 
 
 JL HIS rug serves as an excellent bridge upon which 
 to pass from Ghiordez to Kulah products. In it 
 northern and southern Asia Minor influences meet 
 and find expression. 
 
 The prayer panel is laid in a higher tone of red 
 than is ordinarily found in Kulahs of this style, while 
 the niche pierces a field of light blue, in which are 
 tan and red flat flower forms. 
 
 In the main border are lilies and pinks in profile 
 in red, blue, and yellow on a blue background. 
 The narrow border stripes are of strictly Kulah 
 design. [No, 3620—6.4 x 4.5] 
 
 KULAH 
 
 V ARIANTS of design, commonly found in Kulah 
 rugs, woven in shades of tan, green, light blue, and 
 
[64] 
 The white, are so softened by age and exposure as to 
 Tiffany produce the all-over hay color effect found only in 
 Sludios anticjue Kulahs. ' [No. 2632—^.9 x 3.4] 
 
 CoUeetion 
 
 RHODIAN KULAH 
 
 X HIS rug was made in the Island of Rhodes under 
 the same influences that caused the production of 
 the famous Rhodian tiles and plat^. It belongs 
 to the p^od in which strong primary colors w^ere 
 used, and there are in the designs mot^s that have 
 been copied by all the weavers of Asia Minor, inde- 
 pendent of locality. To the narrow stripes in rugs 
 of this general style, the Kulah weavers have looked 
 for suggestion, white from the squared design in 
 the main border, the paliAate flower with three 
 buds, the more ornate forms in Gbiordez borders 
 evolved. 
 
 In both narrow border bands appear forms 
 which were adopted bv Kulah weavers, the ribbon 
 meander in the outer and the "shaving" design 
 in the inner stripe. 
 
 Ghiordez weavers used wa\'y lines as water 
 motifs in the guard stripes that separate the broader 
 ones, while Kulah weavers were more apt to use 
 straight lines . 
 
RHODIAN KULAH 
 
 N0.2M8] [i.6x3.9 
 
[65] 
 
 Ghiordez weavers have made use of cotton at Notable 
 various times in their most costly fabrics, hoth as Antique 
 warp and for whit^ knots in the design. Kulah Oriental 
 rugs are invariably of wool. ^"S'* 
 
 The prayer niche is low in Kulah and high in 
 Ghiordez rugs. ' [No'.26i8—U.6x3.9\ 
 
 KULAH PRAYER RUG 
 
 t 
 
 U PON a deep blue ground a tall tan colored plant 
 in tree form extends from the apex of the prayer 
 niche to the end of the field. 
 
 The main border space is filled with seven 
 narrow stripes in blue, yellow, and blood-red. 
 
 [No. 3679—6.2 x 3.11] 
 
 (See No. ai86.) 
 
 KULAH HEARTH RUG 
 
 U PON an inner panel of superb blue are laid seven 
 jardinieres in tan color filled with eight-petaled 
 blossoms of the same shade as the flowers that or- 
 nament the outer field of lighter blue, upon which 
 the serrated central panel of dark blue is laid. 
 
 The outer border and the two narrow borders 
 on either side of the broad border are distinctively 
 
[66] 
 The Kulah features, as well as the arrangement of bios- 
 1 ijfany gQ^^g j^ blue, tan, and yellow on a white background 
 „".!"* in the main border. Occasional dashes of blood- 
 red appear throughout the rug. These are highly 
 prized by the connoisseur, who looks for them as 
 one does for the ever present white horse in the 
 paintings of Wouverman. [No. 2018 — 5.5 x 3.i0] 
 
 Collection 
 
 •«i r IWIiWIHinimiBIMHHIIillWliilHIIMIIIlll ^<v.^«^'.>.' igiH^X'. t. 
 
 KULAH PRAZER RUG 
 
 kOOFT tans and blues with darker contrasting 
 shades and tones are so harmoniously blended in 
 this old prayer rug as to make it a worthy com- 
 panion to the hearth rug (No. 2018) of similar color 
 and weave. [No. 2623—5.7 x 3.7] 
 
 «■ Cj-f ■ .',-<** XMMWfl 
 
 KULAH RUG 
 
 l\. SERIES of rude archaic designs are symmetri- 
 cally arranged in the prayer panel, which, with a 
 very low niche, pierces a yellow field, in which are 
 tan, blue, and brown floral forms. 
 
 Tan and blue flowers outlined in brown, with 
 an occasional touch of deep red, fill the broad border 
 stripe on each side of which are narrow bands with 
 typical Kulah designs. [No. 26H—5.2 x3.H] 
 
'i^JH^' 
 
 Jt^' _^-5^ 
 
 i'^>l 
 
 
 if/ 
 
 ■<""fe r- .<J/_ ^ i * > ^ 
 
 cWTj- Kt/Tj ■TT'j^ VXrV^- 'V 1=1^ 
 
 
 '~ J -< r,>- ' ^ . ./ - fez Ti, -1," ji-'' ^<,'" y-ii'i ^^ '•■ A>-=i •»'*«!■"' 'j'^ 
 
 hi*- -♦It—' , ,- 
 
 w 
 
 
 
 
 ti 3 A. . , 
 
 ^ 1 ^ 
 
 J- — I ^ I 
 
 
 ■SiJti 
 
 KULAH HEARTH RUG 
 
 No. 2018] [o.5x3.i0 
 
WC«AI<^Aa%*«W 
 
 Ui 
 
 [67] 
 
 ISotable 
 
 KULAH PRAYER RUG Antique 
 
 Oriental 
 Rags 
 
 I PON a prayer panel of beautiful tan color are 
 jardinieres and flowers in deeper tans and blue. 
 
 Tbe prayer niche is very low and rests upon a 
 superb' blue field in which is a repeat design based 
 on a floral motif. 
 
 Between two narrow typical Kulah borders is 
 a most harmonious broad border band in which 
 upon a white ground the Kulah "fleck" design 
 appears in varying shades of yellow, blue, dark 
 brown, tan, and hay color. 
 
 It is interesting to note the changes in this broad 
 bordej" pattern from the profile flower design in 
 rug No. a644- 
 
 [No. 2636 — 5.9x3.10] 
 
 A GROUP OF NINETEENTH CENTURY 
 KULAH RUGS 
 
 In this interesting group of nineteenth century 
 Kulahs, heavy but fine quality wool has been used 
 for warp, woof, and pile. 
 
 The introduction of foreign motifs in some of 
 the border designs is noticeable. These designs 
 
[68] 
 The are worked in strong shades of yellow, apricot color. 
 Tiffany tan, and blue, with an introduction in No. 8i of 
 Sladhs cerise [No. 2184 — 6.8 x 4.2] 
 
 [No. 3U77 — 5.3x3.9] 
 [No. 81 — 6.1x^.2] 
 
 Collection 
 
 KULAH HEARTH RUG 
 
 J.N this "hearth rug," indicated to be such by the 
 pointed ends of the central panel, the colors are 
 most subdued and harmonious. 
 
 Eight ewers, with balancing floral forms on 
 either side, completely fill the panel, which, sur- 
 rounded by a narrow white border, rests upon a 
 light blue flower-strewn field. 
 
 Except in the inner and outer stripes there are 
 no exclusively Kulah designs in the borders. 
 
 [No. 2646 — 6.7 X 4.3] 
 
 (See No. 333) 
 
 KULAH PRAYER RUG 
 
 JjjIGHT ewers resting upon a field of light green 
 furnish with plant and tile forms the scheme of 
 decoration for the prayer panel. The niche, sur- 
 
\T'";> 
 
 GHIORDEZ PRAYER RUG 
 
[69] 
 rounded by a variant of the wave-crest design, pene- Notable 
 trates a light blue field in vyrhich are large floral Antique 
 forms in deep tan color. Oriental 
 
 The panels at top and bottom of the field are of ^"S^* 
 still darker blue, and the flowers are larger than 
 elsewhere in the design. 
 
 The broad border in shades of blue, yellow, and 
 tan, with one deep accentuating blood-red stripe 
 around its outer edge, is of Ghiordez design. 
 
 [No. 552 — 6.8x4.4] 
 
 wjiw ^ a w wwg w wM 
 
 GHIORDEZ 
 
 vJREENISH tan prayer panel powdered with the 
 fleck design, in brown and white, often found in old 
 Kulah borders. 
 
 Interesting comparisons may be made by studying 
 Nos. 3683, 368 1, and 3683 with this rug, as the 
 borders are all of traditional Ghiordez nature and 
 of exceptional interest. [No. 3680 — 4.7 a; 5.9] 
 
 GHIORDEZ 
 
 jO IELD of tan color with space above the prayer 
 niche filled with stripes of red and blue bearing 
 small floral forms. 
 
[7o] 
 The The inner and outer borders are divided by a 
 
 lijjany yf'^^Q main border, showing the Rhodian lily, in 
 alternation with other plant motifs, in shades of 
 blue, green, and red on a cream ground. 
 
 [No. 3681 — 5.5 xi] 
 
 Studios 
 Collection 
 
 mmammmmutma^mKmmtmHmmmmmti^ttmm^n^ *^ iwif mimi ^ 
 
 GHIORDEZ PRAYER RUG 
 
 X^ lELD of deep cream with space above the prayer 
 niche filled with conventionalized floral motifs in 
 red and white upon a dark tan ground. 
 
 The general color efiFect of the borders of this 
 rug is red, favoring Melhaz and Ladik variations in 
 tone. [No. 3787 — 5.6 x 4.2] 
 
 GHIORDEZ PRAYER RUG 
 
 X^ASTEL colors predominate in this Ghiordez 
 prayer rug, the cream panel giving great delicacy, 
 and the shades of tan and hay color being so well 
 distributed through the borders that in the main 
 the efiFect is very light, though blue, green, and red 
 appear in soft tones. 
 
 [No.3785—6.Hx^.i] 
 
GHIORDEZ PRAYER RUG 
 No. 3787] [5.6x41.2 
 
[71] 
 
 Notable 
 
 A GROUP OF ASIA MINOR RUGS Antique 
 
 — T-mnm— ■— ■ iiimii ■m—mn wmiiimiih mmr iinr»MMiiwiiiiii«iiiiiiiiiiiiMi Oriental 
 
 1 HESE four rugs illustrate the fact that the weav- 
 ings pf Asia Minor bear strong resemblance to 
 each other. Only when characteristics are so 
 pronounced as to be recognized at a glance as 
 true to local tradition should rugs be considered 
 as types and given special names, while those 
 in which motifs of design have been borrowed 
 from many different sources should be more broadly 
 classified. 
 
 No. 2621 is a Melhaz rug. In it the prayer 
 panel and borders in color and ornamentation are 
 true to local style, making this, in weave, color 
 distribution, and design a type rug. 
 
 The narrow borders on either side of the broad 
 border, and the bounding of the floral forms in the 
 broad border with the S motif on top, bottom, and 
 sides, are Melhaz features. 
 
 In No. 3 1 35, which might ordinarily be consid- 
 ered a typical Melhaz rug, we find that the prayer 
 panel and its ornament constitute the only strictly 
 Melhaz characteristics. 
 
 In No. 2975 the weaving itself shows Bergama 
 features, and the violet in the broad border is 
 unusually fine. 
 
 Rags 
 
[7^] 
 The In No. 333 the color tones are high, and yellow, 
 ^tifT^'y blue, green, cherry, and violet are given equal value 
 iitudios in tije design, which is nondescript. 
 Collection Melhaz [No. 2621 — 4.6 x 3.6] 
 
 Anatolian [No. 2135—4.4 x 3.4] 
 
 Bergama [No. 2975—6 x 4.1] 
 
 Anatolian [No. 333— 5.1 x 3. 10] 
 
 FOUR KIR-SHEHR PRAYER RUGS 
 
 J. HESE four rugs give excellent opportunity for 
 study and comparison. In them .the features that 
 distinguish the Kir-Shehr products are pronounced 
 and absolute, as well as the jewel and mosaic effects, 
 which are unexcelled in any other woven fabrics. 
 
 The four rugs make two pairs, one pair having 
 red prayer panels, the other yellow. Blue and 
 green in several shades, violet of superb tone, and 
 corrosive black and brown are the other colors 
 employed. 
 
 The broad border design adheres absolutely to 
 Kir-Shehr style. In the centre of each square in 
 the design is a small rosette about which is drawn 
 an eight-pointed star. Rhomboids of another color 
 enlarge the star form, which rests upon a yellow 
 lozenge, which in turn is enlarged by corner deco- 
 rations into a square which fills the border in width. 
 
KIR-SHEHR PRAYER RUG 
 
 No. 2229] [5.ixi.6 
 
* . [73] 
 
 These tile forms extend one after another through Notable 
 the main border. Antique 
 
 The prayer panels are edged with profile pinks, Oriental 
 and these floral forms extend from each angle in «"S'* 
 the serrations of the niche as well. 
 
 The ornamentation along the sides and top of 
 the field penetrated by the prayer niche, as well as 
 the design in the oblong panel above the field itself, 
 are Kir-Shehr peculiarities. 
 
 [No. 2166 — 5.9x4] 
 [No. 26W — 5.4x3] 
 [No. 2204— 5.6x4.5] 
 [No. 2229—5.4 x 4.6] 
 
 LADIK 
 
 JL HIS is a type rug of great beauty and softness 
 of color. 
 
 Rhodian lilies in shades of tan, red, and blue 
 alternating with rosettes are wrought on a golden 
 yellow ground in the broad border stripe. 
 
 The central panel is of rare red with serrated 
 niche penetrating the space above, which is of royal 
 blue color. 
 
 Below the prayer panel is a well-known Ladik 
 design consisting of formal upright plant forms ter- 
 minating in Rhodian lilies or tulips. 
 
 [No. 2405—5.7x3.8] 
 
The 
 
 [74] 
 
 'jivnaeremi-*. S'^jexmastmmmMmmmoMmmmmBommmmKKfmfmifwsi^i^iiai 
 
 Tijfany BERG AM A 
 
 Studios : 
 
 Colleclion 
 
 i_^ENTRAL panel of light red ornamented with 
 small diamond of green edged with conventionalized 
 floral rosettes. 
 
 The corner spaces beyond the diamond form are 
 two of them of topaz color and two of sapphire 
 blue. 
 
 Between two narrow borders the main border 
 stripe, of an iridescent bluish green, is ornamented 
 with semi-floral rosette forms. 
 
 {No.2120—Ax^.2] 
 
 BERG AM A 
 
 ]\. RUG of Asia Minor showing the influence of 
 enamellers and stained-glass workers upon weavers 
 who produced in their fabrics a combination of 
 primary colors unsurpassed in quality and excellence. 
 
 {No.22i5—9Ax6.8] 
 
 BERG AM A 
 
 m^ ea u t ufBt:^ mm 
 
 iVlEDALLION and pendants of jade green bear 
 floral ornamentation in soft shades of yellow and 
 blue. Corner spaces are laid in light blue, and the 
 
44!iiii 
 
 L A D I K 
 
 iVo. 2^05] [5.7^5.8 
 
[75] _ 
 cartouche forms in the main border stripe are Notable 
 carried on a soft golden yellow ground. Antique 
 
 [No. 2212 — 11.3x6.8] Oriental 
 
 Rugs 
 
 BERG AM A 
 
 h 
 
 UMINOUS red ground with central medallion 
 and corners of light blue. A lustrous gem-like 
 quality about the colors employed carries out the 
 tradition that rubies, sapphires, topazes, and 
 emeralds furnished the color schemes for the 
 weavers of western Asia Minor. 
 
 [No. 2200—9.6 X 6.9] 
 
 GUENDGE RUG 
 
 1 HIS rug in strong primary colors coarsely woven 
 is a shepherd rug of the Lake Gotcha district. The 
 design is of crude nature. A large outline form in 
 yellow edged with blue fills the field, which is of 
 rich red. Within each end of this form is a green 
 figure, and in the centre an eight-sided . oblong 
 medallion surrounded by a series of shepherds' 
 crooks. In the centre of the medallion on a dark 
 blue ground are six animals crudely drawn. Stars 
 
[76] 
 The and many small animals, presumably sheep, are 
 Tiffany scattered over the field of this nomad product, 
 ^'"'^fos ^ |-^o_ 3563—6,8 X 3.4] 
 
 Collection 
 
 FLORENTINE SANCTUARY RUG 
 XVI CENTURY 
 
 IriUGS similar to this most unusual specimen 
 were made in Italy, Spain, and Portugal in the 
 sixteenth century, with the idea of producing piled 
 fabrics more or less like Oriental rugs. The pile 
 is like a fringed braid and is sewn in a pattern 
 upon linen. 
 
 The design suggests the old majolica of the 
 period, in the making of which potters employed 
 but few colors. 
 
 The ground of the entire rug, both field and 
 border, is laid in a mellow tone of yellow, upon 
 which are scrolls and crudely drawn ilower forms 
 in shades of blue and green, with jbigh lights in 
 lemon yellow. At either end of the^ field are large 
 vases holding tulips of exaggerated size. 
 
 This is a veritable sanctuary rug, made as gift to 
 some cathedral, where it has been preserved through 
 the centuries. It is most unusual to find fabrics of 
 this style which have not yielded to the ravages 
 of time, fragments only remaining in' the museums 
 of Europe. [No. 3625— 13 5x9] 
 

 DAMASCUS CALIPHATE RUG 
 
 iVo. 36i8] [6.2 a; -4.5 
 
[77] 
 
 ""'^"'"""""■''"'"■'""■"■■"■'■"■^"■"'''"" Notable 
 
 DAMASCUS CALIPHATE RUG Antique 
 
 I Oriental 
 
 1 HIS is a star worshippers' rug, and the design 
 which adorns it is of Mesopotamian origin. The 
 three colors are used symbolically — red for day, 
 blue for night, and green for holiness. 
 
 Calculations were made by astronomers and 
 Magi of the East, by the use of geometric forms 
 similar to those found in the design. ' ' In the 
 large star medallion are fir and palm leaves, symbol- 
 izing everlasting life and the principle of renewal." 
 Arrow-like heads point to the four cardinal 
 directions. Other elements of the design are dia- 
 mond-shaped stars and instruments and tables for 
 reckoning. On the outer border are twelve green 
 cartouches or panels for the zodiac. 
 
 [No. 3615 — 7.11 X 7.5] 
 
 DAMASCUS CALIPHATE RUG 
 XIV CENTURY 
 
 1 HE field, central panel, and borders are of inter- 
 mingled red, green, and blue. 
 
 The upper and lower oblong panels have a design 
 of date trees, profile flower motifs in tree form, 
 and the pine tree of life. 
 
[78] 
 The In the central panel an Arabesque geometrical 
 Tiffany design is laid on a field of green, and the Arabesque 
 Studios medallions in the border are placed on a blue 
 Collection ground. 
 
 [No. 3618 — 6.2x4.5] 
 
 SARACENIC RUG 
 
 i\. MINGLING of designs that only Saracenic 
 conquest and culture could have placed at the dis- 
 posal of Spanish weavers is show^n in this rug in 
 shades of red, green, yellow, and light blue. 
 Persian motifs carried into Europe during the early 
 Mohammedan era were there influenced by Gothic 
 styles. On the looms of Cordova and Madrid these 
 mingled designs were woven for sanctuary and 
 palace use. 
 
 [No. 3621— 8x5. 8\ 
 
 •(^•^■Wl ■ . >- 'r i9|--«?»?t-1SiW^a 
 
 MOORISH RUG 
 
 1 HE color scheme in this rug is typically Moor- 
 ish, although there is a likeness in the general effect 
 
MOORISH RUG 
 
 No. 3622] [5.6 xi 
 
[79] 
 to rugs of western Asia, Laodicea, and the Island Notable 
 of Rhodes. Red, blue, yellow, green, black. Antique 
 and cream color appear in tones and shades Oriental 
 quite different from any Persian or Turkish use ^"^^ 
 of them. 
 
 The preparation of the wool, both for warp and 
 woof, is after Moorish methods, and Arabic pecul- 
 iarities are noticeable in both design and weave. 
 
 Each cartouche holds a single Gothic floral form. 
 The Hamadan rendering of the reciprocal trefoil is 
 woven in black and red in one of the small borders, 
 while the eight-pointed Moslem star adorns the 
 inner stripe. 
 
 [No. 3622—5.6x4] 
 
 a^/ttrnxmusm 
 
 SANCTUARY RUG 
 
 (jrlVEN as votive offering to some cathedral in 
 Spain, this embroidery testifies to the allegiance of 
 the donor to the royal Gastilian colors, — azure and 
 yellow. 
 
 The design in the field is copied directly from 
 sixteenth and seventeenth century Oriental rugs, 
 but the border shows European influence and early 
 renaissance scrolls. 
 
 [No. 3608—8.7x4.10] 
 
 (Compare stitch with No. 36ii.) 
 
[8o] 
 
 The ■—-—--—------—---—-----—----—-—-—---- 
 
 Tiffany INDO-PORTUGUESE EMBROIDERY 
 
 Studios 
 Collection 
 
 JL HIS copy of an East Indian embroidery in two 
 shades of red, two of blue, and soft tints of light 
 and dark brown and green was undoubtedly made 
 either in Spain or Portugal in the seventeenth 
 century. 
 
 The stitch employed is one that was used later 
 on canvas in a more regular way than was possible 
 on this coarse linen foundation. 
 
 Years have given to the colors a matchless 
 charm. [No. 36H—i.8x6.5\ 
 
CHINESE RUGS 
 
CHINESE RUGS 
 
 A 
 
 KNOWLEDGE of the art of China 
 as applied to pottery, porcelain, enamels, 
 and various of the handicrafts has been 
 acquired of late years. It is now no longer 
 a matter of speculation when the various 
 styles were introduced, but of fact. 
 
 The textiles of China may be grouped 
 in the same way as the porcelains, for the 
 same impulses developed the one as 
 the other. China's relation to the rest of 
 the world brought about changes in na- 
 tive styles, and the unsettled condition of 
 the empire itself caused the development 
 of art in one portion while it languished 
 in another. A knowledge of the inter- 
 relation of nations makes it possible to 
 trace the subtle external influences which 
 marked the art of China. 
 
 Over one thousand years ago Arab 
 traders visited China, and protection has 
 been granted Moslems by different Chinese 
 
Collection 
 
 [84] 
 The emperors all through the centuries. Thus 
 Tiffany j^. j^^^y. readily be seen that Arab influences 
 entered the south of China and that com- 
 modities were exchanged at a very early 
 date. Overland too these same zealous 
 traders forced their way and carried from 
 .West to East the symbols and emblems 
 of their faith. 
 
 From India, Buddhism influenced both 
 directly and indirectly the art of the south 
 of China, where Buddhist ornament is 
 found in very early specimens of weaving. 
 Thibet always having shown an independ- 
 ent handling of the religion of Buddha 
 has given to the "elder brother" coun- 
 try its own special ornament with the 
 tribute rendered. 
 
 Mongol tyranny under Genghis Khan 
 (twelfth century) and Tamerlane (four- 
 teenth century) brought with it symbolism* 
 of a different sort which, from time to 
 time, has swept with resistless force over 
 the entire empire. 
 
 It is customary to begin the classifica- 
 tion of Chinese rugs with the Great Ming 
 
[85] 
 (illustrious) dynasty, when the arts were.^otoife 
 patronized and developed by royalty and ^"f'9«e 
 
 J I 111 1 \JVt6ftlClC 
 
 the wealthy classes. ^ 
 
 The founder of the Ming dynasty was 
 a native of China, and a Buddhist who 
 endeavored to emancipate his fellow coun- 
 trymen from Taoist superstition (which had 
 prevailed under the preceding»or Yuan dyn- 
 asty) and to establish Buddhist reforms. 
 
 The ornate character of Buddhist art 
 enriched early Ming designs with floral 
 forms, and the lotus, peony, and the tea 
 flower were embroidered on robes, painted 
 on porcelains, and woven in rugs. Gold 
 and silver in decoration led to the enrich- 
 ment of floor coverings and tapestries, 
 so that in the southern capital and in the 
 homes of wealthy mandarins were to be 
 found textiles showing designs in relief 
 upon gold and silver backgrounds. These 
 fabrics became so sumptuous and mag- 
 nificent that finally under late Ming influ- 
 ences they reached their height and gave 
 inspiration to Europe as well as various 
 parts of the Orient. Polish carpets among 
 
The others were inspired during the fifteenth 
 
 W^y and sixteenth centuries by the metal rugs 
 Studios p , ,,. , , "^ 
 
 Colkction of the Ming dynasty. 
 
 The forces then that made Ming prod- 
 ucts what they were are easily recognized : 
 a high state of cultivation within the 
 empire itself and the influx of ideas from 
 without which taught shadow and per- 
 spective and altered far more than one 
 would at first imagine the traditional art 
 of China itself. 
 
 The struggle for supremacy between 
 southern culture and Mongolian force re- 
 sulted in a long period of inaction early 
 in the seventeenth century, followed by 
 an awakening in the north, due to the 
 establishing in Peking of the Manchu 
 dynasty with K'ang-hsi the first ruler of 
 note(i662-i722). Intent upon making 
 use of all existing good, he gathered at 
 his capital those who could help him 
 to bring to perfection the arts of the 
 empire. 
 
 The Jesuit missionaries assisted in 
 acquainting him with a knowledge of the 
 
[8?] 
 styles of Europe, and the Mogul emperors Notable 
 
 of India, who were stimulating the arts -^"f'?"^ 
 ,, . , -111 Oriental 
 
 m their own country, aided and encour- j^ 
 
 aged his enthusiasm. 
 
 It is recorded in the annals of the 
 empire that the enamels of France which 
 had been sent to the Manchu emperor by 
 Louis XIV excited great admiration and 
 stimulated Chinese art to a noticeable 
 extent. 
 
 Father Ricci, the Jesuit scientific court 
 adviser, who had been instrumental in 
 providing the Ming emperors with artists, 
 initiated the Chinese in Western methods 
 of decoration, and schools were estab- 
 lished in various parts of China during 
 the early years of the present dynasty, 
 where Jesuit priests furnished models for 
 art workers. 
 
 K'ang-hsi was emperor for sixty years — 
 from 1 662 to 1 722 — and styles Indian, Per- 
 sian, Thibetan, and Mohammedan have 
 each contributed their share toward what 
 has become a truly Chinese style and 
 may always be recognized as such. 
 
[88] 
 The Rugs were made more universally dur- 
 Tijfany Jug the K'ang-hsi period in China than they 
 Sfidms jjjj^ jjgg^ before, though the products of 
 Mmg have never been excelled. 
 
 During the reign of Yung-ch^ng a 
 definite method was adopted of showing 
 in weaving the ribbed effects that were 
 being produced in porcelains of the period 
 and in Peking enamels. 
 
 In the Kien-lung period the use of red 
 and blue favoring Thibetan suggestion 
 marked that era with a special peculiarity. 
 
 A.D. 
 
 Sung dynasty gGo-iaSg 
 
 Yuan dynasty ia6o-i349 
 
 Ming dynasty 
 
 Yung-lo i4o3-i4a4 
 
 Hsuante i4a6-i435 
 
 Ch'enghwa i465-i487 
 
 Gh'engte i5o6-i52i 
 
 Wanli 1573-1629 
 
 T'cHiNG dynasty 
 
 K'ang-hsi 1662-1722 
 
 Yung-chfeng .... 1 723-1 735 
 
 Kien-lung 1 736-1 796 
 
 (Chienlung) 
 
 Chiach'ing 1 796-1820 
 
 Taokuang i820-i85o 
 
[89] 
 
 '~~*~'''~''~"~"~~~~'~''°™~~''~''~'''~'~^^ Notable 
 MANDARIN RUG Antique 
 
 MING DYNASTY, 1368-16^9 ^"««'«^ 
 
 lO ROWING floral and fret designs traced in relief 
 in three colors — yellow, blue, and red — upon metal 
 background in the style of the sixteenth century 
 rugs of the Ming dynasty. 
 
 Both gold and silver are used in the threads 
 with which in typical stitches the flat surface of the 
 metal background is made. 
 
 Polonaise textiles, noted and rare, were inspired 
 by these mandarin fabrics. [No. 3659 — 3 x 5] 
 
 CHINESE RUG 
 
 It is related that the Emperor K'ang-hsi, while 
 journeying with Father Gerbillon in 1697, visited 
 Ning-hsai, where they presented to him rugs re- 
 sembling "Turkey carpets." These so interested 
 the emperor that he asked to have the work done 
 in his presence, that he might note how the pile 
 was made. Whether or not at that time the rugs 
 of Peking were made in the same way is not told 
 us, but the coarse carpets of Ning-hsai have char- 
 acteristics that have differentiated them somewhat 
 from other Chinese rugs, and many believe that 
 
 Rugs 
 
[9o] 
 
 The rug-making in China originated in that district. 
 
 Tiffany though the art of making pile carpets was carried 
 
 Studios [f^iQ China by the Mohammedans and is not a native 
 
 art. [No. 2674—3.4x2] 
 
 Collection 
 
 CHINESE— XVII CENTURY 
 
 L HE great and good Shah Abbass closed his reign 
 in Persia in 1628, Akbar in India in i6o5. Both 
 of these men had stimulated the arts of their 
 own country during the sixteenth century to a 
 high degree of excellence. Artists from China 
 went to Persia and India at the bidding of these 
 great art lovers, and during the later years of the 
 Ming dynasty Chinese art bore evidence of the 
 mingling of foreign with native ideas. 
 
 The early Chino-Persian Ming styles partake 
 more of the formal, stiff, radiating, compartment 
 nature of the ornamentation of tiles and pottery 
 than those developed later, when flowing vine effects 
 became less uncommon and Chinese artists endeav- 
 ored to copy the main characteristics of Persian 
 foliate decoration, though substituting native flower 
 forms in conventional designs. 
 
 The efforts made by the Emperor K'ang-hsi early 
 in the present dynasty, in the latter part of the 
 seventeenth century, to establish relations with 
 
f^s;?^^^%:%s-sfeJv:'>^--:s^;^^^ v.-vsivil :; 
 
 MANDARIN RUG — MING 
 DYNASTY, i368-i649 
 A^o. 3659] [3x3 
 
[9^] 
 Western potentates led to the introduction and Notable 
 perpetuation of these foreign styles, and as they Antique 
 were not easily comprehended' by native artisans, Oriental 
 artists were established at court to elaborate these ^"fl'* 
 new designs, methods, and styles. 
 
 In this rug, arrangements of foliated scrolls are 
 forced into formal divisions, radiating from medal- 
 lions composed of varying forms of the longevity 
 fungus. The object in the centre of each medal- 
 lion is a foreign motif and unrelated to Chinese 
 ornament. [No. 3^57 — b.iO x3.8] 
 
 MANCHURIAN RUG 
 
 I HE weave of this rug is known as Manchurian, 
 and differs slightly from other Chinese weaves in 
 that the knots ar'e more closely packed by the woof 
 threads than in either Shantung or Tsin-tsin rugs, 
 and there is a difference in the spinning of the 
 cotton used for vvarp and woof, which gives a 
 tighter quality to the finished product. 
 
 Manchurian rugs belong to the present T'ching 
 dynasty, and were made for the Tartar rulers who 
 conquered China in the seventeenth century. 
 
 Under K'ang-hsi, the first notable emperor of 
 the line (1662-1732), the arts were highly devel- 
 oped, and weavers were brought to Peking from 
 
[9^1 
 The outlying districts, who wove both native and Tartar 
 Tiffany designs in the fabrics accepted by the court rulers 
 Studios foj. temple and palace use. 
 Collection -pjj-g -g ^ seventeenth century design in which 
 
 the evolution from the archaic dragon to the geo- 
 metric form based upon it is clearly demonstrated 
 in the border as well as in the eight discs. 
 
 In the inner border stripe appear sacrificial jars 
 and vases each bearing a significant and emblematic 
 design — the swastika — knot of destiny — tae-kieh 
 (yang and yin) and other emblems. 
 
 [iVo. 5645 — 9.6x5.4] 
 
 MANCHURIAN RUG— STYLE YUNG- 
 CH^NG, PERIOD 1723-1735 
 
 JL HE shades of brownish red thafr appear in this 
 rug antedate the lighter apricot tints that prevail in 
 Kien-lung and later specimens of weaving during 
 the first century of Tartar rule in China. The 
 method of outlining in ribbed effect is a Yung-ch^ng 
 feature and suggests the enamel work brought 
 to perfection by the artists of the middle of the 
 eighteenth century. 
 
 Upon a swastika fretwork of golden yellow 
 are cloud and fire forms in shades of fawn, red, 
 and blue, with bats as emblems of happiness dis- 
 
MANCHURIAN RUG 
 
 No. 36Uo] [9.6 X 5.i 
 
 Illustration shous | length 
 
[93] 
 
 tributed over the field. An effort at vine effect in Notable 
 
 the border testifies to the influence of Persian art, Antique 
 
 which at this time greatly influenced native Chinese Oriental 
 
 design. [No. 36m — Hx 5.6] ^"9^ 
 
 CHINESE RUG—KIEN-LUNG 
 
 V^HINESE rugs, in w^hich the colors light and 
 dark red, light and dark blue, cream color, yellow 
 and natural wool brown, make an interesting study 
 by themselves as Kien-lung products. In some 
 rugs red and blue predominate, in others red and 
 cream, with blue relegated to subordinate rank. 
 
 There seem to have been made a vast number 
 of rugs of this coloring and general style of orna- 
 mentation after the accession of Kien-lung in the 
 middle of the eighteenth century. He, the grand- 
 son of K'ang-hsi, added Turkestan to the Chinese 
 empire, and rugs were made all through that dis- 
 trict and sent to Peking as tribute. Very many 
 of these rugs show Indo-Persian influence, others 
 carry Buddhist and Thibetan designs , while in some 
 the decoration is strictly Mongolian. 
 
 Examination of the web of rugs of this style 
 and period indicates the use of a coarse cotton warp 
 and colored woof of dark wool, which is carried 
 two or three times between each two rows of knots. 
 
[94] 
 
 The and sometimes changes from dark to light at inter- 
 
 Tiffany \als. The whole fabric is more compactly woven 
 
 Studios than other Chinese rugs, and is easily identified, 
 
 Collection, even when colored cotton woof is used instead of 
 
 wool* {No. 37 i7 — 8.10 xA.S] 
 
 CHINESE— K I EN-LUNG PERIOD 
 
 1 HE designs of the Kien-lung period (1736- 
 1796) show the influence of Persiari, Indian, and 
 European styles. 
 
 Though Persian influence has been felt at vari- 
 ous times in the ornament of China, there are two 
 styles that have forced themselves more than any 
 others upon the weavers of rugs. The first of 
 these dates from the beginning of the present 
 dynasty and continued through the entire reign of 
 K'ang-hsi (1662-1723), during which time an al^ 
 tempt at formalism introduced radiating designs 
 and the forcing of foreign motifs into compart- 
 ments. The second style shows the development 
 of scroll and foliate ornamentation during the 
 eighteenth century, under the fostering care of 
 imperial artists. 
 
 The foliate patterns in Chinese art are based on 
 the lotus, fungus, and other floral forms, which 
 supply the motifs used in conventional scroll 
 designs. [No. 3460—6.10 X 3.9] 
 
KIKi\-LLi\G RUG 
 
[95] 
 
 Notable 
 CHINESE RUG Antique 
 
 ■iM»"ii«"ii"""i"""""""""'""'^"'"^"''^'"''"""""~' Oriental 
 
 Rags 
 
 J^ HO WING the second period of Persian influence 
 in Chinese floral scroll design. Exactly this treat- 
 ment is not found in fabrics made in China prior 
 to the reign of Kien-lung (i 735-1796). 
 
 Well-distributed lotus blossoms and buds, with 
 leaf foliations in green upon a background of dark 
 blue, fill the entire field. The borders bear strictly 
 Chinese designs, a dark blue swastika fret on a 
 cream ground in the broad border, and the octagon 
 in green enclosing pink floral form in the inner 
 border. 
 
 [No. 3648— iO. 8x6] 
 
 KIEN-LUNG RUG 
 
 VV ITH the idea of adding importance to the rugs 
 made for the Manchurian sovereign and his repre- 
 sentatives, the high-class mandarins, weavers were 
 lavish in their use of meaningful ornamentation dur- 
 ing the latter part of the eighteenth century. 
 
 Both design and weave of this specimen, with 
 numberless earmarks easily detected by analysis, 
 prove this fabric to belong to the Kien-lung period. 
 
 [No. 3746—8.5 X 4.5] 
 
{96] 
 
 J he 
 
 Tiffany KIEN-LUNG RUG 
 
 Studios 
 Collection 
 
 /tlN extremely well-wovea and typical design of 
 the eighteenth century made in the far western part 
 of the Chinese empire during the reign of Kien- 
 lung (1735-1795). [No. 3748—5.3x3.5] 
 
 CHINESE— SHANTUNG WEAVE 
 
 J_jARGE and small butterflies, chrysanthemums, 
 tea flowers, plum blossoms, and sweet flag, woven 
 in shades of yellow, blue, fawn, and brown, are 
 strewn over the apricot colored field of this rug in 
 the centre of which is a single floral medallion. 
 
 The yellow color in the broad border holds and 
 reflects the light most marvellously, owing to the 
 quality of the wool, which is of superior fineness 
 and finish. 
 
 The medallions found in Chinese textiles, though 
 varying somewhat, partake in the main of the nature 
 of the ' ' reserves " on porcelain. Whatever may be 
 the character of the all-over decoration on jars and 
 vases, in the medallion spaces some definite thought 
 finds expression. While it was more or less easy 
 by pasting paper of different shapes on porcelain 
 

 
 
 
 CHINESE — SHANTUNG WEAVE 
 
 No.36i7] [li.6x5.6 
 
 Illustration shows J length 
 
[97] 
 to reserve spaces during the process of decoration, Notable 
 it was not so easy for weavers to procure like results Antique 
 and, therefore, designs in medallions show random ^f'^^^tal 
 selection and are apt to adhere to certain accepted, '•"^* 
 stereotyped, and elaborate patterns, even when great 
 spontaneity is evinced in other parts of the deco- 
 rative scheme employed. Oftentimes when floral 
 styles are used elsewhere in the design badly drawn 
 mythological and chimerical animals are crowded 
 into the reserved medallion spaces. 
 
 [No. 36^7 — 14.6x5.6] 
 
 CHINESE RUG 
 
 V V HILE the flora of China shows many varieties 
 of bloom, not all flowers and plants have significance. 
 Such as are often used and are scattered over rugs 
 either with strict adherence to tradition and symbolic 
 import, or in purely decorative fashion. 
 
 As emblems of longevity the pine, peach, bamboo, 
 and fungus lead in importance and are often used 
 together. Long life is the first of the five hap- 
 pinesses. The others, in the order of their desir- 
 ability, are wealth, serenity, love of virtue, and 
 peaceful death. Five bats symbolize the happinesses 
 and are used to represent them. 
 
[981 
 
 The Pis emblems of good luck, almond, narcissus, 
 
 Tiffany plum, peach, and bell flower appear either together 
 
 i^maios Qj, singly. With power to keep away demons, 
 
 ec ion igaygg q£ jjjg sweet flag are tied into bundles and 
 
 placed over beds and in various parts of dwellings, 
 
 and with especial significance, branches of certain 
 
 trees are hung outside of doors to keep evil spirits 
 
 from entering. This latter custom prevails not 
 
 only in Asia, but all through southern Europe, even 
 
 at the present time. 
 
 There are eight kinds of magnolia found in 
 Chinese design and various forms of the mowtan 
 or tree-peony. As emblems of the four seasons 
 are found plum (winter), peony (spring), lotus 
 (summer), and chrysanthemum (autumn). 
 
 From certain provinces in China special fruits 
 and flowers are sent to ofiicials at the New Year, and 
 in rugs woven in these places, designs frequently 
 have local significance. Persimmons, mandarin 
 oranges, pomegranates, and various sorts of citron, 
 with hydrangea, narcissus, oleander, jasmine, 
 azalea, camelia, artemisia, cockscomb, and convol- 
 vulus, complete the list of fruits and flowers that 
 have been most often used in designs by the weavers 
 of China. 
 
 We find in the designs in this rug the most 
 absolute evidence of the intent of the weaver to 
 convey the best of good wishes. The flowers of 
 the seasons — plum, peony, lotus, and chrysanthe- 
 
[99] 
 
 mum — alternate with the sacred fungus, bunch of Notable 
 
 sweet flag, and pomegranates, while among the bios- Antique 
 
 soms flit butterflies, the emblems of matrimonial Oriental 
 
 felicity. ' ^«^« 
 
 [No. 2612 — 7.7 xi. 6] 
 
 CHINESE RUG 
 
 Wi 
 
 ITH its apricot colored field strewn with 
 flowers, this specimen of Shantung weave was 
 probably made early in the nineteenth century. 
 
 The use of ten medallions, the decoration, nature 
 of the ornamentation in the corners, and the elabo- 
 ration of the flower forms themselves lead to the 
 conclusion that the weaver was quite familiar with 
 designs that had long been used, and that he chose 
 independently those which combined various fea- 
 tures in one scheme. 
 
 Pomegranates, tea flowers, iris, and several vari- 
 eties of lily, together with the sacred fruit known 
 as "Buddha's hand" (^Citrus sarcodactylas) , are 
 woven in blue, shaded with darker tones, and in 
 various other colors. 
 
 The blossom of the mowtan or tree-peony highly 
 conventionalized appears in the corners of the field, 
 in the broad border, and as balancing forms at the 
 
[loo] 
 The top, bottom, and sides of the ten medallions, which 
 Tiffany break the surface of the rug at regular intervals. 
 Studios [A^o . 2669 — H.ix6] 
 
 Collection 
 
 CHINESE SILK RUG 
 
 L HE location of the weaver of this fabric can 
 readily be placed as midway between Bokhara and 
 China, for in the design are traces of Mongolian, 
 Thibetan, and Turkoman ornament. 
 
 Floral forms are rendered in angular fashion, 
 and "reserves," both in circular and star shapes, 
 are scattered over the field. An attempt has been 
 made in the five discs to give floral interpretation 
 to chimerical dragon forms. 
 
 [No. 36i2— 15.4x6.10] 
 
 CHINESE RUG 
 
 V_^OPPER color and blue of extremely rare tones 
 are combined in this fabric. 
 
 Weave, colors, geometric corner designs, cen- 
 tral medallion, T border, and all the other decoration 
 of the field combine to make this an unusually in- 
 teresting specimen. Butterflies are used in design 
 as emblems of happiness and matrimonial bliss. 
 
 [No. 2613—9.8x6.7] 
 
CHINESE RUG 
 
 No. 2G13] [9.8x6.7 
 
MANCHURIAN MAT 
 
 Ti 
 
 HIS piece is of interest because of the appearance 
 in the border of Buddhist emblems tied with fillets. 
 The use of the fillet is frequent in Chinese art. It 
 surrounds all sorts of sacred objects with a meaning 
 not unlike that ascribed to the halo in Christian 
 art. It is used in China not only in connection 
 with gods, goddesses, and saints, but to denote the 
 emanation from any object of its sacred and bene- 
 ficial properties. The power to shed abroad radi- 
 ance, healing, intelligence, or attributes of any kind 
 is typified by the fillet. 
 
 The "knot of destiny" alone of the four emblems 
 found in the border is sufficiently well known to 
 be easily distinguished. The fretwork in the de- 
 sign is made up of chimerical animal forms which 
 antedate the more strictly geometric corners used 
 by later weavers. 
 
 [No.3654—2Ax2.3] 
 
 (See No. 26i3.) 
 
 Notable 
 Antique 
 Oriental 
 Rugs 
 
 CHINESE MAT 
 
 A SEVENTEENTH CENTURY design has been 
 copied in this fabric of later date. The evolution 
 
[loa] 
 The from the archaic dragon to the geometric form 
 Tiffany based upon it is clearly demonstrated in the cor- 
 otudios ngj-s and central medallion. 
 Collection jj^g brownish red, which has faded to a fawn in 
 
 the border, marks an earlier period than that in 
 which the same general color was used by Shan- 
 tung weavers. 
 
 In rug No. 2669 the later apricot shades are 
 shown in higher tones. 
 
 [iVo. 3655— 2.4x2.3] 
 
 CHINESE RUG 
 
 JL HERE are both Samarcand and Tartar features 
 in this product of northwestern China, and many 
 desirable and unusual characteristics which give 
 charm and distinction to the fabric. 
 
 [No. 3745 — 8.5 X 4.1] 
 
 CHINESE RUG 
 
 u 
 
 PON a field of soft red the " Sacred Mountain" 
 rises at both the top and bottom of the field. 
 Flower, fruit, and leaf forms in shades of blue, 
 yellow, brown, green, and cream are freely used. 
 
 The " Sacred Mountain" in Chinese design has 
 
CHINESE RUG 
 
 No. 37U] [0.7x5.10 
 
been popularly considered and universally adopted Notable 
 by those who embroidered its outlines upon their Antique 
 garments, and who called one of their divinities Oriental 
 "The Great Mountain.'.' In the old days this ^"S'* 
 "Great Mountain" was considered the God of the 
 Tartars. The mountain in Mongolian ornament is 
 often pictured as having five peaks, sometimes only 
 three. As an emblem in the hand of the " Pearly 
 Emperor" and the Taoist priests, it is represented 
 as a single peak, as is also the case when the 
 emblem is held by Confucius. 
 
 However significant thi.s emblem, together with 
 the sceptre and fungus, may be to the student of 
 symbolism, they have become in ornament known 
 and verified features. 
 
 [No.37U — 9.7x5A0] 
 
 CHINESE MAT 
 
 k^TILL another variant of the grains-of-rice design, 
 in which the flecks are formed by the ' intersection 
 of circles. This is called in Chinese ornament the 
 "coin design." The color scheme is most harmo- 
 nious, the circles of cream color blending with the 
 soft shades of apricot pink, in which the field is 
 laid. [No. 3651 — 2.6x 2.5] 
 
 [No. 3652 — 2.6x2.5] 
 
[io4] 
 
 The --------------------- 
 
 Tiffany CHINESE MATS 
 
 Studios 
 Collection 
 
 /TLN interesting pair of nineteenth century mats 
 woven with materials of fine quaHty in mandarin 
 designs. 
 
 Upon a field of tan color, in jars, vases, and odd 
 shaped receptacles woven in shades of red, blue, 
 yellow, and green, are grouped the various sorts of 
 dwarfed flowers and plants forced as gifts for the 
 New Year. 
 
 Potters, wicker and 'bronze workers, and de- 
 signers for all the applied arts have always vied with 
 each other for supremacy in the production of articles 
 suitable for the use of their royal patrons for ex- 
 change gifts at the Chinese New Year season. 
 
 [No. 36^9—4.5x2.6] 
 [No. 3650—4.5x2.6] 
 
 CHINESE MAT 
 
 L HE ground of imperial yellow is broken by a 
 central floral medallion, about which flowers and 
 fruits of good omen, in shades of apricot, blue, and 
 green, are scattered on the field. 
 
 The geometric pattern marking off the corner 
 spaces is made significant by the presence of the 
 
[io5] 
 
 swastika, formed in the old Chinese manner by the Notable 
 
 disposition of four T designs. Antique 
 
 This Chinese handling of the Buddhist emblem Oriental 
 
 gives the appearance of a swastika in blue upon an ^^S'* 
 apricot colored background. [No. 3660 — 3.9 a; 2] 
 
 CHINESE MAT 
 
 Ix. VARIANT of the grains-of-rice design in brown 
 fleck and red diamond forms covers with minute 
 pattern a tawny yellow field. 
 
 Blue and yellow flowers and leaves conventionally 
 drawn on a brownish background form a central 
 medallion. [No. 3658—2.3 x 2.3] 
 
 CHINESE MAT 
 
 JL/ELIGATE foliations in light blue and white are 
 traced on a background of a superb shade of dark 
 blue, giving style and distinction, to this product of 
 the looms of Peking. [No. 3661 —2.5 x 2.4] 
 
 CHINESE MAT 
 
 /jlNOTHER variant in shades of tan and yellow 
 of the grains-of-rice design, in which the back- 
 
Collection 
 
 yo6] 
 
 The gfound is marked off indistinctly into squares, with 
 Tiffany diamond forms at the intersection of the lines. 
 btadios jjj tjjg broad border the swastika fret is laid in 
 cream on a tan background, and dots of lighter 
 shade fill the narrow yellow stripes. 
 
 [No. 3657— 2.6x2.4] 
 
 CHINESE SILK RUG 
 
 1 lATIVE materials and methods have here been 
 used in an attempt to copy designs that originated 
 far to the west of the Chinese empire. 
 
 The effort to establish artists at the imperial 
 court, who should direct native talent, made several 
 distinct epochs in the evolution of ornamental design 
 in China. 
 
 The characteristics of Chinese styles, both native 
 and foreign, are clearly defined, and specimens like 
 this which illustrate the transition from one to the 
 other are becoming increasingly rare and valuable. 
 
 [No. 3643—7.6 X 4.7] 
 
 CHINESE TURKESTAN 
 
 Mongolian interpretation of Thibetan Bud- 
 dhist ornament is manifested in various ways in this 
 weaving of the Kien-lung period. 
 
[io7] 
 Comparison with Nos. 3656 and 3638 will show Notable 
 interesting similarities and differences in the fabrics. Antique 
 
 [No. 37^ — 10.8x6] Oriental 
 
 Rugs 
 
 ■<WI«»WMI»«IW»MI«MMIMI«IWMMMM»iW»» l ll l lll l II I I m M—MM— —■■»—« 
 
 CHINESE TURKESTAN 
 
 JjUDDHIST symbolic ornament finds expression 
 in this fabric. The lotus surrounded by four dorjes 
 often appears in Thibetan design. Lotus buds 
 extend from the central rosette in such a way as 
 to form a conventional design that has been copied 
 by weavers as far west as Ispahan. 
 
 The design of profile flower and leaf in the 
 inner border shows East Indian influence, while the 
 outer border is Chinese. [No. 3656 — 2.9 x 2.7] 
 
 SILK RUG OF CHINESE TURKESTAN 
 
 \JF unusual quality and preservation, this master- 
 piece of the looms of Turkestan rivals any other 
 fabric that claims like distinction. The colors are 
 subdued in tone, producing a very rich and harmo- 
 nious effect. The design shows traces of Thibetan 
 Buddhist ornamentation, minted with Samarcand 
 interpretation of Persian styles. 
 
 [No. 3639— 1^x5.6] 
 
___________ [^•'^^ 
 
 The ----------- 
 
 T\lf<^riy CHINESE TURKESTAN RUG 
 
 ■Studios 
 Collection 
 
 L HERE is a mingling of floral and geometric 
 forms in the rugs of Chinese Turkestan and 
 Thibet that is not an unnatural result of the loca- 
 tion of the district, lying as it does between eastern 
 and middle Asia. 
 
 In the distribution of border stripes there is a 
 marked tendency to adopt the styles of Persia, 
 while medallion forms are borrowed from China 
 and methods of weaving from the north. 
 
 The Buddhism of Thibet gives strong local color- 
 ing and distinguishing features, even to borrowed 
 designs. [No. 3638—12.2 x 6.2] 
 
 SAMARCAND RUG 
 
 l\. TYPICAL Samarcand rug in every way — weave, 
 use of ornament, etc. The field is of cream color 
 in which tree designs, vases of pomegranate twigs, 
 and flat orchid forms, of mulberry shades and yel- 
 low, are scattered. 
 
 The corners are drawn with mechanical pre- 
 cision in the same colors outlined with black. Of 
 the four border sti1|)es, the widest is more exclu- 
 sively Samarcand than any of the others. 
 
 [No. 3118—6.10x^.7] 
 
CHINESE TURKESTAN RUG 
 
 No. 3638] [12.2x6.2 
 
 Illuslraiion shows % length 
 
[log] 
 SAMARCAND RUG AntiqL 
 
 •Oriental 
 Rugs 
 
 OMALL rug in shades of mulberry color and yel- 
 low, in which unrelated floral motifs are scattered 
 in the field. The medallion in the centre of the 
 rug is of somewhat unusual nature. 
 
 [No.3750—i.8x2.6] 
 
 MONGOLIAN RUG — SAMARCAND 
 WEA YE 
 
 1 HE designs in this rug are strictly Mongolian, 
 and as such testify to the fact that wherever the 
 fabric was woven the weaver was neither Moham- 
 medan nor Buddhist, but one who was familiar 
 with the ancient symbols of the Taoist faith. 
 
 The Tao saints have always been the advisers of 
 the Mongol rulers, and history relates that Genghis 
 Khan, in the twelfth century, seeking help in the 
 government of his vast empire, sent for an aged 
 philosopher. Records of this visit are still extant. 
 Genghis Khan wrote : "As my calling is high, my 
 obligations are heavy. . . . Do not be afraid of the 
 sandy desert .... Pity the people and pity me, and 
 teach me the way of preserving life." To which 
 the aged saint answered : " I confess that in worldly 
 
[no] 
 The matters I am dull and know not yet Tao, though 
 Tiffany \ have sought in all ways. The doctrine of Tao 
 iitudios teaches us to restrain the passions, a difficult task." 
 LiOllection Taoism is one of the three great religions of China . 
 Taoists are superstitious to a degree ; they are al- 
 chemists, study the stars and the forces of nature, 
 dii:ect their lives and build their houses in strict ac- 
 cordance with the rules that have governed their an- 
 cestors . This adherence to superstition has produced 
 through the years a repetition of ornament which 
 shows lack of imagination, and which crowds sur- 
 faces with objects not decorative in themselves, which 
 serve as symbols of thought and as such are de- 
 lighted in by the Chinese. 
 
 Out of primitive divinations an elaborate system 
 of sorcery for the selection of lucky times, good 
 locations, etc., has been developed. Subtle breaths 
 are supposed to proceed from the south and the 
 north, bringing good and bad influences respectively, 
 and the aim is to block the one and open the way 
 for the other. 
 
 Geomantic mounds are raised for protection, and 
 paths are wound about to keep off evil, or to corre- 
 spond with the shapes traced by constellations in 
 the sky. 
 
 These occult reasonings are all pictured in the 
 symbolic art of the Mongolians. The design in the 
 three medallions in this rug is known as the Tae- 
 Kieh, or Yang and Yin, and refers to the dual prin- 
 

 MOKGOLIAN RUG — SAMARCAPvD WEAVE 
 
 No. 3GU] [9.6x^4.10 
 
 Xllusiraiion shows i length 
 
ciple in nature : light and darkness ; good and evil ; Notable 
 
 heat and cold ; mind and matter ; masculinity and Antique 
 
 femininity; heaven and earth. Oriental 
 
 [No. 36U — 9.6 X 4.10] ^«^« 
 
 SILK RUG OF 
 THE SEVENTEENTH CENTURY 
 
 /VLTHOUGH it is impossible to say with absolute 
 certainty the place of weaving, the Chinese leaf of 
 good omen has been used in the design which 
 covers the field of this old rug in formal fashion, 
 showing a Persian arrangement of a Chinese motif. 
 
 In both eastern and western Turkestan, in Yar- 
 kand, Kashgar, Khotan, Samarcand, and Bokhara, 
 as well as in eastern Persia, weavers all through 
 the centuries have handled foreign ornament with 
 more or less ingenuity, stamping their own in- 
 dividuality upon their adaptations of borrowed 
 designs. 
 
 Use has been made of a Samarcand leaf and 
 flower design in the main border, while old Kurdish 
 vine patterns are traced on a blue ground in the 
 narrow stripes. 
 
[II.] 
 
 The — 
 
 Tiffany SILK RUG OF CHINESE TURKESTAN 
 studios "TRIBUTE RUG" 
 
 Collection 
 
 MltiK4n>MliiWa%MtMiM^^MM»UM^lS>^ 
 
 iVlATERIALS, weave, design, and other features 
 about this beautiful specimen lead to the belief that 
 it was given as tribute to some royal patron of the 
 arts. 
 
 To China as elder brother many tributary states, 
 countries, and provinces have looked for many 
 centuries. The best that art and industry have 
 produced has been sent as tribute to emperors and 
 their representatives, the high-class mandarins. In 
 "tribute rugs" are found tribal designs of great 
 beauty and significance, as well as meaningless but 
 decorative patterns, showing various influences 
 from nearby localities. 
 
 [No. 3640— 13.8x7]