>I1IIIIYALE UNIVERS ITYIIIIIK >SCHOOL OF TOE PINE AKTS < Oriental Rugs in the Home c^Nahi^ian Brothers LxcJusive Orientd/Kif^ Importers TlI South Wabash Avenue • Chicago Edition One Copyright, 1913, By Nahigian Brothers PREFACE AN ever increasing number of people are feeling the lure of the Oriental Rug, and are learning to appreciate the artistic qualities, decorative value and extreme durability of these Eastern fabrics. While the ordinary carpet of commerce is just a carpet, and nothing more, the Oriental Rug is a thing apart, and worthy of the interest and attention that one may give to its selection. But its very individuality, and the many patterns, designs, kinds and sizes in which it may be obtained, suggest the value of a little special information. Both the intending purchaser and the rug lover find it well worth while to have such a monograph as this in the library as a source of information and as an abridged refer ence work. It treats the topic from the popular viewpoint and seeks to present the interesting features and significations as well as a technical description. If this book shall give the reader a little greater knowl edge of a very interesting subject, shall partly lift the veil of enchantment that hangs over the mystic symbolism of their designs, or shall aid in the satisfactory selection of a rug, it shall have fulfilled its mission. Nahigian Brothers, Chicago. TABLE OF CONTENTS Chapters The Oriental Rug in the Home Stories the Patterns Tell Rug Weaving Types and Characteristics Persian and Kurdish Turcoman Caucasian - Turkish or Anatolian Chinese, Thibet, India The Care of Rugs Selecting Rugs for the Home AfghanAk Hissar BackshaishBakuBeloochistanBergamoBeshireBoukhara BulukCabistanCaeserean CarajaChichiChineseDaghestan DerbendFeraghan GenghisGhiordesGorevanHamadanHeratHerezIndia Ispahan Joshaghan Karabagh KaradaghKashanKayinKazakKerman Kharpoot Rug Varieties Page 59 Khorassan 70 Kirmanshah 43 Kir Shahr 64 KisKiHm 59 Konieh 66 Kulah 60 Kurdistan 59 Ladik 43 Lavere 62 Khiva 70 Mahal 64 Malagran 64 Melez 72 Meshed 62 Mousoul 64 Mushkabad 49 Oushak 56 Samarkand 66 Sarouk 43 Savalan 47 Senna 54 Serapi 41 Sereband 74 Shiraz 48 Shirvan - 49 Souj-Boulak 64 Soumach 64 Sultanabad 47 Tabriz 52 Thibet 62 Yamoud 44 Yuruk 68 age 9 15 29 41 415962667276 81 Page 52 44 70 707066 56 66 5459 436070 5256 43 70 60 4843494354 52 62 56 6443 44 7460 - 56 TABLE OF CONTENTS— Confmued Bergamo, Antique Daghestan Prayer Rug, Antique Ghiordes Prayer Rug, Antique Khorassan, Antique Color Plates Page Page 65 Kulah Hearth Rug, Antique - 81 25 Ladik Prayer Rug, Antique 49 33 Royal Ispahan Silk Prayer Rug, Am. 2 57 Shiraz, Antique - 41 Illustrations A Night Call in Terehan A Nomad Studio Armenian Women Spinning - At the Watering Place Beating Wool Before Weaving Beloochistan, Antique Caucasian Nomads - Chinese, Antique CabistanChichi, Antique Feraghan, Antique Gala Day in Persia Hamadan Kazak, Antique Kharpoot Prayer Rug Knots, Senna and Ghiordes - Kurdish Girls Weaving Map Oriental Rugs Lend Richness Oriental Draperies - Persian Gateway Persian Girls Spinning Persian School in Session Princess Boukhara, Antique Rhodian Kulah Prayer Rug, Antique Royal Boukhara Royal Kashan Royal Kirmanshah Royal Sarouk Rug Symbols Samarkand, Antique Senna (Palm Leaf) Senna KisKilim Sereband, Antique . . - Shah of Persia Shirvan KisKilim Smallest Rug in the World (Kharpoot) SoumachSoumach Saddle Bags Spindle & Distaff TabrizTeaching Future Rug Weavers Tents of Turcoman Nomads 2737 33 31 30587875 63 6535S5 4677 69 3836 80 1310 8 3220 57 17 73 19 42 51 26 61 5371 213923 6867 18 32 45 2440 7 A Persian Gateway The East is the home of Patience. You see it expressed in the exquisite carvings of Persia and in the rugs of Asia Minor, whose myriad knots, deftly placed in marveUous precision, amaze you with their infinite number. With endless perseverance, year after year, often through a lifetime, the artisan of the East will labor patiently at his task that it may be perfect. Inspiration will not alone pro duce such artistic creations; only boundless patience, steadily applied, will accomplish them. THE ORIENTAL RUG IN THE HOME CHAPTER I "Stint yourself as you think good in other things; but don't scruple freedom in brightening the home. Gay furniture and cheerful decorations are a sight day by day and make life blither." — Charles Buxton. THE ORIENTAL RUG has ever been a source of luxurious home adornment. The Egyptian and the Babylonian knew well the soft enrichment of the Assyrian Wea vings; the Greek and the Roman softened the austerity of marble palaces with sumptuous carpetings, and Tamarlane turned rude tent to palatial residence with their aid. Pliny speaks of the Assyrian's skill in color blending and weaving; the Bible refers many times to the rug and its uses and Homer and Herodotus tell us of the weavings of the East and their marvellous workmanship. While first made for religious purposes and the uses of royalty, their extreme utility led to their gradual adoption to the varied uses of the common householder. They became the carpet, the wall decoration, the door curtain and the bed covering. The pattern took the place of pictures or decorations and held before the possessors a constant reminder of their hopes, beliefs and prayers. In time, each kind of rug assumed a ceremonial or every day use, and so now, in the land where produced, each is used for some one pur pose, and only that. Of all the rugs possessed by a native, probably the Prayer Rug, or Namazlik, is the most important, if he be a Mohammedan. Five times daily, upon hearing the Muezzin's call from a nearby minaret, the faithful follower of Mohammed makes his ablutions by cleansing his hands, mouth, face, ears and feet, and combing his beard. Then placing his prayer rug on the floor or ground, with the point of the niche directed toward Mecca, the Holy City, he makes his prayers thereon, standing, kneeling, bowing down, and saJaaming his head upon the point of the niche. Being an object of such constant and personal use, and associated with his daily religious life, the weaver expends upon it the best of his knowledge and eff"orts. Religion has ever inspired master creations in all branches of Art, whether in Literature, Music, Painting or in Archi tecture. And so in weaving, the most ancient branch of Art, the choicest specimens are found in prayer rugs. This is the reason, no less than the high regard in which the makers hold it, why a prayer rug is so eagerly sought by Western peoples. Prayer rugs may easily be recognized by the characteristic niche, or inverted V design, woven at one end of the 9 field of the rug. This represents the Mihrab or the niche in the Sacred Mosque at Mecca, wherein is deposited the Koran. Frequently the Mussulman will possess a piece of clay from the city of Mecca which is rolled with the rug and placed in the niche at prayer time, or a black replica thereof is woven in the field under the apex of the niche in memory of the stone given to Abraham by the Angel Gabriel. This is the stone over which was constructed an ancient Hebrew Temple, long since rebuilt by the Moslems. Legend has it that this stone was The Sumptuousness of Oriental Draperies. 10 originally white, but has been turned black by contact with sinful men' of all nationalties. Hangings and draperies, or Perdelik, are used in Asia and Asia Minor much as they are used here. They are invariably lighter and finer than floor rugs, frequently of silk, and usually without naps. The various Kilims are good examples of Perdelik. Bath rugs, or Hammamlik, are usually square and are used, not in the bath room, as one would naturally suppose, but on the rude divans in the outer reception room of the public bath houses. Upon these the bathers disrobe and then go to the baths proper. The lustre of many antique Hammamlik is due to the thorough cleaning that the rugs are given with soap and water after each trip to the bath. Floor rugs in sizes of four to five feet wide and six to eight feet long are called Sedjadeh. This is a name given to them on account of their size rather than their use. Nearly all makes of rugs, with a few exceptions, come in Sedjadeh sizes. The smaller sizes than Sadjadeh, in all weaves, are frequently used among Western peoples as coverings for tables and piano benches, for they are both soft enough to protect the wood and ornate enough to be a distinctive and decorative feature of the room and they lend an air of elegance that is very pleasing. Runners, or Kenarii, are made for the purpose of covering the low divans which are practically the only form of furniture in our houses in Asia Minor. Very often they are found in pairs, to cover the divans at both sides of the room. In this country they make excellent hall or stair rugs. A pair of these runners may be used very readily in bedrooms, with one on each side, and a smaller rug at the foot of the bed. The Hearth Rug, or Odjeklik, is one of elaborate design and impres sive coloring, with usually a pointed field at both ends instead of at one end, as with the prayer rug. It is always in evidence upon the arrival of a guest and is the center of home life as well as a sanctuary. Regard less of the warlike attitude of the nomads, a stranger who once gains admission to the chief's hut or tent and places foot upon the hearth rug gains the protection of the chief, who, with the whole tribe, is bound to protect him as a guest. Saddle bags, or Hebigehlik, are a pair of woven bags, so arranged that they can be thrown over the saddle, one at each side. As most of the travelling in the interior is done on horseback, these saddlebags are a convenient way of carrying small merchandise. They may be made into very artistic cushion covers with practically no trouble other than stitch ing together at one end, or when thrown over a stand they make excellent magazine, music or book holders. The tops of these bags may also be used as covers for tables and piano benches. 1 1 Grave rugs, which we call Turbehlik, are woven by all members of the family that all may express their grief for the departed member througl} the medium of knot, pattern and coloring. Cypress, willow and myrtle trees in the design indicate the thought of perpetual life, and the jug, which is also frequently used in this connection, has its own signifi cance as explained in another chapter. The symbolism of these rugs and the human emotions portrayed in their patternings and colors are among their principal charms. No car pet of the Western nations possesses the life and beauty of these delicate weavings of the East. The one may be gay colored to the point of gar- ishness, woven with an accuracy and precision that only whirring metal fingers can produce, the other, softer toned, may be lacking the evenness of weave that marks the former, and possibly even irregular in design. Yet the first, machine produced, seems "made to sell," while the second, breathing the very personality of the weaver and the spirit of an age long gone, asserts its individuality almost as a thing alive, and lends distinctiveness to any apartment in which used. John K. Mumford, in his excellent volume called "Oriental Rugs," has so aptly phrased the impregnable position of the Oriental carpet in this regard: "Year after year, through the intervening centuries, spinners have spun and dyers have mixed their dyes, and weavers have labored patient at the loom in many lands. The Iron Age has contrived machinery to do the work of myriad fingers, and designers, the best that the schools of two continents could furnish, have fed gorgeous patterns to the flying wheels, in hope to conquer the judgment and favor of the world. And still the dusky weavers of Daghestan, Kirman, Sehna, Kurdistan and Tabriz are knotting before their rude frames the most splendid fabrics on the globe, and the Occident, coin in hand, waits upon their weaving." Oriental weavings give an air of refinement to the home that is extremely desirable. No matter what style the furniture or decorations may be, a rug is always appropriate and in good taste. Different patterns may be selected to match the decorative design of any particular apart ment. The Oriental rug is really a work of art and at the same time an economical, lasting article of household furnishing, so one may indulge the artistic taste of a connoisseur in its selection, or consult the limitations of the purse. The moment one steps over the threshold of a home and observes the presence of harmonious. Oriental carpetings and feels their luxurious soft ness under foot, good taste and a homelike air are apparent. In smooth ing and softening the formal appointments and making "home" out of a "residence" these mellow little weavings are important. 12 Oriental Rugs Lend Richness to the Furniture. They form, too, a never ending source of pride and interest to the possessor; pride in the ownership of such an enduring product of another's supreme skill in a difficult art, and interest in the study of the symbols, the patterning, and the craftsmanship thereof. One may sit at the fireside and consider the labor skill, and hardships endured in the making of the mysteriously patterned rug that lies before it. Where did it come from, what far tribes sent it forth, what strange things has it seen in its travels into the West? Was it the most valued possession of some swarthy fanatic; the confidante of his daily supplication to Allah? Did it grace the tent of some desert conqueror, soft drapery to enrich the crude bleakness of his 13 tent? Was it the Hearth Rug of some dusky bandit, safe haven for wandering travellers? What furtive guest found sanctuary by placing foot upon it, thus turning fierce pursuit to smiling hospitality? What soft eyed weaver of dreams spun his fancy in warp, weft and knot, picturing rich forms and symbolic meanings with deft and inter pretive fingers? Whose religious fervor inspired its infinitely patient growth from woolen yarn to this chromatic prayer to Allah? In its coloring you see the verdant greens of the fields in Southern Persia, the deep, fluffy whites of the mountain snows, the marvellous blues such as only dwellers in the open see in the twilight skies, all the gamut of flaming reds, from the brightest to the last dull rays of the setting sun. What do all these harmonious colors and strange designs tell to the one who learns their mystic secrets? STORIES THE PATTERNS TELL CHAPTER 2 "The history of man is written in many ways. The scholar searches crumbling monuments and musty scrolls; the artist finds the history he deems essential in the forms of things beautiful. For the record of the slowly awakening soul, the inner self that sees and strives to create, that struggles to leave behind some message of its nobler aspirations, we must turn to the creations of art." — W. S. Hill. THE pattern of every Oriental rug conceals an Arabian Night's tale. Each is a history, a story of bygone events and mysterious happen ings. The study of rug designs holds all the enchantment of exploring among Egyptian tombs or Aztec ruined cities. It is a fascinating subject, unfortunately very little understood. No Rosetta Stone has yielded modern civilization the key to an understanding of pattern symbolism. Even the dusky producers, fabri cating gorgeous designs before their simple dwellings, have utterly lost, through the lapse of centuries, the meaning of the mystic figures that instinct bids them use. Who can say how ancient the figures and shapes, by whom originattu, or their exact meaning? Certain it is that some forms are so ancient that they have been used and then finally forgotten by European civili zation over a thousand or two thousand years past. Thus the Swastika (Sfi') occasionally found in an Oriental rug is known to have been used by the Egyptians 4000 years ago, and is frequently found on Maya and I nca temples, which some archaeologists would tell us were ruins when the mighty Egyptian Empire was yet unknown. In fact, no man has yet traced, convincingly, the archaeological connection between the Maya Serpent and Swastika designs and the ancient Egyptian, Malay and Chinese forms of the same things. That the Western Hemisphere may have cradled mankind, and that the Maya civilization may have been the first, spreading later across the Pacific and into Asia, is seriously considered by many scientists. While it is true that in minor details the weavers incorporate their understandings of the flowers, the crimson sunset, the bright blue sky and other surroundings of their narrow lives, the main patterns are known to be quite similar to carpets of centuries ago. Major designs have changed little. Thus many modern Oriental carpets are similar to not only those of early Persia and Assyria, but the earliest fabrics produced in Egypt. This is conclusively proved by reproductions of fabrics con tained in old Egyptian wall decorations. 15 The Assyrian Sacred Tree motif is encountered with great frequency, for it is the symbol, as might be termed, of hope itself. The tree indi cates life everlasting, and thus it is just as much the token of idolatrous early ages as of modern Mohammedanism. The hope of another life is one of the basic elements of human nature, whether expressed as reincar nation or the present Christian and Islamic beliefs. The Tree of Life is usually represented by a Cypress, because that variety best suggests unending life; Cypress wood is almost indestructible and is seemingly little affected by the corrupting influences of time. Cemeteries throughout the East usually contain Cypress trees, and long before Mohamet's time, sprigs of this evergreen wood were buried and planted with the dead. Other trees, including the willow, are sometimes used to indicate life immortal, and occasionally half a tree is shown on each side of the rug next to the border. The tree also represents Knowl edge and Truth. When a tree pattern is encountered with a comparatively short stem and seven branches, it is a strong indication that the rug was woven in Samarkand or the Eastern portion of Asia Minor. This tree with the seven branches represents, in Chinese mythology, the seven days of creation. The Kulah rug reproduced on the next page is a typical representa tion of the Tree of Life pattern. This rug is over 200 years old and is a rare example of its kind. Its pattern tells a story that is of absorbing interest to all lovers of Oriental rugs. Incidentally it casts light on the beauties of religious beliefs which the people in America are apt quickly to condemn as idolatrous, cruel or heathenish without considering the fact that the golden rule is as much the basis of the Eastern religions as of our Christian belief. This Kulah was used as a prayer rug. The design represents a cemetery. The Tree of Life is in the center of each panel, and each reproduction is construed as a separate prayer for life everlasting, and a prayerful wish that the owner of the rug may be transported to Heaven. Near the tree is a pitcher or jug of water, with which is connected the pretty belief that after the spirit has left the body the owner may use the water contained therein to wash his eyes, thereby absolving himself for the evil that he has seen on earth, wash his ears against the evil he has heard, and his mouth against the evil that he has spoken, and thus purify himself so that he may enter Heaven and enjoy life everlasting. It may be readily understood that such a rug was prized by its owner next to life and family; under no circumstances would he part with it. Only through the poverty of succeeding generations has such a gem become obtainable by the outside world. One can imagine the 16 Antique Rhodian Kulah Prayer Rug. The Tree of Life and Jug of Water designs are explained on the previous page. A very rare rug over 200 years old. The ancient inscriptions cannot be translated. Owned by Mr. Hans Mueller. 17 affectionate care of its making, the pjayers intertwined with its myriad knots, and the zealous regard for its careful preservation. In the make-up of every Mohammedan is a strong religious element. Five times daily the Muezzin climbs his minaret and uttering the melodious Call to Prayer, reminds all true followers of their necessary devo tions. The Mussulman, regardless of where he may be, performsshis simple ablutions, spreads his prayer rug facing Mecca, and sinks to his knees in supplication. The Koran and the teachings of his religion are constantly in his ears and on his tongue. Is it any wonder that, as he sits before his loom, creating an original masterpiece knot by knot and weft by weft, he should interwine therewith an imperishable record of his dogma? The Mollah's cry is still ringing in his ears as his nimble fingers knot the sentence "Allah il Allah, Mohamet rasul Allah." This is at once his Soumach Saddle Bags. Used as magazine or music holders. l8 Royal Kashan. Tree of Life pattern, with hunting scenes in border. 19 Call to Prayer and the rallying cry of his religion. Thus it is that so many thousands of rugs emanating from Mohammedan countries have this boastful profession of the weaver's faith, "There is no God but God, and Mohamet is his Prophet." Some few Oriental rugs contain a marvellous amount of inscriptive weaving; particularly the antique prayer rugs of the Shah Abbas period. The following is a translation of the inscriptions so profusely woven in the Royal Ispahan Silk Prayer Rug reproduced in colors as a frontispiece to this book. This was undoubtedly the work of a learned and devout Mohammedan : "God, the Greatest of the Great. "The Apostle believeth in that which hath been sent down unto him by his Lord, and the faithful also. Every one of them believeth in God and His Angels, in His scriptures, and His Apostles; we make no dis tinction at all between His Apostles. And they say, we have heard, and they do obey; we implore Thy mercy, O Lord, for unto Thee must we return. God will not force any soul beyond its capacity; it must have the good which it gaineth and it shall suffer the evil which it gaineth. O Lord, punish us not, if we forget, or act sinfully; O Lord, lay not on us a burden like that thou hast laid on those who have been before us; neither make us, O Lord, to bear what we have no strength to bear, but be favorable unto us, and be merciful unto us. Thou art our Patron, help us therefore against the unbehevers. Persian School in Session. Each Child Recites Aloud Continuously. 20 Antique Sereband. Typical "pear" or "river loop'' pattern. 21 "God, there is no God but He; the Living, the Self-Subsisting; neither slumber nor sleep seizeth Him, to Him belongeth whatever is in Heaven and on Earth. Who is he that can intercede with Him, but through His good pleasure? He knoweth that which is past, and that which is to come unto them, and they shall not comprehend anything of his knowl edge, but so far as He pleaseth. His throne is extended over Heaven and Earth, and the preservation of both is no burden unto Him. He is the High and Mighty. "And when the KORAN is read, attend thereto, and keep silence, that ye may obtain mercy. And meditate on thy Lord in thine mind, with humility and fear, and without speaking, evening and morning; and be not one of the negligent. Moreover the Angels who are with thy Lord, do not proudly disdain His service, but they celebrate His praise and worship Him. "He is God, beside whom there is no God; the Most Merciful, the King, the Giver of Peace, the Faithful, the Guardian, the Powerful, the Strong, the Most High, He is God the Creator, the Maker, the Former, the Forgiver, the Subduer, the Generous, the Supplier, the Seeker, the Omniscient, the Receiver, the Preserver, the Cheerer, the Alterer, the Lifter, the Bestower, the Hearer, the Observer, the Wisdom, the Justice, the Kind, the Zealous, the Noble, the Philosopher, the Exalted, the Pardoner, the Grateful, the Great, the Sublime, the Succorer, the Knowl edge, the Omnipotent, the Sovereign Sublime, the Bountiful, the Watch ful, the Granter, the Comprehensive, the Wish, the Graceful, the Sender, the Witness. "The Leader, the Guide, the Extraordinary, the Immortal, the Inheri tor, the Defender, the Irrigator, the Dauntless, the Rich, the Enricher, the Depriver, the Gatherer, the Agreeable, the Lord King, the Conqueror, the Merciful, the Beneficent, the Blessed, the Forgiving, the Supreme, the Pure, the Promoter, the Delayer, the Master, the Able, the Almighty, the First and Last, the Unique, the Eternal, the Single, the Glorious, the Self-Existing, the Praiseworthy, the Living, the Glorified, the Giver of Life and Death, the Invisible, the Mighty, the Superior, the Beloved, the Commendable." The reign of Shah Abbas in the seventeenth century marked the Golden Age of Persian art. That enlightened monarch was the most consistent patron of the Arts that Persia has had in recent historical times, and one of the best known designs is named for him. The Shah Abbas patterns on splendid old rugs in the collections of European museums are rare examples of the most flowery type of Persian weaving, and modern replicas of those old designs retain much of the charm possessed 22 Shirvan Kiskilim. Brilliantly colored in blues, greens, wine and whites. 23 by the originals. This floral design consists largely of red, yellow and blue flowers with connecting stems on a background of blue. The Mina Khani design, named after one of the rulers of Western Persia, is quite similar to the Shah Abbas. It is largely a combination of red, yellow and blue floral designs joined by vines, usually green, and alternated with geometrically shaped rosettes. This is distinctively a Kurdish design, but is frequently met with in Persian carpets. Possibly the most easily recognized figure that is used in Oriental weavings is the one concerning which there is the greatest divergence of opinion, the "pear" or "river loop" design. The jewel in the ancient Persian crown is pear shaped, and many think of this pattern as a replica of that ornament, while others construe it as a symbol of ancient Persian faiths, long before the era of Mohammed. A more elongated and graceful shape is found on the earliest of Cashmere shawls, with which is connected the legend that it represents the view that met the eyes of Mohammedan pilgrims as they stood on the hills surrounding the beautiful vale of Cashmere and saw the river wind ing through the valley. Other legends have it that the sacred Ganges or Indus river is represented. Among the Turks it is called the "El-Ayassi" pattern, meaning "palm ofthe hand," because it was their ancient custom to seal documents by dipping the side of the closed hand in blood and pressing it upon the paper. Such an impression bears a close resemblance to this pattern. ^ Teaching Future Rug Weavers in Persia. The Men Call Instructions About the Number of Knots and Colors. 24 ANTIQUp,DA(||iEStA|l'PKAYER KUG i vV In. all thfi ru|^ thiit we have farlpttrted from, tjie;; (^ province^ ,¦- WQido not , recollect- having se«n c^e. with a finer texture than this Dag- ; hestan. It i^ as mskay.knQt^::pyii^M: inch tis ;the finest Kashan rugs, which, ji's#' v«?i|-understood,'S^'the'firfest prodticts cf it,h^ Persian ¦ I, looitlS. : > ' ;-, • ; *.--" ¦ i'l/''.'.' ' '* ' ' /^' , Th^ -"barber pole" stripes in i^C bolder, ''•fh&reciprdcal VaA Dyke , i s^^ighi, and the "wiae glass" figure in the WH#st border ,fefe all c^aractisr- ||,;jstic designs found in lpa.ii(;§,sian rugs. fEyeii^the niche is similar tq other Daghestan pr^^ylf r^glSi'; But we se6''at dhs'}ike the 'Sere|>^d, vvtere tfeslsor i verjt; stniilar des^ '^lIsi iraed, the ftgUreg. are almost all, exactly apke, w|«rea|i ,he?e they diffea- ; .considerably and no' tvyo are aiiHe' in detail. , ¦ ¦ f ' ' ' ' iS'^ze, 4.8 X 4.2. ' fc »v Occasionally this will be referred to as the "pine cone" design, because the fruit of the sacred tree was used as a symbol of immortality. ^ Some also regard it as a symbol of the fire worshippers, not a few of whom are still to be found in Persia and Southern Asia. Thus, unfortunately, this most frequently encountered pattern is the subject of controversy, and while it may, and doubtless does, represent different things in different rug weaving sections, its original intent has been confused during the passage of time. The Cloud or Deity pattern was originally a Mongol design repre senting Paradise. The figuring consists of twisted ribbons and flowers, the bands of which are connected by small circles which depict stars. While frequently found in rugs woven in the far East, it has spread throughout the Orient and has become conventionalized. The Mohammedan religion forbids the use of animal forms in any fashion lest the practice lead to idolatry, and so floral and geometrical designs are used. Persian weavings are more or less free from this exemp tion and frequently contain animal and bird forms because the Persian is a Shaiahist rather than an orthodox Mohammedan. In fact, it will be remembered that the Persian coat of arms embodies a lion holding a sword in his paw, with the sun at his back. Animal reproductions portray special significations. The Bat, fre quently to be noted in the rugs woven in the Eastern portion of Asia Minor, is of Mongolian origin and means happiness, while among Western tribes it has come to be the symbol of maternity. The figure of a bird is emblematical of the spirit, and if it be a Chinese crane, immortality is indicated, while a crow presages evil. The dragon is always traceable to the Ming influence and depicts imperial grandeur. If the dragon possesses five claws it is a true sign that the rug was woven for the Imperial Family, as this is the exclusive emblem of the Emperor of China. The eagle indicates light and height, and if flying or standing it is a sign of good luck, whereas, if descending, indicates impending bad luck. Dogs and leopards portray fame and honor; the lion means power, and to the Mongolian, victory. The peacock, with its scintillating feathers, paints the vivid colors of the firelight, and the phoenix and serpent repre sent immortality. The Latch Hook pattern is frequently found in combination with various geometrical figures. This is seemingly an offshoot of the Chinese scroll or border fret work, or else a modification of the swastika. The Chinese meaning of the latch hook is privacy and secrecy. The swastika is ever and among all peoples an emblem of good luck, and is supposed to represent the movement of the earth on its axis. 25 Frequently a sign like the letter S reversed will be found upon a rug. This is the "Solarium Sign" of the sun, and may possibly indicate that the rug was woven by a son worshiper, or a descendent of one. The Knot of Destiny and the Seal of Solomon may be traced back to the great temple builder. The former, however, is also a talismanic sign of the Chinese. In the weavings of Daghestan, Shirvan and other sections of the Caucasus lattice work triangles are frequently to be seen. These border patterns are adaptations of the triangle, which is the Jewish symbol of Divinity, and which is used by the Mohammedans because they accept the Old Testament. In fact, the Mohammedan rosary is divided by projecting beads into three equal parts of thirty-three beads each, thus making it into the form of a triangle. These beads represent the "Ninety- nine beautiful names of Allah," which are given earlier in this chapter in the translation of the inscription on the noted Ispahan Prayer Rug in our collection. The two triangles, placed together point to point and thus forming an hour glass, signify fire and water. The circle is frequently woven into the rug and while sometimes representing a star, possesses the added significance of perpetuity, without beginning or end. Three balls or circles owe their significance to the fact that the great conqueror Timur, the Lame, or Tamarlane, used these as his coat of arms, and every flag, tent, shield and horse possessed by him was thus marked. A very old carpet with these three rings worked in the pattern may reasonably be supposed to date fre;. id ef. or shortly thereafter. The Crescent ii purely a f ui '.ish symbol meaning increasing Turkish domination, the star signifying thie earth and the crescent indicating the gradual increase of Turkish infiuence over the world. The Turkish coat of arms is a star and c. i;cent, which signify ever increasing growth. Kn( r, of Oesv my Ancient MedesSign of Deity Signet of Solomon6 Pt. Star from Shield of David Rhodian Lily 26 A Night Call in Teheran, Persia. The zig zag line means lightning or water and the long, meandering line signifies long continuing life. King Solomon's temple was profusely ornamented with the pome granate, and its use on rug patterns dates at least from that time, and is also common among the Mongolians, with whom it portrays increasing posterity. The jug or pitcher is the symbol of knowledge and is supposed to indicate water wherewith to wash away the evils of the flesh as pre viously explained. The sun means light, and the sword is very appro priately the sign of fame. A Persian legend indicates an early motive for the use of the lily pad design and is as follows: The son of Shah Abbas, eager for the throne, so far forgot filial obligations as to enter into an intrigue for the possession of the crown. Upon the unexpected discovery of the plot he sought refuge in the imperial stable and hid in the stall next his father's favorite horse. Shah Abbas greatly feared that his son would wreak vengeance upon the steed were any attempt made to effect a capture, and finally decided to pardon him. In commemoration of his narrow escape from being put to death the son ordered that the horseshoe be woven into all carpets made for him. The flat metal horse shoe of the East has a small vent hole in the center and greatly resembles a lily pad, and so this is usually referred to as the lily design. This legend also casts light on the Oriental's great love of his horses. Another narrative, traceable to Greek mythology, concerns the use of the Rhodian Lily, which differs from the flat lily pad in that it has 27 more the appearance of a lotus. It is frequently used in Ladik weavings : While the God Apollo was away on his daily duty of driving the chariot of the sun and spreading light over the abode of mortals, the other Gods suddenly decided to divide the world amongst them. Apollo, being absent, was utterly overlooked in the division. Upon his return he complained mightily to Jove, who caused the Island of Rhodes to spring up out of the sea, covered with beautiful lilies. The Rhodian Lily design, as used on Oriental weavings, is emblematic of this event. Just as each figure speaks a word of its own, the colorings tell the rug student the hopes, the thoughts and the beliefs of the one who knotted it. It would be strange indeed if these wonderful colorings of the East did not carry meanings as deep and lasting as their own sumptuous hues. To the Persian, the Chinese and the natives of India, white is the emblem of mortality, while green is to the Mohammedan the sacred color and indicates life everlasting. Blue to the Persian signifies air, and the skies, and to the Mongolian, authority and power, and to the Egyptian is a symbol of Immortality. Black is the desolate hue of sorrow, evil and vice, while red brings joy, life, truth, virtue, sincerity and happiness. Yellow is the Chinese color of royalty, and its deeper companion shade of orange reveals sorrow to both the Buddhist and Mohammedan. Rose is the tint which is used to indicate the Divine Intelligence. Thus every simple, untutored weaver is a dreamer of dreams, and knots into the textile a mysticism and a fascinating heart interest that will endure as long as the fabric lasts, and will teach those who learn to speak its language a new understanding of the great, bright, wonderful world and the Golden Age that is past. 28 RUG WEAVING CHAPTER 3 "A man's heart must be in his skill and a man's soul in his crafts manship." — H. 'W. Mabie. IT seems an anomoly that such uncultured, ignorant people as inhabit many portions of Asia should be such master hands in an art so difficult, and that higher civilizations of other lands and later times have never been able to equal, much less surpass, their handiwork. Truly, the Orient has been the fountain head of Art. Its peoples possess a natural aptitude for artistic expression along certain lines that may be said to amount to genius. They labor with stoic persistency, yet deft fingers, at the most intricate of designs, and in the end produce results that startle the foreigner, whose senses fail to penetrate beyond their uncouth exteriors. It is very difficult, for instance, for the Occidental to understand how it is that a native weaver, even a young woman or child will repro duce the entire design of a large rug, in its minute exactness, only once having consulted a similar rug. Mere memory cannot account for this. Instinct, backed by cen turies of forbears doing just that one thing, equally well or better, is needed to perfect the facile accuracy with which they knot the right hue in the right place, and so, infinitesimal piece by piece, build the whole mosaic. There is little change in patterns from generation to generation. While indelibly impressing their own personality, and weaving in the minor details that their own fancy dictates, the main pattern is as their fathers wove before them. Most changes can be traced to the fiat of some conqueror or the instigation of some tribal chieftain. All conditions are perfect for the Oriental weavers. Vast plateaus, whose rich grasses furnish ideal pastures for the sheep, water that seems to lend life and vitality to the wool washed in it, and natural dyestuffs in profusion, are their heritage. And with this we find a warmth of temperament, a deep love of the natural beauties that surround them, and a true Oriental patience that takes no account of the labor in the making. Coupled with this is a religious zeal, amounting almost to fanaticism, which furnishes the inspiration for the rich imagery of their designs, and smoothes the way for the incessant care and exactness that such artistry requires. May is the shearing time in rug making countries. The sheep are 29 handled carefully and the wool is sorted with great exactness, for it must be even and regular when it reaches the weaver's hands. On the finer grades of rugs washing the wool is an important process. It has long been proved that the chemical qualities of the water in the various streams have much to do with the finish and silky effect of the wool, and with the way it takes the dyes, and their permanence. After the washing is over, the drying process is conducted with much concern by the careful .native. Even the wind must be from a certain quarter, blowing just hard enough and not too hard, and the sun must be of the exact warmth suitable to the one conducting the work. The wool is spread very carefully, for it must dry evenly and thoroughly. A comb-like device is used for carding, or a board, with nails pro truding from one side, is used to card it. To keep the wool from matting together after the drying process is over a large bow is suspended over the wool, and by twanging the cord, it is made to vibrate, and as it touches the individual hairs of wool, the vibrations whip them up and into a fluffy pile at the side. The unusual methods in vogue may be a source of amusement to the practical Westerner, but these same methods, strange though they may be, produce the finest woolen products in the world. The native is aiming at color permanence. His whole traditions point toward thorough workmanship and lasting quality, and thus he Beating Wool Before Weaving Persian Rugs. The Queer Bow and String Which Aids in Drying Wool is Shown at the Right. 30 Di a, 31 carefully prepares an honest foundation for the marvelous colors that are soon to bloom on the dull, woolen fibres, and on the silky nap that the passage of time seems only to brighten. There is a heavy loss in the original weight of the wool after the drying is done. Possibly thirty per cent has been lost in the dirt washed out, and thirty per cent more in the natural oil that has been removed. But the wool that remains is soft and fleecy, and fit for the spinner's hands. The shepherds tending their sheep, find much time for the spinning of wool, and they take a generous portion each morning, and with simple spindles, while away the sunny hours. The wool so prepared is greatly in demand, but the supply is limited, and so the balance must be obtained from those who spin at home. Among the wild tribes the spinning wheels of Western civilization are not to be countenanced, and the simplest distaffs and spindles are the only tools. Yarn is made in three grades for the weaver's use; light for the weft, medium weight for the warp, and heavy for the filling or nap. This is varied in different localities and for different rugs, and very fine carpets frequently use the light grade yarn for pile. There is considerable variation in the grades and quality of wool Something in the grasses, the climatic conditions of .the section where Wooden Distaff Persian Girls Spinning. 32 , ANTIQlll GHIOEDES PRA Y}- R; RUG > This, the- ftj^i^' valued'-of the .Antique Anatoliaiv.^r^gs, is truly a i;^iphojBy, in color.. Over i;wo mopths ^f experimenting were necessarj' to make this color pla'lej^cl eyeries it is,. th ,'' -f .;''.: '' '' '' Only war-and trjhq-uest'tn ^ia Minor toul'd ff*ce!^its ¦¦owners to part wiith.sucfa'a tr-eaSure as tti%,.'' The esteem niwhith t^e natives>Mlii-suck n ru.g is wep^ illustfi^ji^j^y the rerfiark made to our buyer; as he secured it^ frorn the person witfi wKdm the Victual o\i!ners ha4 lel|^ it for sale:' , I ;.' *Tf niv:-^ow7!:;ai1£estt3r5'%ad praye4 upon this Mgi^^^^^ '' • y-.iS^i'&^i.jvi^al^'^ of vyour Ar^er^ could ndtc t^uy it* from j^e- ' ' Armenian Women Combing and Spinning Wool. produced, and the water used in the washing, creates markedly different varieties. Angora and Cashmere wool, of course, are known for their silky softness. Some districts produce wool that is almost equally soft to the touch, but long and coarse. For some of the finer grades, such as prayer rugs, which represent the dyer's and weaver's best efforts, only the fine combiilgs of lamb's wool are used. Goat's hair is most largely used by the mountain tribesmen, who knot therewith the most striking and impressionistic patterns for which its coarse appearance is in no way a drawback. In certain sections of the country, as in Turcoman districts, goat's hair is used only for the warp and weft. Camel's hair is frequently used, the Tartary camel yielding the best for the purpose. It is almost invariably woven into a rug in its natural, light brown shade, without dyes, and is most frequently found in rugs of Mousoul, Beloochistan and Hamadan. The silk where with are fabricated the gorgeous silk rugs of the Orient is grown on the high plateaus of Western China and Eastern Persia. The chromatic secrets of the Oriental are his surest protection against the encroachments of outside interests. He has learned secrets that no coal tar wizard has yet been able to solve, or at least duplicate per manently. The Oriental's tonal shadings possess a mellowness and their glowing colors a splendor and brilliancy well nigh impossible of compari son save with the marvelous hues of Egypt. Permanency is the best asset of the rug maker's colorings. A cen tury's passing leaves scant trace except in the still further softening and mellowing of the shading, and thus the Oriental rug reveals faithfuHy the splendor of ages long gone, and is a correct realization of the Arabian Night's wealth of Asia. The dye worker is the most important figure in the rug industry. On his deft knowledge depends the success of the very rug itself. What charm would there lie in a rug of faulty coloring? The skill of the dyers is bred through succeeding generations; from father to son, in endless succession, the secrets of some few shades are handed down. While the dyers band closely together in league against the outsider, there is intense rivalry amongst them, and he who best understands the blending of the living red shades is the dean, with the humble dyers of black at the foot of the ladder. The raw materials for nearly all dyes are found in the nearby fields, and the dyers gather them and convert them to their own uses. Nearly all are of animal or vegetable origin, even the mordants or fixing com pounds. Red is the best color and the most lasting. It is known that madder forms the principal element, and a common mixture seems to be madder, 34 > '¦ .„.,, „ .. . *^" ¦ 'V,., l \^ '•'-" ^^- - ¦ ¦ - ¦ ' 'V*''. , . ^r ; V , ¦'; , (;" :¦ ;,,^,./),- -'¦ ,'.f^:' ' ', ^ f)Ws^^t^'>>''i>!^f^fmm^!^mssm!?^^ ¦%Ji:iVN.^>flnuwa.'V,-zwin<, J s pl^^ vM '^^i^^^^j^^^^^^^^^^i^j^^^^M. ipi \ W^ II ^'^^^i^^^^^^^^^^K 11 ^11 5 S w^il ^^sp^^^^^p^^^^^ ika^ mi f ^ •^^W^ ^' ^ v^^^n^n^^^^^Sv^n^KH^^fl^S^an^YK^^S ?ia-ES» >'-i< \ 1 1^^ m ^ ^^^CT^^^^^^^^^^^^P^^^^ ^^^^^i IsH Ml ili ^^^^H 11 If kI r^K' ^^^w^^^^^^l^^^^^ j^Hj^K ?|k| ^^^^^^^S^^^^^m^^m^^^Mi imWi''2c liiSS!^!^^^^^§S^^i^^^^^^^^^ ^^^^^ / ^ wfinTTlS f^rfw^^r^tfrm^^mS^^S^^m^rma^^^S^mBf^^ <|*^ "^llc ^^^^^^^k^^W'^^M^SO^^iS^^^S ^^^^s^^^^^s ^^ffl 8^ ^M£r.|jlj$g) is ^Ii3fe, !^& M^^^^^^^p^^^^ ps^^^ nySSwM»yi6 ¦.iiy'K^?^ Ai^a BljkKJmsL^jL^ IK ll ^^^^^^^B vl^ iJ'i>^l M j ^L^S^TKSS^iSSBtJ^^BBwSClS^Wifep M^j li ^^M*^^^^^m^^^^^ gttTOK^^^J Sns|Bn^ ipQjfjiEaK^igwgjaBgaKaEiEii^ap^ glJ^H^jiy mvM^MmeifmaltWSKtSB^^M jBllKtjS m »!i^tEyuyH£!S^va9KjnyKH«XM9 ^:'^i^^ ^^^^^^^^^^^^^^^^^R^^ 'si? uenEn ^E ¦H^j^^^O^^^mJI^^^Tl^^^^^^a ^^^a^Mf^^^^^raH^ iOr^ i^^'^i 3f| irSl^yll^lS^'^iip^l^ffi^e^^jiS^^^i^ Ki ^^^^^B K^ Jsxt jgl Kji^I^fcBB»iieiBtr«vnHF.s«iMBrsL:»csc.::^i \\KR ^feaBBaMM-iMfi8g^«ta8ai.jam»:wHsg5gaMas ¦¦Sfc K:^va'^:>>=*o*s.rg*^:«p*^^r^yT^^'^«vii5 HhI-p^ W4 ^- ISi Bf MgaBKMBKiW^y^wBEM^a^nfa^ Sm tiftCijIffS *1]J- *^^g^"i' mmt ^^R^b^^^^^^pj^^^^^ mP-"-\- ¦ ''-" \ Bffi^^^MBWipWpii|B||^yT^^ H^s|^^^|:.^ W^^Cl ¦ 'ii.S n^ s .•s. -?!•¦¦* //«v.;/- :.^s>f^5=;'5-,*.--Vi/^^ii.-'^?TV,7.'T it^mffylWWIS^SIs^^S^il^^K^I^S^^^^^S^- i|^Hfl^^lH|Vs!|^g| f^lfSfiH^ (^^Sa^v^^TOB^nK^Nl^^an^a^H^B^BKoSlrlSS^nHSlffiiSHr^ I^hmbbRES j .^5B^^^lai|gE^^|^^Mq|^^S|w|ffl IhkHB^^ . I^^x^^^Sh ?^™K»^^K t^^^^^^^^^^^^^KK^^; ' ri?iiE;s:^]m^ Ik '^hS^^ ^^^^TO^iSS™^^^ p^^^ ^¦i^l^ffiW ^^^^ ^^^^H M '^^^?S ^^^^^^^^^^^ '¦''^^,'P' "Jji r fih^ . J ?liii\B"i!Sli1 J- f Jiiittri'^^ S!^K55^^^ |?^^^^-^=::=..iiS-fi-=-;^25--^:^^ ^k Antique Feraghan. All-over pattern of delicate workmanship. 35 Rug Weaving by Kurdish Girls in Persia. sour grape juice and alum water. Madder is said to yield more than sixty tints to the expert dyer and the brilliant red of the French soldier's trousers is an example of the Occidental's use of this coloring agent. Different treatments have much to do with the producing of the varying shades, and the dyer builds up a tone by laying color on color much as an experienced painter lays pigment on pigment to produce the desired hue. The dyer may first dip in blue to form the basis for the dark and mellow red that is to be the final tone, and it is his knowledge of the methods and the exact drying between each immersion, as much as his rule of thumb formulae, that produces the satisfactory results. The old Persian blue color is now a lost art, and indigo furnishes the basis of the modern blues which are beautiful enough, but cannot be compared with the blue of the ancient Persian tiles, rugs and illumined manuscript. Yellows are produced from Jahra berries, while a softer tone is made from onion skins. Turmeric and saffron are also common ingredients of the yellows. It is said that the pomegranate furnishes some thirty shades of yellow, and indigo some fifty different shades of blue at the hands of the skilled artisan. A combination of indigo and yellow furnishes the greens, while buckthorn produces the shade known as Chinese green. Brown is obtained by dipping in madder over a previous shading of indigo, and the closest approximation of the old Persian blue is obtained by the reverse process, applying indigo over pure madder. Gallnuts are also used in dying the 36 browns and grays, and iron filings, vinegar and pomegranate rinds are the various ingredients used in producing black, which is regarded as the least permanent of the colors. Purples are made by combining red and indigo, while violet is due to the peculiar combination of milk and water, then madder, and then sour grape juice. Various mollusks and sea insects yield blending colors for obtaining purple, violet, heliotrope, etc., which colors, however, are not used with great frequency by the native. Thus the Oriental colorist knows no modern chemical smartness, no laboratory imitations, no temporary chromatic brilliancy. With simple, honest sources, great care, artistic blending of color upon color, tone upon tone, opposing one hue as a foil for the next to follow over it, he slowly builds up a coloring that is unmatchable and unchangeable. We have always sought to have here a representative showing of all the most distinctive rug colorings. Each rug admitted to the Nahigian Brothers' collection is judged with extreme care by one of the partners; A Nomad Studio. With the Inspiration of God's Great Out-of-doors. 37 we wish the Nahigian sales tag to be a guarantee not only of careful weaving but of unusually good coloring. The native loom is very simple and has remained unchanged for generations. Two upright beams, set in the ground, support a roller at the top, over which are stretched the warp threads. Another roller at the bottom holds the lower ends of the same threads. Frequently rods are attached to alternate threads of the warp, and by pulling out first one rod and then the other, a space is left for throwing the weft thread across, over and under the alternate warp threads. These warp threads are of wool or cotton, and sometimes silk, par ticularly in the higher grade rugs, where flexibility is desired. Yarn of various colors is hung at the top within easy reach, and the loom painting is ready to take shape. First the warp and weft threads are thrown together at the bottom to form the web. Then the different colors are knotted in, each in its proper place, and then the design slowly takes shape. Two different styles of knot are used, one the Ghiordes, or Turkish, which is used in Turkey and generally throughout Asia Minor, and second the Senna knot, which is used in many parts of Persia. The illustrations will give an idea of the difference between them. The Senna knot puts a tuft of yarn between every warp thread, while the Ghiordes bunches two yarn tufts between every other row of warp threads. The Senna enables more knots to be tied to the square inch and the pile can be trim med down closer, thus bringing out the details of the design, which explains why it is used on the fine rugs. The Ghiordes, on the other hand, is more like a real knot and is easier to tie. Expert weavers do not pick up ball after ball of yarn and tie each different color as they progress across the warp threads, but knot in one color at a time, each knot in its proper place, thus working much faster. Beginners are forced to change colors frequently as they go along and it is only after they become adept that they are able to know, almost instinctively, where each color is to go, and so avoid the extra handling of each kind of yarn. Senna Knot Ghiordes Knot 38 When the knot is tied, the yarn is cut off with a queer looking curved knife, and after a row is completed the weft threads are thrown across, the knots pounded down with an instrument resembling a comb, and then the nap is again trimmed to the proper length with a pair of curved scissors. There is considerable variation in the manner of inserting the weft threads which hold the knots firmly in place and produce an even nap or pile. The finer rugs, those of Kashan and Senna, use one weft thread between each row of knots, giving a very compact pile, while the coarse weaves have four weft threads thrown across each alternate row of knots. The latter method fills the space with weft instead of a row of knots and saves considerable time in the making of the entire rug. When the full pattern is completed the weft is thrown a few times to form a web, or the ends of the warp threads are braided or combed into a fringe, and the bright little fabric is ready for its journey into the world. Ahmed Mirza, Shah of Persia Ascended the throne in 1909, at the age of 12. 39 o The Tents of Turcoman Nomads. Their Rugs and Cushions are Indispensable. ;^^%NTIQ^:SHIRAZ - ¦-. */ ^...-^ ¦' . Thi^i(ni(|i| sjfjj^im^j of Shiraz .v^jving faithfully conforms to every detail of its|?fe^)e<^ive type. y'J%e deep "lose backgrt^und cofor^nd the beautifi^slmlles of i'blufe,;;gi|.een/ *nd*.gold tell of the; harmonious color blending ^ci^toC af ^fe S]M?az..;attistsJi/: " :-', ,, -, • ,,/ The ima|^,'6j",bii:'d^«!S!^i^|j|riecfttl^ugh thd! cetitral! field ate evidently intencfabric tufts ancfit dej^'q .rj^preseijt nighti!\gates and &0 a touch of ;syrabplislnJ;o the 2. '^e:i^o^iid}k^n^tiv6'^A^f0iOi this weave lies iq. the varicolored anc^ta^el^; sc*|<3ETerfvaf;iry;erYiS aldng the;..,€dges 'and at the ends. These areiofMl|smahiG sigh'l6<|ii}ee andit^ sdppos^d t4 avert the |vil eye. ThaltterTug jb-ajgetrlajinfesMtique is easily verified by the iltousually soft shM^^old ivorjf. 'co^^^^^'iv^s originMy miow wlt^l^t the time of its vvelivi^gi. AM^Ja^BffiW^ar ha'ift given it tM'finishitig touch ofi^ellow- ness. - ' ¦'''!¦ '•' s ^'^^' i-mm # u mi'iimii I TYPES AND CHARACTERISTICS CHAPTER 4 PERSIAN AND KURDISH Persian history may be said to begin vi-ith the Assyrians and Baby lonians about 2200 B. C, but the actual Persian Empire was not formed until 558 B. C. The Parthians, who later controlled it, were eventually driven out and became the modern Turcomans. Damascus and Rhodes were absorbed by the Empire, and Turkish influence became stronger until in 1200 A. D. the Mongols under Kirghiz Khan swept aside both Turk and Persian. In 1605 Shah Abbas again established the Empire. Afghanistan and Beloochistan became separate states in 1847, and the Caucasus was included in Russian territory. Today Persia is nominally a separate State but is laboring under growing Russian and British influence. PERSIAN art, as depicted in its weavings, traces its character istics to many sources. During the Turkish domination Ottoman influences were strongly impressed into the style and design, leaving a trace of luxuriousness that is easily discernable. Traces of the Chinese arts are often found also, particularly in the rugs woven in the Northern and Eastern portion of Persian territory, where Kirghiz Khan and the Ming dynasty introduced the Chinese pottery forms and several decora tive details. During the era of Shah Abbas rug making developed with great rapidity, and adopted not only the best ideas of the native art but certain European early renaissance forms as well. It is a little known fact that the Shah's best artists and weavers were sent to Italy to study, and were therefore influenced by the European art of that period. The artistic spirit thus fostered reached its highest pinnacle, so that the antique Persian rugs that remain to us from that period are marvels of artistry and refine ment. Today the best of the Persian rugs come from the remote interior districts which are far removed from the contaminating influences of modern chemical dyes and the insistent demands for speed and increased output. And such rugs are the exemplars of modern Oriental weaving, worthy the admiration of the collector and the hardships of the far travel ing buyer who seeks them out and forwards them to the waiting connoisseur. Herez: In addition to the Herez proper there may be said to be three other types of the typical Herez weavings, namely, the Gorevan, the Serapi and the Bachshaish, or as it is sometimes called, the Backshis. 41 Royal Kirmanshah. Ivory and rose medallion effect. 42 The Herez rug district lies up in the mountains of Azerbjian, a short distance east of Tabriz, and has long been famous for its heavy carpets. The typical Herez rugs are very thick, with a three-eighth or one-half inch pile, and cotton warp and weft. The sides are overcast and the knots average forty-eight or fifty to the square inch. They are made in the larger sizes and are very durable. The Mongolian influences are frequently to be noted, and the patterns lack some of the finer details because of the coarse knotting. In the Gorevan type there is a suggestion of the Tabriz and Kirman shah weaves, and the knotting is slightly coarser than in the Herez rugs. Gorevans bear an excellent reputation, however, and are worthy rugs. In the Serapi rugs a floral figuring is added to the rich medallion effects of the Gorevan fabrics. The weaving is probably no better, but the floral design gives a pleasing added effect. The graceful medallion is commonly of camel's hair or old ivory tint, and the surrounding areas of a similar light shade enable the figurings of the vine and flower design to be worked out in a dull but sufficiently noticeable coloring. The borders sometimes enclose Arabic inscriptions and are in light tones to balance the light colorings of the main background. The Serapis are probably the best of the Herez weavings. The Bachshaish is less commonly to be found, and resembles the other varieties of the Herez so closely that it is difficult for anyone save an expert to classify it. The original Herez rugs are all antiques and very scarce, but the Serapis and Gorevans have taken their place as newer grades of the same weave, and have few rivals from the standpoint of design, coloring and wearing quality. Sultanabad: This city is in reality the center of the enormous carpet weaving industry of the province of Feraghan. Its products are largely from designs following imitatively the Herez weaves, and in a way the conceptions of the modern European and American designers, who in turn based their ideas on old Persian patterns, but added such other colors and minor figurings as would, in their minds, please the popular demand. The patterns are usually boldly brought out in reds, blues and greens on a pale yeflowish background, and consist largely of vines and flowers. These are spoken of as very modern Persian carpets and are almost invariably woven with a cotton warp and cotton weft. The Mahal, Mushkabad, Buluk and Savalan rugs are in reality varieties of the Sultanabad. Mushkabad is an excellent grade, while Mahals and Buluks are the finest, the latter being a little heavier type than the Mahals. The Savalan rugs take their name from a range of mountains near Sirab, east of Tabriz. The Sultanabad carpet of today is largely the result of the commercial support afforded by the carpet 43 industries, and while this has not lent to them that subtle charm that only spontaneous originality and a free artisanry can give, it has never theless placed the product on a firm and businesslike basis, so that the qualities are reasonably stable. They are made in the larger sizes, eight to fifteen feet wide, by ten to twenty feet long, and sometimes made to order in special sizes. The various varieties of Sultanabads are well worth the consideration of the rug buyer who wishes to obtain the greatest value in modern Oriental weaves without paying the price that rarer fabrics must necessarily bring. Their coloring is rich and they will yield long and satisfactory service. Tabriz: There is a certain resemblance to the Sarouk, and Kirman patternings in the rugs of Tabriz. Their gorgeous colors and rich designs are usually worked into the form of a medallion with a field of intricate floral weaving. The Tree of Life is frequently a theme, and the heart- shaped lamp is also used hanging in the niche of the prayer rugs. The older specimens are high priced and difficult to obtain. Tabriz is a very important city of Persia and the rugs bearing this title are produced in the immediate vicinity. The name means "Pinnacle of Islam." Kerman: This lesser known weaving preserves to an unusual extent the early honest ideas of what constitutes the right way to produce a good rug. Decidedly out of the path of caravan and travel, it has been shielded from the newer ideas that, unfortunately, have not improved the patterning, the workmanship and the dyes of ages that are gone. The patterns are on the floral order, and on the later rugs the medallion is coming more into use, but not in an accurate geometrical form. In fact, the design is naturalistic. Large red roses form a striking feature of their floral design, and the borders are usually of three to eight stripes, and if of three, have two narrow stripes on either side of a wide one. In the time of Marco Polo, Kerman was famous for its embroideries and its manufacture of arms, as well as its rich carpetings, but nothing remains today save the latter, bearing traces of the sumptuous floral and other embellishments of the embroidering. The rugs of Kerman are closely woven, with overcast sides, heavy cotton warp and usually a cotton weft. The majority are antique rugs and are in the moderate sizes, eight by sixteen or less and four by six feet or larger. Kermanshah: There is considerable confusion in the minds of rug buyers regarding the similarity of the name of this weave to others. The carpets of Kerman have been erroneously credited to Kermanshah, a mountain town in the Kurdish territory, from which formerly emanated some splendid antiques. The rugs sold in this country as Kirmanshahs are very similar to the Tabriz weavings, are suggestive of a Persian flower 44 ¦«¦„ s'l'jl, I ' - J --\ > ¦¦",', 'S ' 1 -i - ^r ' :¦,^^^i.. '^i'f W ¦:J!H::.'fiMi:-^-^ Tabriz. Beautiful borders with an old ivory field. 45 t, i' '.I ." fiVitQ Hamadan. A Hearth Rug of soft brown camel's hair. 46 garden, and are among the finest products of the modern Persian looms. They are made almost entirely in the vicinity of Tabriz and Sultanabad. The patterns are quite flowery, and with pronounced medallion effects. The characteristic colors are very mellow — peach blossom, old ivory, light old rose and dark royal blue, while one occasionally finds one with a deep old rose shade or light blue. As a rule the Kirmanshahs are very compact and have a medium cut pile, the warp and weft threads are of very fine quality cotton and the yarn used in the pile is the highest quality of Persian lamb's wool. Kirmanshahs being so light and dainty in coloring are very suitable for French parlors, music rooms and drawing rooms. They may be obtained in practically all sizes, and are abundant in the four by six, seven by ten and nine by twelve sizes. Hamadan: This city, in the province of Irak-Ajemi in Western Persia, is the burial place of Esther and Mordecai, and it has a deserved reputation for its excellent natural camel's hair rugs, which are compact of texture and usually wear very well. They are usually of plain designs, with diamond shaped figures in the center, and often different portions of the rug are filled with animal figures. A strictly Hamadan feature, which one may readily recognize, is the broad plain band of camel's hair upon the border. Cotton is almost invariably the material on both warp and weft, the pile is long and soft, being largely natural camel's hair, or exceedingly fine yarn, and thus the longer they are used the silkier and prettier they become. Some of the newer Hamadans are greatly inferior and it is well to have expert native advice in purchasing. Kashan: As a class the Kashans, both silk and wool, are the finest products of the Persian looms. The modern rugs have not been imported to this country longer than a few years, and yet Kashan is the city in which was produced the most marvelous rug ever woven, the famous Ardebil carpet. This was woven in 1536 by one Maksoud (may his artistic soul rest in peace in the shadow of Allah), for the tomb of Sheik Ismael, and was used in the Ardebil Mosque, whence its name. The rug is about sixteen by thirty-two feet, and is estimated to contain the enor mous number of 32,000,000 knots, being some 530 to the square inch. The patient artist devoutly wove this inscription at the top of the rug: "I have no refuge in the world other than Thy threshold; My head has no protection other than this porchway; The work of the slave of the Holy Place, Maksoud of Kashan." This priceless gem is now under the appreciative care of the South Kensington Museum, a rich heritage for future generations. In the modern Kashans the design is frequently a well covered medal lion of floral effect, while the Tree of Life planted in a Persian vase of 47 some contrasting color is often used. Birds of paradise and sacred animals are sometimes used in profusion, both in the center and the borders. The tinting is extremely rich, with old rose and old ivory, and a touch of royal blue in the center, while the border is woven in colors to match. The floral designs are conventionalized, being made up of straight lines rather than curves, as in the Kirmanshahs, and the lotus flower, in differ ent stages of bloom, is frequently used. The edges of Kashans are over cast or bound in silk. The silk Kashans are far too dainty to tread upon and are used for table and couch covers, draperies, and to throw over chairs. In the Orient they are extensively used by royalty and many noble specimens adorn the throne rooms of Asiatic monarchs. Ispahan: No description will impart half of what your eyes will tell you if you will glance again at the reproduction of the magnificent Ispahan prayer rug used as a frontispiece for this book. The characteristic and beautiful colors of the Ispahan rugs are the variegated shades of light and dark rich reds and sometimes blues. Occasionally golden yellow, green and rose tints are used in connection with their main colorings in the most skillful manner. Large and naturalistic rose buds strewn prodigally in both the center fields and borders add a peculiar charm to the rugs, and it would seem as though a living flame were mingled with every atom of their vegetable dyes, mixed by the masterful hands of artisans long since passed away. In many older specimens are interwoven prayers from the Koran and from the works of Omar Khayyam, Hafiz and Saidy, intensifying the romance of these Eastern fabrics. The hands of the "Old Masters" of Ispahan are forever stilled, and the few remaining examples of their wonderful textiles are commanding an ever increasing price. A few antiques are still to be had, and $15,000 to $75,000 have been paid by museums and collectors for examples which they wished to secure before it was too late. The modern weavers of Ispahan, while not able to equal the best of the old rugs, are producing a product that is eagerly sought by rug buyers. These modern Ispahans can be purchased at prices absurdly low as compared to the present values of the antiques. Never theless, these same moderns will, during a generation, take on much of the rich, mellow appearance that lends such charm to the antiques, and thus will enhance in value. The euphonious name Ispahan means "Place of Horses." Sarouk: The Sarouk is by some spoken of as the modern successor of the Ispahan. It is just the reverse of the Kirmanshahs, being dark in color, with the seal browns, greens and reds predominating. There is usually a medallion, and also a floral design over a field of old ivory, 48 ™UE LADIK PRAYER RUG, , -.^^r^ii-"-' ^v^^./ -i''" ¦'''-'.'•¦\' - ik-. Th*e^ r^re i'ug^tlifreftow^^ for thei^jMlteidift'' represen|fe|M)y this Jp^imen. _ Tfie very unusual ,¦«|Pf^hg,^¦;^^ flf'll i^e