The Practical Book of Oriental Rugs

The Practical Book of Oriental Rugs
Author: G. Griffin Lewis
Pages: 406,225 Pages
Audio Length: 5 hr 38 min
Languages: en

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DAGHESTAN RUG
Size 8' × 3'6"
FROM THE COLLECTION OF THE AUTHOR

Knot: Ghiordes.Seven to the inch horizontally and eight vertically, making fifty-six to the square inch.

This rug illustrates the best Caucasian spirit in design and workmanship.It is glorious in color and its combination of blues, reds, yellows and greens belong to an age which is bygone in the textile art of Caucasia.

The Georgian design in the outer border is a Caucasian characteristic and especially of the Daghestans.

(See page 254)


WEAVING AND WEAVERS

The method of weaving in the Orient to-day is practically the same as it was one thousand years ago with the exception, perhaps, that there are now fewer crooked fabrics woven than in the days gone by.Next to the quality of the material from which it is made, and the dye with which it is colored, the splendid durability of the Oriental rug is due to the manner in which the pile is tied to the warp thread.It is so secure that it is impossible to remove it by pulling either end of the knot.This differs from the domestic method in which the pile is merely drawn between the warp threads without tying or fastening.In the finer fabrics of the East the knots are so close that it requires careful examination to discover them except in very old rugs where the pile is worn down, then the knot is distinctly seen.

In some parts of Persia the best artisans are men but in most other sections the weavers are mostly women and children. The latter begin working at the loom as early as four or five years of age and serve an apprenticeship of two years, after which they receive a few pennies a day. A skilful woman weaver will earn from three to six shillings a week and they usually work from sunrise to sunset, week after week, month after month, year after year. As a rule they have no education, can neither read nor write, and have absolutely nothing else to do but weave and gossip. Rug weaving proves a sort of an amusement and a source of income; besides they take a great interest in the work and the height of their ambition is to realize hope of royal recognition for their superior workmanship.

Each rug is given in charge of a master weaver who usually gets one anna (two cents) for every eleven hundred knots tied.He it is who hires and pays the weavers and makes himself responsible for the quality of the work done.

The girls, especially those of Asia Minor, frequently buy with their earnings perforated gold coins with which to decorate themselves by making them into necklaces or bracelets or by arranging them on their headgear.These coins not only serve to make known their skill as weavers, but also answer as dowries for their future husbands.A skilful weaver can tie from twelve to fourteen knots a minute or from seven to eight thousand knots a day.This would be equal to from fourteen square inches to three square feet, according to the fineness of the rug.For this she receives, on the average, nine cents a day.For a rug 10 × 6 with 182 knots to the square inch, she would receive, in rough figures, from $18.00 to $20.00, and the rug would sell in Constantinople for no less than $75.00.If the women of the Orient are ever emancipated we will have to pay much higher prices for Eastern carpets than we do now.



A TURKISH LOOM

The Eastern loom, which is the same to-day as it was a thousand years ago, consists merely of four poles joined together by ropes according to the size of the rug to be woven.On these the warp threads are strung and kept at the proper tension by weights, which are attached to one of the cross poles.

From one to six, or even more, weavers work on a rug at the same time, according to its size. They sit cross-legged either on the floor or on a raised frame, so that their work will be on a level with their knees. Before them, as seen in the accompanying illustration, is fastened the model which they are to follow or what is known as the "talim," a chart which indicates the colors to be used and the number of knots to be tied in each color. Like expert pianists their fingers seem to know the pattern and much of the time their eyes are not even upon the work.


Showing the left and right Senna knots and the Ghiordes knot both before and after the trimming of the pile


YOUTHFUL WEAVERS

In many cases the head weaver sings these symbols for the benefit of the other weavers. Among the Nomads the design is frequently kept in the brain, or roughly drawn on paper or in the sand. If they have another rug as a model they get the right design by simply counting on the back the number of knots of every color in each row. Beginning at the bottom and working towards the right, the wool yarn, which goes to form the pile, is looped around the warp threads by the aid of blunt pointed needles and then tied in such a way that by each knotting two of the warp threads are bound. When the Turkish knot is used, these two threads are bound side by side. When the Persian knot is used, if tied tightly, one is bound in front of the other. This process is repeated along the line with the proper colors required by the patterns and after each row of knots one or more weft threads are passed through between the warp threads and then beaten down with a sort of comb, the teeth of which pass between the warp threads. The pile is then trimmed off with the scissors to the desired length. The Caucasians and Kurds, as a rule, leave a long pile, while the Turkomans and Persians clip theirs quite short. Close trimming brings out more minutely the color variations. The number of knots to the square inch is determined by the closeness of the warp threads and the number of weft threads thrown across after each row, also by the thickness of these threads. The tighter and closer the knots are tied the more perpendicular the pile and more durable the fabric. In coarse fabrics, like the Kazak, there are usually four or five weft threads between each row of knots. In such fabrics the rows of pile yarn overlap, thus giving it ample opportunity to untwist and become more lustrous. This is why the loosely woven, long naped rugs have more sheen than do the tightly woven short naped ones. Uneven trimming of the pile or unskilled use of the comb will produce unevenness in the completed rug.


A Wooden Comb.

The fewer and the lighter the weft threads are, the more flexible is the rug.The great depth of pile is also a good feature in certain rugs, as the heavier the fabric is the better it will lie.Stronger warp threads are usually put on each side to strengthen and give better support to the weft and sometimes both warp and weft are dyed, either in toto or at the ends only, in order to give a colored webbing to the finished product.


A PERSIAN LOOM.

As a rule the nap of all rugs which are tied with the Ghiordes knot runs directly towards one end, while those that are tied with the Senna knot have a nap which runs towards one corner, right or left, according to whether the right or left Senna knot is employed.Frequently rugs are found with either the Ghiordes or the Senna knot where the nap runs directly towards one side.This may be due to an untwisting of the pile yarn or to the washing process, the washer in such cases having scraped the water out towards the side of the rug instead of towards the end.


KAZAK RUG
PROPERTY OF MR. CHARLES SCHUBERT, CHICAGO, ILL.
PLATE LOANED BY THE SIMPLICITY CO. , GRAND RAPIDS, MICH.

The field consists of a series of medallions in dark brown and green upon a field of old rose.The main border stripe is rather foreign to the rugs of this class, being more like those found in the Bergama products.The next two important stripes carry the "crab design" while all the four guard stripes carry the conventional "saw teeth."That this piece has some age is quite evident from the condition of its ends.

(See page 272)


DESIGNS AND THEIR SYMBOLISM

The soul of the Oriental is in his design, which is invariably well composed of skilfully conventionalized figures and superbly rich, harmonious colorings of which one never tires, while that of the European has a stiff set pattern which soon fails to attract.

The transmission of ancient patterns has been going on from century to century, the old designs and colorings being copied by the weavers from one generation to another and many of those used at the present time are doubtless the same that were used in the time of Abraham.

Each district, tribe or family had its characteristic patterns and color combinations which were regarded as its individual inheritance and were never copied by other districts, tribes or families. So it is possible for the expert to tell the locality from which an antique rug came, but the source of the modern one is not quite as accurately determined on account of the changes in designs brought about by the influence of immigration, travel and conquest. A design may be borrowed by a neighboring province and gradually undergo changes according to the taste of the adopting people until its original form is completely lost. The patterns have also become limited in number, so that to-day the entire output of Persian fabrics comprises only about thirty original designs, but of these the varieties of form, arrangement and combination are very large. Turkey and India have even, in some instances, adopted European designs. The Nomad products are perhaps the freest of all from outside influences.

In the way of characterization we might state that the Persian designs are usually floral, while the Turkish designs are for the most part a mixture of the floral and the geometrical, the former being much less natural than those of the Persians.Caucasian and Turkoman designs are nearly always geometrical.Occasionally they are floral but of a rectilineal nature and never connected with wavy lines as in the Persian.The Kurdish designs are more like the Persian, while the Chinese consist largely of dragons, monsters, and animals of all sorts.It is curious to note how the Persians make many patterns out of one design by employing various methods of coloring.Even when the same colors are used there is always a great dissimilarity between the different makes of the same design.


SYMBOLIC PERSIAN SILK RUG
LOANED BY H.B.CLAFLIN & CO.

(See page 316)

Sir George Birdwood says, "Whatever their type of ornamentation may be, a deep and complicated symbolism, originating in Babylon and possibly India, pervades every denomination of Oriental carpets."The geometrical figures, floral designs and the figures of animals and beings all carry with them a mystical, poetical idea of religious sentiment, the study of which, though difficult, is very fascinating to one who has the ability to interpret them.It seems perfectly natural that the Oriental who is so passionately devoted to symbols should profusely weave them into his fabrics.The Turks, being orthodox Mohammedans, never weave figures of animals, birds or human beings into their rugs, as the teachings of the Koran forbid it lest it should lead to idolatry.Neither do they, as a rule, make their rugs symmetrical, their idea being to symbolize the fact that only Allah is perfect.The Persians and Chinese, however, being more liberal, exercise greater freedom in these respects, and in some of their old hunting rugs, of which but few remain, are depicted animals of all kinds.

It seems strange to us that the weaver, who worked day after day for months and sometimes for years on a single piece, seldom signed or dated it. I have seldom seen the name of the weaver, of the place of manufacture, or the date, on an antique rug. Many of the modern commercial pieces are provided with dates to make them more attractive to the buyer. Inscriptions, on the other hand, are frequently found in rugs of all ages and are most frequently on the borders. As a rule they are prayers or quotations from the Koran or poems from the writings of some famous Persian poet and with but few exceptions are in the Arabic language. The ability to read these inscriptions adds greatly to the charm and interest of their possession.

The date, when present, will usually be found in one corner of the rug, sometimes in the border on one side or end, and should be read from left to right.If the spot is well worn and the figures are indistinct turn the rug over and read on the back from right to left.

The following are the Arabic figures, of which there are numerous modifications:


SEMI-PERSIAN RUG; DESIGN FURNISHED BY EUROPEAN MANUFACTURERS
LOANED BY H.B.CLAFLIN & CO.
Even the novice can tell at a glance that this is not purely an Oriental product; it so closely resembles the Domestic carpet.

If we will but remember that the Mohammedan reckoning began on July 16, 622, A.D., when Mohammed made his pilgrimage to Mecca, and that the Mohammedan year consists of thirty-three days less than ours, it will be easy to find the year in our calendar corresponding to a given year in the Mohammedan.The rule is to subtract from the Mohammedan year one thirty-third of itself and add 622 to the remainder; thus, 1331 ÷ 33 = 40 (do nothing with the fraction), 1331-40 = 1291 + 622 = 1913.

The following is an alphabetically arranged list of the different designs with descriptions and suggestive drawings of the same.For that part referring to the Chinese and Indian mythology the author is greatly indebted to Prof. Du Bois Reymond of Shanghai, China, and to Mr. B.A.Gupte, F.Z.S., of Calcutta, India, respectively:

Alligator, see Kulah border design.

Almond, see Pear.

Angular Hook or Latch Hook.—A modification of the Swastika and carries the same meaning. It has been called the trade-mark of the Caucasian rugs, in which it is almost invariably used; in fact, it is apparent in nearly all of the Western Asia designs. With the Chinese the latch hook stands for privacy. (See colored plate at p. 60, also doubletone at p. 264.)

Anthemion or Hom consists of an alternate bud and fir cone arrangement with strong lateral markings. It is frequently used as a flower on the sacred tree.

Apple, see Silibik.

Ball and Claw.—Similar to that used on the legs of chairs and tables of the 17th and 18th centuries.

Barber-Pole Stripe (a border design). —An alternate arrangement of diagonal stripes of red and white or blue and white, found more or less in the borders of rugs from all parts of the Orient, especially the Caucasian products. Frequently the stripes carry some small decorative pattern. (See colored plate at p. 158, also doubletones at pp. 204 and 254.)

Basket.—One of the Chinese Buddhist ornaments.

Bat.—A Chinese design which is symbolic of happiness. Found quite commonly in the Chinese fabrics. Five bats often appear in the centre of Chinese rugs and represent riches, longevity, health, love of virtue and peaceful end.

Beads.—The rosary was anciently used to record time, and a circle, being a line without termination, was the natural emblem of its perpetual continuity; hence we find circles of beads upon the heads of deities and enclosing the sacred symbols upon coins and other ornaments.Beads are always carried by the Mohammedans to assist them in their prayers.The Moslem rosary consists of ninety-nine beads, each one designating one of the ninety-nine beautiful names of Allah.

Bee.—In China it is symbolic of many descendants.In India it has been adopted from British associations and represents industry, but is not regarded as an old symbol.

Beetle or Scarabæus.—A Chinese symbol of creation, resurrection or new life. In India it is a symbol of royalty. Wings of the gold beetle are used in decorating peacock feather fans and morchels or royal fly flaps. As the blue beetle it represents one that lives on honey and is portrayed near the form of a young lady whose lotus-like face it is supposed to have mistaken for that flower.

Boar.—In India a boar with a ball on its right tusk represents Vishnu the Protector in his third incarnation when he lifted up and saved the earth from being engulfed by the great flood (the deluge).

Bouquet, see Pear.

Butterfly.—The Chinese symbol of vanity.In India it was not used in the older decoration, but in modern decoration it has the associations of a flirt, owing to English environments.Butterfly forms are frequently found in Chinese rugs intermingled with those of bats.

Bow Knot.—As one of the emblems of Buddha it is used in Chinese and Japanese ornament and is often found in the border of Chinese rugs.Sometimes it partakes of a floral character in the Shiraz and Kirman rugs and is very commonly found in the Shemakha weaving, where it is a talismanic design.


SHIRAZ PRAYER RUG
Size 4'5" × 3'
PROPERTY OF MRS. WILLIS HOLDEN, SYRACUSE, N. Y.
(See page 206)

Canopy.—A Chinese Buddhist symbol.

Caucasian Border Design.—So called by the author because it is seldom found in any but the Caucasian fabrics. It is a sort of an S-shaped arrangement of the latch hook design. (See doubletones at pp. 254 and 256.)

Checker Board.—An arrangement of squares of two or more different colors similar to that of a checker board.Seldom found in any rugs excepting the Bergama and Yomud.

Chichi Border Design.—Usually consists of an eight-petaled flower arranged on the alternate steps of the Greek meander. It is seldom found in any rugs but the Tchetchen. (See doubletone at p. 260.)

Chin, see Pearl.

Chinese Cloud Band, see Cloud, Chinese.

Chinese Fret, Greek Fret, Greek Key (a border design), suggested by the overlapping of the sea waves. It is commonly found in the borders of the Samarkand, Kashgar, Yarkand, Beluchistan, and nearly all of the Chinese products. (See doubletones at pp. 264 and 296.)

Circle.—Quite commonly used in Chinese decoration, where it denotes eternity, having no commencement and no end.In India it is considered inauspicious.It is related that one of the Maharajahs of India returned a costly landau to a British manufacturer because it had circles of embroidered tape on its cushions.

Circle of Happiness (see colored plates, pp. 306 and 318, and doubletone at p. 290).—A circle or ovoid within which are usually worked various Chinese designs, either floral or animal.Found in nearly all classes of Chinese products.

Claw and Ball, see Ball and Claw.

Cloud Band, see Cloud, Chinese.

Cloud, Chinese, is one of the most famous of the Mongolian patterns, although it is frequently found in Caucasian and Kurdish fabrics. It is symbolic of immortality and represents the constellation of Ursa Major, in which, by the Mongolian, the great Ruler was supposed to reside. (See doubletone at p. 194 and color plate at p. 300.)

Coat of Arms, Persian (see illustration on p. 169).—Consists of a lion holding an uplifted sword in its right paw and the rising sun dominating from its back.Persians from their earliest history have worshipped the sun.The lion was added about eight hundred years ago, it being the emblem of one of the Nomadic tribes who were conquered by the Persians.The sword signifies the absolute power of the Persian rulers.This emblem is used on their flag and coins as well as in decoration.

Coat of Arms, Russian (see illustration on p. 253).—The Russian double eagle is occasionally found in old Kazaks.

Coat of Arms, Turkish (see illustration on p. 217).—Rudely represents a left hand, originated, it is said, by a Sultan who sealed the treaty of Ragusa with the imprint of his hand after dipping it in blood.It now appears on the Turkish stamps, coins and many of their public documents.

Cobra, see Serpent.

Cock, crowing, see Rooster.

Comb.—An emblem of the Mohammedan faith to remind the devout that cleanliness is next to godliness.For this reason it appears in its various forms near the niche of many prayer rugs, especially in the Daghestans.

Compass.—Carried by the Mohammedans to determine the location so that the niche of their prayer rugs might be pointed in the right direction, towards Mecca.

Conch Shell.—A Chinese Buddhist symbol.

Cone, Fir, see Pear.

Cornucopia.—Represented by a ram's horn filled with flowers and fruit.It symbolizes peace and prosperity.

Crab.—A border design having the appearance of a series of crabs with their claws extended. Very common in the Caucasian fabrics, especially the Kazaks. (See doubletone at p. 186.)

Crane.—In India the crane is symbolic of a rogue, a cheat, a false prophet, a religious hypocrite. Crane-like (bakavrata) means hypocrisy. A poet addressing a crane said, "You stand on one leg like a devotee performing austerities, but you can only cheat senseless fishes. Your hypocrisy is well known to the learned; they are aware of it."

Crescent.—In China the crescent is symbolic of coming events.In India it signifies descent in the lunar line of kings of the warrior race (Kehatriya) or it indicates Mohammedan faith.When used as a tattoo mark it is associated with a little star below it and it means the devoted love of Rohini (Venus) to the moon (who is masculine in Indian mythology).

Crocodile.—In Indian mythology, when drawn with a female figure seated on it, it signifies the Goddess Ganga (personification of the river Ganges); when drawn as holding an elephant in its tremendous jaws, it shows distress and tenacity.

Cross, Greek (sometimes called the Square Cross). —A plain cross with four equal arms. Most of the Eastern churches are built in the form of this cross. The cross is never found in rugs that are woven by the orthodox Mohammedans.

Cross, Square, see Cross, Greek.

Crow.—Chinese, harbinger of bad luck; Indian, an evil foreboder among the Hindus and a good omen among the Mohammedans.It is said that Sir Salar Jang, the late Minister of Hyderabad, always looked at a crow the first thing in the morning and that one of his attendants was told oft to stand with a crow in a cage facing his window.

Crowing Cock, see Rooster.

Crown Jewel, see Pear.

David's Shield, see Star, six-pointed.

David's Signet or Shield, see Star, six-pointed.

Deer.—In China it is symbolic of longevity and success.In India a doe is symbolic of love towards animals because of its association with Shakuntala in the Lost Ring, a very popular drama by Kalidas.

Diamond.—Found in rugs of most every class, but more especially in those of the Caucasus. As far as we are able to learn the diamond has no special symbolic significance. (See doubletone at p. 110.)

Diaper, see Lattice.

Disc, Winged, see Winged Globe or Disc.

Dog.—The dog is considered a sacred animal for the reason that one preceded Mohammed the prophet, when he made his first triumphal entry into Mecca.


HAMADAN RUG
Size 6'10" × 3'4"
PROPERTY OF MR. J. H. STANTON, AUBURN, N. Y.
(See page 194)

Dove.—Chinese, companionship; Indian, no significance except through British associations for innocence.

Dragon.—The Imperial Chinese dragon is represented with five claws and no wings, also with scales like a crocodile. It is frequently represented as either holding or looking towards a round object which is said to represent a pearl. In India the dragon is the symbol for death. The Japanese dragon has but three claws. (See color plate at p. 300, and doubletone at p. 332.)

Duck.—In China the duck is the symbol of connubial felicity.

Eagle.—In Indian Mythology, Garud, the Eagle of Heaven, is the charger of Vishnu and the destroyer of venomous snakes.

Egg.—In China it is symbolic of productiveness, plenty.In India, an egg with the figure of a babe inside of it indicates the universe.

Elephant.—Chinese, high official rank; Indian, sign of royalty, as kings possess them.

Feather, see Pear.

Feraghan, see Herati.

Fir Cone, see Pear.

Fish, see Herati.

Fish Bones.—Sometimes called Indian fish bone, suggests the skeleton of a fish. It is sometimes arranged somewhat similar to the Herati. (See doubletone at p. 284.)

Flame, see Pear.

Flower of Henna, see Guli Henna.

Flower and Knop, see Knop and Flower.

Fly.—With the Chinese the fly is symbolic of worthlessness.

Four Flowers, see Roses, four.

Four Roses, see Roses, four.

Fret, Chinese, see Chinese fret.

Fret, Greek, see Chinese fret.

Galley (a border design). —Originated among the people who inhabit the section of country between the shores of the Mediterranean, Black and Caspian Seas.

Georgian Border Design.—Generally found in Caucasian fabrics, especially the Daghestan and Shemakha, occasionally in the Saruk. There are several forms of this design, the two most common ones being herewith illustrated. (See color plate at p. 84 and doubletone at p. 266.)

Ghiordes Border Stripe.—Several forms, the two most commonly used are herewith illustrated, one being two rosettes one above the other, each joined by a long, narrow stem to a leaf form on the right, while the other has but half of a rosette, which is similarly joined to a leaf form below. (See color plate at p. 84 and doubletone at p. 266.)

Gourd.—Chinese, receptacle of mysteries; Indian, when shaped like a bowl it represents the drinking vessel of a Sanyasi or recluse.

Greek Cross, see Cross, Greek.

Greek Fret (border design), see Chinese fret.

Greek Key, see Chinese fret.

Guli Henna (see field design of illustration at p. 202).—Consists of the small yellow henna flowers arranged in rows with floral forms connecting them similarly in arrangements to the Herati design.It is common in Persian rugs, especially old Feraghans.

Hand, see Coat of Arms, Turkish; also Pear.

Hare.—Chinese, in connection with the moon.

Henna Flower, see Guli Henna.

Herati.—Also known as the fish, twin fish and Feraghan designs. Better known as the Herati. It originated in the old city of Herat. It consists of a rosette between two lancet-shaped leaves which very much resemble fish. On account of this resemblance it is often called the fish pattern. It has been utilized with many modifications in half of the rug-making sections of the Orient. It may be found in its original form in many of the Persian fabrics, especially the Herat, the Feraghan, the Khorasan, and the Senna. When in the body of the rug it is generally arranged as a diaper, covering all or a considerable portion of it. Sometimes it appears in combination with square or diamond-shaped figures. The Herati border is found in a great many of the Persian and in some of the Caucasian fabrics. (See color plate at p. 22, and doubletones at pp. 114, 190 and 312.)


FERAGHAN RUG
(HERATI DESIGN)
Size 7'6" × 4'
LOANED BY MR. EDW. HOMMEL
(See page 192)

Hexagon.—Found in rugs of most every class, but more especially in those of the Caucasus.It apparently has no special symbolic significance.

Hog.—In China the hog is symbolic of depravity and imbecility.

Hom, see Anthemion.

Hook, Angular, see Angular hook.

Hook, Latch, see Angular hook.

Horse Shoe.—Emblem of good luck.Frequently used in combination with cloud forms.

Hound.—Chinese, fidelity or loyalty.

Hour-Glass.—Formed by the joining of two triangles at their apices; is symbolic of fire and water.

Indian Fish Bone, see Fish bone.

Jewel, see Pear.

Jug.—In India the jug with the bust of a woman on the top represents the sacred water of the Ganges.

Key, Greek, see Chinese fret.

Knop And Flower.—A closed bud alternating with a rosette or a palmette. It is supposed to have had its origin in the Egyptian lotus. It is used chiefly in border designs.

Knot.—A Buddhist symbol.

Knot Of Destiny.—Dates back to Solomon's time.It is one of the Chinese Buddhist ornaments and is therefore quite commonly found in the Samarkand, Yarkand, Kashgar, and the various Chinese products.Also used more or less throughout the Caucasus and especially in the Shemakha; in fact, it is present somewhere in most rugs of the latter class, as a talismanic design.In some of the Persian fabrics it partakes of a floral character.

Konieh Field, see Rhodian.

Koran is a sacred design and few rugs with it ever leave Persia.

Kulah Border Design.—Claimed by some to have originally been intended to represent an alligator. There are exceedingly few Kulah rugs that do not show it and seldom is it seen in any other class of fabrics. (See doubletone at p. 240.)

Lamp.—Crude figures of lamps, like miniature tea-pots, often hang from the prayer niche of the Turkish prayer rugs, especially those of the Konieh, Ghiordes, and Ladik varieties.They are usually of a floral design and are generally accompanied by a column on either side which is intended to represent the two huge altar candles of the mosque.

Latch Hook, see Angular Hook.

Lattice.—Also known as trellis, diaper, and network. These names are applied to any design which is repeated in such a way as to form a lattice arrangement. It is more or less common in all classes of rugs, especially the Persians. A peculiar compact lattice pattern known as the "mirror design" is frequently found in the Hamadans. (See doubletone at p. 258.)

Leaf, see Pear.

Leopard.—The Chinese symbol for ferocity.

Lily, see Rhodian.

Link.—Link in Lozenge or Spiral is a combination of two triangles with one side of each parallel with the other and sometimes joined by a diagonal line.It is found in the borders of Asia Minor rugs, also in the field of many Nomad productions.Especially common in the Kurdistans and Shirvans.

Lion.—Chinese, strength, power, authority; Indian, a lion's figure on the arms of a chair indicates that it is a throne.A throne is called "Sivasan," which means a lion seat.A lion is also one of the chargers of the goddess Durga.

Loop, see Pear.


MODERN KERMANSHAH RUG
LOANED BY H.B.CLAFLIN & CO
(See page 188)

Lotus.—Very much resembles our pond lily with the exception that the color is of a brilliant purple on the border petals with a heart of deep orange and the stem stands high out of the water.It is commonly found on the banks of the Nile and is the first flower to spring up after the overflowing waters of that river have subsided.For this reason and because it preserves its chaste beauty while growing from such impure surroundings it has always figured among the Egyptians as an emblem of immortality and purity.With the Chinese it is symbolic of many descendants and in India it is especially sacred to the Buddhists and is the national flower of that country.In ornament the lotus is handled by many different nations, being used in both circular and profile forms, figuring as flowers, wheels, medallions, etc.

Magpie.—The Chinese harbinger of good luck.

Meander, Greek (a border design). —Also known as the zigzag, the wave crest, or the water motif. It consists of a series of diagonal lines at regular intervals representing waves or running water. Found in nearly all classes, especially the Caucasian.

Medallion.—A Mongolian element which no doubt originated from the lotus. Found in most Chinese and many Persian rugs, especially the Gorevans, Serapi, Hamadans, Kirmans, Shiraz, and Khorasans. A modification known as the "pole medallion," in which the ends of the design project out like a pole, is especially common to the rugs of Hamadan and Shiraz. In the Chinese rugs the medallion is usually of the form known as the Circle of Happiness. (See doubletones at pp. 180, 188, 192, and 222; also color plates at pp. 52 and 166.)

Mina Khani (see field design of plates at pp. 214 and 296).—Named after Mina Khan, one of the ancient rulers in Western Persia.It is a combination of red, yellow, and parti-colored red and blue florals joined by rhomboidal vines of olive green in such a manner as to form a lattice arrangement.It is distinctly a Kurdish design, although it is found frequently in the Persian fabrics, especially in those from the province of Khorasan.


KHIVA BOKHARA PRAYER RUG
Size 4' × 2'6"
PROPERTY OF MR. L. A. SHORTELL, BOSTON, MASS.
(See page 280)

Mir (a border design). —So called after the village where it is said to have originated. It consists of small rectilinear flowers connected by an undulating vine and is an almost universal design of the Sarabands. Seldom seen in other fabrics. (See doubletone at p. 198.)

Mirror Design, see Trellis.

Monkey.—Symbolic in China of high official rank.

Mosque Design.—Found in many prayer rugs.It consists of a column on each side of the prayer niche and a floral lamp hanging from the niche, usually in a field of solid color such as dark red or blue.

Mountains are represented with from one to five peaks. Of Mongolian origin, although they are occasionally found in some of the Caucasian, Turkestan, and Persian fabrics. The ancient Mongolians believed that the souls of the righteous mounted to heaven from the mountain tops and for this reason they are revered.

Network, see Lattice.

Niche or Mihrab (see plate at p. 322).—The name applied to the pointed design at one end of a prayer rug.It is supposed to imitate the form of the Mihrab in the temple at Mecca.When a prayer rug is used the niche is invariably pointed towards the holy city of Mecca.

Octagon.—Represents the eight directions of location and is found in Turkoman, Chinese, and Caucasian products. It is characteristic of the Turkestan rugs. (See doubletones at pp. 162, 264 and 278; also frontispiece.)

Owl.—Chinese, a bird of ill-omen.In Eastern India the owl is considered auspicious because it is the charger of Laxni, the Goddess of Wealth, but in Western India it is considered an ominous bird.

Ox.—Chinese, friend of man, agriculture; Indian, the charger of Shiva.The sacred nature of the humped bull in India is well known.

Palace or Sunburst.—Known by the latter name inasmuch as its shape suggests the radii around the sun. A very common design in Kazaks and Shirvans, especially the antiques. Never found in any but the Caucasian products. (See doubletone at p. 272.)

Palmette.—A little cup-shaped object with fan-shaped leaves around it. Believed by some to have had its derivation from the human hand with all the digits extended; by others it is believed to have been derived from the palm growth.

Panel.—Supposed to have been intended to represent mosque windows. They usually vary in number from one to three and are found in the Shiraz more than in any other class. (See doubletone at p. 246.)

Parrot.—In India this bird is symbolized as a messenger of love.

Peacock.—Chinese, beauty; Indian, it is always auspicious because it is the royal bird.Its feathers supply material for the morchel brushes held by pages on each side of a Maharajah or king.

Pear.—Also known as the cone, the palm leaf, the river loop, the crown jewel, the seal, the almond, the feather, the bouquet, and the flame. There is a vast difference of opinion as to the origin and meaning of this motif. Some authorities claim it was intended for the fir cone, which served as an emblem of immortality and was revered by the ancients; some say it was intended for the palm leaf, which has been handed down by the Greeks as a symbol of victory; others say it was intended to represent a loop which the river Indus makes on a vast plain in upper Cashmere as seen from the Mosque. By some it is said to represent the crown jewels or chief ornament in the old Iranian crown, which is a composite jewel of pear shape. A great many believe it to represent an ancient seal which was made by the closed hand after dipping it in human blood. Tradition tells us that the signing of documents in such a manner was a custom well known in the East. This design has also been called the almond, the feather, the bouquet, and the flame on account of its fancied resemblance to these objects. We have selected the name "pear" because the image it conveys is more clearly recognized by the western mind. It is that which its shape most suggests. The Pear design is common in many kinds of rugs, especially in those of Persia and Kurdistan, but it varies greatly in varieties of form and size. The large size is usually employed in the Caucasus and Southern Persia, while the small size is used more frequently in Central and Western Persia. In the Saraband, Shiraz, Herat, Khorasan, and Senna, it frequently covers the whole field. In the two former alternate rows usually have the stems of the pears turned in opposite directions, while in the three latter the stems are usually turned in the same direction. (See doubletones at pp. 198, 204, 208 and 262; also color plate at p. 292.)


A KURDISH GUARD

Pearl or Chin.—A Mongolian design.Frequently found in Chinese, Tibetan, and Turkoman rugs.It stands for purity and is generally associated with the dragon, which is supposed to be guarding it from the grasp of the demons.

Peony.—Symbol in China of wealth and official position.

Persian Coat of Arms, see Coat of Arms, Persian.

Phœnix.—Chinese, prosperity, a bride. (See doubletone at p. 332.)

Pineapple has furnished many designs. It is even claimed by some authorities that the palmette of the famous Shah Abbas design was originally suggested by the pineapple.

Pine Tree, see Tree.

Pole Medallion, see Medallion.

Pomegranate.—Many descendants. The pomegranate takes a prominent place in Mohammedan art, especially in the Anatolian provinces. It is highly regarded as a food and from its juice a delicious drink is made.

Ram, Indian.—If drawn with a four-headed figure riding it, it means Mars.

Reciprocal Saw-teeth is sometimes called by the Persians "sechrudisih," meaning teeth of the rat. Almost distinctive of Caucasian fabrics, especially the Kazaks. Occasionally present in the Turkish and Turkoman rugs also. (See doubletone at p. 242.)

Reciprocal Trefoil.—So named by European experts who claim it to be an essential mark of the Polish carpets. Like the barber pole stripe it is found in rugs of nearly all classes, but more especially the Caucasians. Probably found more frequently in the Karabaghs than in any other rug. (See color plate at p. 166.)

Rhodian or Lily.—Composed of small flowers with three triangular petals and a long stem. Has the appearance somewhat of a shamrock leaf. It may be found in any of the Asia Minor rugs, especially in the field of the Konieh and Ladik. In the former it is nearly always present and for this reason is sometimes known as the Konieh design. (See color plate at p. 60 and doubletones at pp. 138 and 236.)

Rhomboid.—Common in rugs of most every country, but more especially in those of the Caucasus.It carries no special symbolic significance.

Ribbon.—Representation of a twisted ribbon. Like the barber pole stripe, the reciprocal trefoil, and the Greek meander, it is found in nearly all classes of rugs. (See color plate at p. 145 and doubletone at p. 130.)

Rice.—Sometimes referred to as the "grains of rice" pattern; consists of pinkish brown colored spots sprinkled on a field of dull white.Often arranged in a network.Found only in Samarkand and Chinese products.

River Loop, see Pear.

Rooster.—The people of Shiraz personify the Devil in the form of a rooster, which they weave in some of their choicest rugs in order to avert the evil eye. Some forms of the "crowing cock," so called, are easily confused with the Pear pattern.

Rosary, see Beads.

Roses, Four.—An ancient design appearing in many forms. Common in the Kurdish products and it is thought by some to be a Kurdish form of the tree of life.It appears in several different forms.

Rosette.—A floral-shaped design which is said to resemble the "Star of Bethlehem," an early spring flower of Persia.It is much used in border designs and it alternates with the palmette in forming the Shah Abbas pattern.It also forms the design known as the Knop and Flower by alternating with a closed bud.Some authorities claim that it originated from the lotus.

Russian Coat or Arms, see Coat of Arms, Russian.

S Forms, especially repeated in the form of a border, are very common in the Caucasian fabrics, especially in the Kabistans and Shirvans. Also found to some extent in the Turkish and Persian weaves. (See doubletone at p. 220.)

Saraband Border Design, see Mir.

Sardar.—Named after the Sardar Aziz Khan, who was at one time governor of Azerbijan.This design consists of narrow leaf forms, which are connected by vines and relieved by bold floral shapes.Quite commonly used in modern fabrics, especially the large-sized ones.

Saw-teeth, Reciprocal, see Reciprocal Saw-teeth.

Scarabæus, see Beetle.

Sceptre.—One of the most distinctive and famous of the Mongolian patterns.

Scorpion or Spider.—Chinese, viciousness, poison. In India it is believed that if a scorpion creeps over the body it causes leprosy and that if one bears the tattooed image of a scorpion he is free from leprosy as well as from the bite of that insect. As a design it is quite common in the borders of Caucasian fabrics, especially the Shirvans.

Scroll.—One of the distinctive Mongolian patterns which is said to represent the sun.Found in the Turkestan, Chinese, and Tibetan fabrics.

Seal, see Pear.

Seal of Solomon, see Solomon's Seal.

Serpent.—In India it is inauspicious because it reminds one of death.

Shah Abbas (see border design in cut of Ispahan rug at p. 194). —Named after the most revered of monarchs, who was born in 1586 and died in 1628. It is one of the most beautiful of the ancient designs. It consists of yellow, red, and blue flowers with connecting vines upon a background of blue. The so-called Shah Abbas design of to-day has very little resemblance to the ancient design. (See color plate at p. 32 and doubletone at p. 194.)

Shaul Design, see Pear.

Shield of David, see Star, six-pointed.

Shirvan Design is composed of a diamond figure, each side of which is formed by a series of steps. Frequently the centre is filled with small geometrical figures. This design is found more or less in the majority of the Caucasian products, but more especially in the Shirvans.


KIR SHEHR PRAYER RUG
Size 3'10" × 5'5"
PROPERTY OF MR. J. H. STANTON, AUBURN, N. Y.
(See page 222)

Shou appears in many forms, but the three forms illustrated herewith are the most common, not only in Chinese rugs but also as decoration in old porcelain and as embroidered designs on silk.

Signet of David.—Based upon the equilateral triangle and from it have originated many of the Turkish designs.See Star, six-pointed.

Silibik or Apple.—A Kurdish design which bears very little resemblance to the fruit after which it is named.It is usually arranged in perpendicular rows throughout the field.

Sixteen Lucky Squares, see Knot of Destiny.

Snake, see Serpent.

Solomon's Seal.—Built on the right angle triangle and, like the Signet of David, it is found in many of the Turkish and Caucasian fabrics and to it scores of patterns may be traced.

Sparrow.—In India it indicates bumper crops.

Spider, see Scorpion.

Spiral, see Link.

Square.—Found in the rugs of nearly every class, but more especially in those of the Caucasus.It apparently has no special symbolic significance.

Square Cross, see Cross, Greek.

Squirrel.—In India it is sacred to Rana, the seventh incarnation of Vishnu, because while his monkey army was building a bridge for him to go over to Ceylon this little creature was seen repeatedly rolling into the sand of the beach and washing the grains, which adhered to its bushy coat, into the sea.Rana inquired why it took so much trouble and the reply was that it was taking sand down to the sea to reclaim the land or fill up the gap between Ceylon and India and to facilitate the construction of the bridge.Rana was so pleased that he passed his fingers coaxingly over its body and said that the sacred marks thus produced on its back would protect it.The stripes on the squirrel's back are still believed to be Rana's finger marks and no good Hindu, therefore, will kill a squirrel.Its presence is auspicious, signifying Divine protection.

Star.—An emblem seen the world over in decoration, especially in synagogues. It is common in the Caucasian and Turkoman products, especially in the form of the elongated eight-pointed star. This eight-pointed star in the centre of an octagon is said to have represented the Deity of the ancient Medes. In all probability the six-pointed star was an adaptation of the Shield of David. It is supposed to have been symbolic of divinity. To it may be traced scores of Turkish patterns. (See doubletone at p. 162 and color plate at p. 94.)

Stork.—Chinese, longevity.Indian—the Indian heron has been associated with cunning and deceit.It is said that it stands on one leg like an Indian ascetic as if it had been performing austerities, but as soon as a fish comes within reach it pounces on it and devours it.People who assume the garb of religious men and cheat others are called (bak) storks, herons.

Sunburst, see Palace.

Swan.—In India the swan is the charger of Brahma.

Swastika.—Derived from the Sanscrit word Svasti, which means good pretence. It dates back three or four thousand years B. C. and has been found in nearly all excavations of prehistoric times and among the relics of primitive people all over the world. It has been known alike to Ancient Greeks, Egyptians, Chinese, Japanese, East Indians, Aztecs, mound builders, and the North and South American Indians, with all of whom it has a similar meaning, viz. , good luck and happiness. In India it is drawn below the seats intended for bridegrooms, below the plates containing food to be offered to gods and is tattooed on the arms. It is drawn on the scalp at the thread ceremony and on the dorsum of the feet on all auspicious ceremonies, such as marriages, etc. The usual figure consists of four arms with the cross at right angles and the arms pointing in the direction of motion of a clock's hand, although it has been given different forms, as shown by the accompanying illustrations. It is very commonly used as a rug design, especially in the Chinese, Caucasian, Turkish, and Turkoman products. (See color plate at p. 306 and doubletone at p. 290.)

T Forms (a border design) figure largely in the decoration of Samarkand and Chinese rugs. Similar to the Chinese fret.


THE EMIR OF BOKHARA AND HIS MINISTERS


TURKOMANS AT HOME

Tae-kieh or Yang and Yin is a circle separated by two semicircles into comet-shaped halves. Distinctly a Chinese symbol and found in Chinese, Tibetan, and Turkoman textiles. Used as a charm and found in decorations on all sorts of articles.

Tarantula.—A design which has been so modified as to almost obscure the resemblance. It is almost omnipresent in all of the Caucasian fabrics, especially the Kazaks, Kabistans, and Shirvans. (See doubletone at p. 248.)

Tekke Border Designs.—Two forms, one a sort of a double T border, the other a diagonal arrangement of the Indian fish bone. (See doubletones at pp. 280 and 284.)

Tekke Field Design.—A repetition of a Y-shaped design. Found only in the Tekke rugs, especially those of the prayer variety. (See doubletone at p. 284.)

Tomoye owes its origin to some ancient conception of elemental forces. It has been adopted by Korea and Japan as a national and heraldic crest. Frequently used in Mongolian ornament.

Tortoise or Turtle Border Design.—A design in which the figure of the tortoise is arrayed in a manner similar to that of the Herati border design. In China the tortoise stands for longevity and immortality. In India it is also auspicious inasmuch as it represents the second incarnation of Vishnu where it supports the earth on its back. (See doubletones at pp. 178 and 202.)

Tree.—Sometimes called the tree of life. Always associated with religious belief. It symbolizes Divine power and perpetual life. It has furnished more different art motives than any other object and is almost omnipresent in Persian prayer rugs. The palm signifies a blessing or benediction, the weeping willow stands for death, and the cypress, while being an emblem of mourning, in its perennial freshness and the durability of its wood, is also a very practical symbol of the life to come. It is an Oriental custom to plant cypress trees on the graves of the dead, to place its twigs in the coffins of the dead, and to use its branches to indicate the houses of mourning. (See frontispiece and doubletone at p. 99.) In India the cocoanut palm is considered "the tree of desire" or one that fulfils all desires. Its stem serves as a pillar or beam, as a water conduit and as fuel; its leaves supply mats for roofing the houses; its kernel supplies oil; its shell makes water bowls, and the oil of the shell is used as an external application in certain skin affections, etc. It is all useful and supplies all the primitive wants and therefore was much cultivated by the Rishis (Saints) of old, who called it "kalpa taru," literally the tree that supplies all desires. Its presence therefore is auspicious. (See color plate at p. 22; also doubletones at pp. 48, 98, 210, 220, and 222.)

Trefoil, Reciprocal, see Reciprocal Trefoil.

Trellis, see Lattice.

Triangle.—Scores of Turkish patterns may be traced from the triangle. It is frequently found tattooed upon the body of the Turks as a talisman. Frequently appears as a design in the Daghestans. In India it represents mother earth and is very auspicious.

Turkish Coat of Arms, see Coat of Arms, Turkish.

Turtle, see Tortoise.

Twin Fish, see Herati.

Umbrella.—A Buddhist symbol which is occasionally found in Chinese rugs.

Urn, see Vase.

Vase or Urn.—A Buddhist symbol occasionally found in Chinese decoration. (See doubletone at pp. 210 and 212; also color plate at p. 22.)

Vulture.—Indian, death.

Water Crest, see Meander, Greek.

Wheel.—A Buddhist symbol which is sacred to Vishnu, who holds it in his hand.It also symbolizes the "wheel of the law."Found in Chinese ornament.

Wine-Glass Border.—A border which resembles a wine glass and is especially common in the Caucasian textiles, particularly the Kazaks and Shirvans. It appears in various forms, but the most common is the one in combination with the fish-bone design. (See color plate at p. 292.)


KONIEH PRAYER RUG
Size 5'6" × 3'8"
PROPERTY OF DR. A. CLIFFORD MERCER, SYRACUSE, N. Y.
(See page 226)

Winged Globe or Disc.—An Egyptian design consisting of a small ball, on the sides of which are two asps with extended wings, expressing by these extended wings the power of protection afforded by the Egyptian government.Also an emblem of religious sincerity and appreciation of benefits derived from God.

Wolf.—Chinese, ingratitude, heartlessness.In India it is inauspicious and is never drawn or embroidered on fabrics.

Y Form (a border design). —One of the most famous of the Mongolian patterns and figures largely in the decoration of Chinese rugs. See also Tekke Field Design.

Yang and Yin, see Tae-kieh.

Zigzag, see Meander, Greek.


Some nameless Persian border designs


Some nameless Turkish border designs


Some nameless Caucasian border designs


Turkoman border designs

Caucasian field designs

Chinese border designs

Turkish field designs

A Chinese field design

Persian field designs

Kurdish field designs


KAZAK RUG
Size 6'3" × 4'8"
PROPERTY OF S. F. HIPES, TRINIDAD, COL.

Knot: Ghiordes.Nine to the inch vertically and eight horizontally, making seventy-two to the square inch.

One will seldom see a more beautiful and more glossy piece, especially among the Caucasian fabrics, and neither the material nor dyes can be excelled.

The black in the background is of natural black sheep's wool covered with all sorts of animals, birds and symbols, most of which are in a rich rose color.The main border stripe consists of the crab design in subdued tones of yellow, blue and red with more or less white.

(See page 272)


THE IDENTIFICATION OF RUGS

The one thing desired by those who are just beginning the study of Oriental rugs is the ability to readily identify them.Realizing this, the author has included a chapter on the identification of rugs which contains many features new to rug literature and which, he trusts, will greatly simplify and render easy the process of identification; but it must be borne in mind that certain rugs are much more easily distinguished than others and that at times even the connoisseur is puzzled.

Oriental rugs are identified not alone by their designs and colors, but by their material, texture and finish, therefore, there is given first, a list of those which are distinguishable by their outstanding or prominent characteristics; second, reproductions of the backs of those rugs which are characteristic in their appearance, and third, an exhaustive chart giving complete details as to weave, material, texture and finish of each variety of rug.

The chapter on Design, which precedes this, is the most complete consideration ever given to this detail of rug making, and its numerous descriptions and drawings will enable the reader to identify, with reasonable certainty, rugs by this feature alone.

The numerous pictures of the representative types of rugs will also familiarize the readers with many distinguishing patterns, while the chapters in Part II take up and gather together all of the various features of each kind of rug upon the market, so arranged and described that a clear and comprehensive idea of it will be formed in the mind of the reader.

A FEW CHARACTERISTIC FEATURES OF CERTAIN RUGS

Named in the order of their importance and given to assist the reader in differentiating, although few are absolute criterions.

Herez.—Characteristic angular ornamentation; shaded background (see doubletone, page 172).

Kara Dagh.—The pile contains considerable natural colored camels' hair.

Tabriz.—Almost invariably a medallion centre (see doubletone, page 182).Very frequently curl on the sides.

Bijar.—Considerable camels' hair in the field.

Kermanshah.—Colors soft and light; sides overcast with dark wool.

Senna.—Characteristic weave (see plate on weaves, page 152); pear design and Herati field and border design very common; pole medallion (see doubletone, page 188).


Feraghan.—Herati border and field design in the great majority (see doubletones, pages 114 and 190).

Hamadan.—Broad outside band of natural colored camels' hair; pole medallion nearly always a prominent feature (see doubletones, pages 110 and 192).

Saraband (Mir).—The characteristic Saraband border stripe; field consisting of the pear design in rows with the stems of alternate rows turned in the opposite direction; light blue web (see doubletone, page 198).

Saruk.—Overcast with silk or dark wool; Herati border designs; intricate floral designs; frequently curled on the sides (see color plate, page 166).

Sultanabad.—Generally large scroll and floral pattern (see doubletone of Mahal, page 202).

Niris.—Madder red predominates; pear pattern common.

Shiraz.—Sides overcast with wool of two colors; pole medallion a prominent feature; little tassels of wool frequently along the sides; strand of colored yarn in web (see color plate, page 52, and doubletones, pages 206 and 208).

Herat.—Herati border and field designs common; pear designs in field with stems all turned in the same direction.

Khorasan (Meshed).—Uneven distribution of woof threads (see plate on weave, page 152). Two small pears resting their stems upon a larger one is one of the common designs. Herati border and field also common. Magenta a prominent color (see color plates, pages 22 and 32).

Kirman.—Bouquets and vases in design most frequent (see doubletone, page 212).

Kurdistan.—One or two strands of colored wool in web of one end; overcast with yarn of different colors; shading of colors.

Kir Shehr.—-Many have several tufts of wool composed of all the different colored yarns which are used in the body of the rug.

Ghiordes.—The fringe on the upper end, as a rule, instead of being a continuation of the warp threads, is a separate piece sewed on. It also usually has two cross panels, one above and one below the prayer field (see color plate, page 66).


Ladik.—Wide red web striped with yellow or blue; figures large in comparison to the size of the rug; magenta freely employed.

Yuruk.—Border narrow in proportion to size of rug.

Bergama.—Designs generally broad and large in proportion to rug (see doubletones, pages 46 and 236); frequently small tassels of wool along the sides of the rug; several woof threads between each row of knots and a wide web which frequently carries a design or rosettes which are woven in.

Kulah.—The Kulah border design nearly always in one or more of the stripes; the ends are generally dyed yellow; a large number of narrow border stripes which are filled with minute designs, usually the "fleck." A filled or partly filled centre field; usually one cross panel (see doubletone, page 240).

Meles.—Field is frequently composed of perpendicular stripes of yellow, red and blue with zigzag lines or peculiar angular designs running through them (see doubletone, page 242).

Mosul.—One or more strands of colored yarn run through the selvage, usually red and blue.

Daghestan.—Diagonal ornamentations of both field and border; all spaces well filled with a small geometrical design (see color plates, pages 84 and 292, also doubletones, pages 254 and 256).

Derbend.—Yellow lavishly used; field likely to consist of a repetition of designs in alternate colors.

Tchetchen.—The characteristic Tchetchen (Chichi) border design is nearly always found (see doubletone, page 260).

Baku.—Small strand of camels' hair crosses one end.

Shemakha.—Pileless; loose shaggy yarn ends on the under side (see plate of weaves at page 153).

Genghis.—-Field often filled with the pear design, each row alternating in color (see design on page 268).

Kazak.—From two to six woof threads between each row of knots; diagonal position of pile (see plate on weaves, page 152). Palace design commonly employed. Bold figures and bright colors (see doubletone, page 272).


TEKKE BOKHARA STRIP
Size 1'2" X 4'11"
PROPERTY OF THE AUTHOR

(See page 284)

Khiva.—Large detached octagon and diamond forms; goats' hair warp (see doubletone, page 278).

Tekke.—Small detached octagon and diamond forms (see doubletone, page 282).

Yomud.—Checker-board effect of selvage on the sides; strands of colored wool in the web (see doubletone, page 286).

Yarkand.—Generally four strands of woof between each row of knots.

Samarkand.—One or more "circles of happiness"; three or four woof threads between each row of knots; lavish use of yellow and Bokhara red; designs mostly Chinese (see doubletone, page 290).

Beluchistan.—Sides frequently finished in horse hair; dark subdued colors. If there is any white it is nearly always in one of the border stripes (see doubletone, page 296).

By carefully consulting these characteristics and the chart of distinguishing features it ought to be a comparatively easy matter to take up almost any rug and name it after a few moments' reflection.To illustrate, try your skill on the following description: Knot—Senna, weave close and rows of knots very uneven; warp and woof both of undyed cotton.Pile of very fine wool, short and upright; ends both have narrow white webs through which runs a strand of parti-colored yarn.There is also a fringe of loose warp ends.The sides are overcast with silk.There is a diamond-shaped pole medallion upon a field which is covered with a minute Herati design; the colors are subdued shades of red, blue, green, yellow and old rose with more or less white.

After consulting the table of distinguishing features you will find that the Senna knot excludes all Caucasian and Turkish fabrics; the cotton warp and woof excludes all Turkoman fabrics excepting the Kashgar and the Yarkand. The overcasting of the sides, as well as the Herati design, excludes these two, therefore it must belong to the Persian class. A great many of this class are tied with the Senna knot; have cotton warp and woof; a short, upright wool pile and narrow webs with loose warp ends, but only two are ever overcast with silk, namely the Senna and the Saruk. Upon referring to the characteristic features mentioned in the first part of this chapter (page 148) you will see that the Herati design is common to both of these rugs, but that the uneven weave, the pole medallion and the strand of colored yarn in the web are all Senna features, therefore you have a Senna.

A thorough knowledge of designs and colors would have enabled you to name the piece at first sight, as would also the character of the weave in this particular instance.

Most of the prayer rugs may be accurately classified by consulting the chart illustrating rug niches (page 322), while the distinguishing characteristics of the different Ghileems may be found in the chapter on Ghileems.


Characteristic Backs of Rugs


Characteristic Backs of Rugs

ILLUSTRATIONS OF THE BACKS OF SOME RUGS
SHOWING THEIR CHARACTERISTIC WEAVES

The author has endeavored to include in this group of pictures one of every rug which has a distinct characteristic weave.There are many rugs, the weaves of which differ so minutely that their reproduction on paper would be of no material help.

The details of each picture are of the same size as the rug from which it was taken and each one is presented with the warp threads running up and down.This idea of comparison would be even more valuable were it possible to procure pictures of pieces only which have the same number of knots to the square inch.A magnifying glass will aid materially in bringing out the minute details.

No.1.Khorasan.—Twelve knots to the inch vertically, and six horizontally.This peculiar weave is due to the fact that several rows of knots are tied with no woof thread to separate them; then two or three strands of the woof are thrown in, one after the other, followed by several more rows of knots.This method of weaving is a Khorasan feature.

No.2.Senna.—Eighteen Senna knots to the inch vertically, and eighteen horizontally.Notice the closeness and irregularity of the rows of knots.Contrast the appearance of this with that of the Saruk (No.3) which is tied with the same kind of knot and has very nearly the same number to the square inch.

No.3.Saruk.—Fifteen Senna knots to the inch vertically, and sixteen horizontally.One of the most closely and most evenly woven of the Oriental fabrics.In this illustration the rows of knots can easily be counted horizontally, but it is almost impossible to count them vertically unless we follow the stripe-like arrangement in the straight oblique outlines of some of the designs.

No.4.Kazak.—Six Ghiordes knots to the inch vertically, and nine horizontally.Notice the wide spacing between each row.This is due to the great number of woof threads between each row, a characteristic of the Kazak.This cut beautifully illustrates the appearance of the Ghiordes knot on the back.Note that each one has two loops as compared with the one loop in the Senna knot, as illustrated in No.3.

No.5.Saraband.—Ten Senna knots to the inch vertically and ten horizontally.The white or light blue woof threads are distinctly seen in each row, even in those which are closely woven.The spaces between the rows vary a little in places, giving it an appearance somewhat similar to the Khorasan weave.

No.6.Daghestan.—Eight Ghiordes knots to the inch vertically, and eight horizontally.This piece has the same number of knots to the square inch as does the Chinese (No.7), and, although of a different kind, the appearance of the weave is quite similar.

No.7.Chinese.—Nine knots to the inch vertically, and nine horizontally.The spiral appearance of the colored rows of knots and the white woof threads give it a look quite similar to that of the Daghestan (No.6).

No.8.Merve Ghileem.—Eight stitches to the inch.Compare the difference in weave to that of the Kurdish ghileem (No.9).The colors of the latter are always at right angles to or with the warp and woof threads, while that of the former is diagonal to the warp and woof threads.This method of weaving gives the Merve fewer and smaller open spaces.

No.9.Kurdish Ghileem.—Notice the many open spaces, also the loose yarn ends, a characteristic of this class of ghileems.

No.10.Shemakha (coarse). —Eight stitches to the inch. Showing the front of the rug in order to illustrate the Shemakha weave, which is a flat weave and yet quite different from that of the ghileems. Note its braided appearance.

No.11.Shemakha (coarse). —Back of the same rug as shown in No. 10. Note the quantity of loose yarn ends.

No.12.Shemakha (fine). —Ten stitches to the inch. Note the difference in the number of loose yarn ends in this piece compared with those in the coarsely woven fabrics (No. 11).

CHART SHOWING THE DISTINGUISHING FEATURES
OF THE DIFFERENT RUGS (part 1)

 KnotWarpWoof
GhiordesSennaWoolCottonGoat's HairCamel's HairSilkLinenDyedWoolCottonGoat's HairCamel's HairSilkLinenDyedExtra Thr'ds
PERSIAN                 
     BakhshisOR A      A    Ob 
GorevanOR A      A    Ob 
SerapiOR A      A    Ob 
Kara DaghA A     RR     OrR
KashanA  R  OO  R  OO  
Souj BulakA RO     RO      
TabrizSR R  OO OR   O  
BijarA Ah      Rh  O    
KermanshahSR A      A    Ob 
Senna A R  OO OR  OO  
FeraghanMo.OAn.A Mo.O A     S;R    O 
HamadanA  A     OR O    
Ispahan A A      A      
JoshaghanA A      A       
SarabandMo.RAn.A Mo.O A      A    Flb 
Saruk A R   O  R   O  
SultanabadRO A      A      
MahalRO A      A      
MuskabadRO A      A      
NirisA A      A       
ShirazFRAn.A Mo.R Mo.F    A     RF
HeratRSOR  An.Rs  OR    Rb 
Khorasan A A     OR     A
MeshedSROR     RO      
Kirman A A     RO      
KurdistanA R O   RgR OO  Rborg 
TURKISH                 
     Kir ShehrA A     RA     R 
OushakA A     RA     R 
KaramanA Ac     RrA     Rr 
KoniehA A     RpcA       
MujurA A      A     Ar 
LadikA A     RrA     R 
YurukA R O   RbR O   Rb 
Ak HissarA A c      Ac       
AnatolianA A      A     R 
BergamaA A     RrA     Rw 
GhiordesA An.R Mo.AAn.O  An.O  OR   S  
KulahA A      An.A Mo.RMo.O      
MelesA A     ROR      
MakriA A      A       
SmyrnaA Ac      Ac     R 
MosulA ROO   RdRcO    Rgorb 
CAUCASIAN                 
     DaghestanA RO    RgAn.R Mo.OMo.R An.O    F 
DerbendA R F   RbA      R
KabistanA RO     OR      
TchetchenA RO     A     Rb 
BakuA RO F   OR      
Shemakha  A      A       
ShirvanA ROO   Mo.b
g or pc
RO      
GenghisA R F   b.g or
r
A     Fb, r
or g
R
KarabaghA A      A     Fr
or b
R
KazakA A      A     Rr
or b
or b
R
TURKOMAN                 
     Khiva AR F   RdR F   Rg or 
BeshirORR O    R O   d 
Tekke AA      A     Rr or
b
 
YomudORR F   RbR F   Rr 
Kashgar A A      A      
Yarkand AOR     OR     R
SamarkandSRRO  O Rb or
y
RO  O Rb or
y
R
  Beluchistan AR O    A     Rd 
  ChineseOROR     RO    RdR

CHART SHOWING THE DISTINGUISHING FEATURES
OF THE DIFFERENT RUGS (part 2)

 PileEndsSides
WoolCottonGoat's HairCamel's HairSilkShortMediumLongTextureNarrow WebWide WebHemmed WebParti-colored Strands in WebDyed WebLoose Warp EndsBraided Warp EndsKnotted Warp EndsOvercastSelvaged
PERSIAN                   
     BakhshisA    FR CA    R ORS
GorevanA    FR CA    R ORS
SerapiA    FR CA    R ORS
Kara DaghR  O OR fR R oe RrR  OR
KashanR   OA  fA    A  A 
Souj BulakA    OR fl tuR R  R oe  A 
TabrizA    A  fuA OO A  An., R
Mo. O
An.S
Mo. R
BijarR  O  RFtuA R oe  R oe  A 
KermanshahA    RO fA    A  A 
SennaA    A  fuA  O A  A Fs 
FeraghanR  F An.RMo.R  A O  A oe  A 
HamadanR  Fpa  RF   R oe  R oe FA 
IspahanA    A  fA    A  A 
JoshaghanA    OR  A    A  A 
SarabandA    A  fuA O RlbA oe  A 
SarukA    A  fuA  O A  A Fds 
SultanabadA    OR CA    A  A 
MahalA    OR CA    A  A 
MuskabadA    OR CA    A  A 
NirisA    RO  OR   R  A 
ShirazA    RF Rh A Em  RrA  A Rpc 
HeratA    OR  A   RbA  A 
KhorasanA    FR flA    A  ROad
MeshedA    RF flA    A  A 
KirmanA    A  fuA    A  A 
KurdistanR OO  ORtuA F oeAg or bR oe RA iw 
TURKISH                   
     Kir ShehrA    SORflA   RRO RO ad
OushakA     ROflR   Rg or
r
R  RO
KaramanA     ROCRO  RrR  RO
KoniehA    OAn.RMo.RflA    A  Mo.R
An. O
An.R
Mo. O
MujurA    R    R  RrR   A
LadikA    RO fl A  RrR   A
w ad
YurukR Fha   ROflA   RbFR O
Rgh
Rh
Rgh
Ak HissarMo.R Mo.F
An. A
  FR flA    A  RO
AnatolianR O   ROflOR  RwOR  Ah
BergamaA     ORfl A  RrOR  Aw
GhiordesRO   Mo.A An.RfA    An.R
Mo. S
 Mo.R A Ad
s
KulahR O  An.ROMo.R A   RyA  Mo.RAn.A
ad
Mo. O
MelesA    ROO A    A   A ad ie
MakriA     OR OR   R OOR
SmyrnaA     RFflA    R  RO
MosulR FO  RFflA OR A oeOORO
CAUCASIAN                   
     DaghestanA    OR  A   RgR ROR
DerbendA    OR  RO  RbR RRO
KabistanA    RO  A    R ic R iwRO
TchetchenA    RO  A   RbR ROR
BakuR OFpa FR  A    R  RO
Shemakhap        R    R ROR
ShirvanA    RO  R   RbR RRO
GenghisR O  FRO RhO  g.r.
or b
  RORh
KarabaghR  O OR  A R oe Rr
or b
R oe  Mo.R
An O
An.R
KazakA     ORflA O oe Rr
or b
R oe OOR w
TURKOMAN                   
     KhivaR O  FR fOR RRdA   Ah
BeshirR O       R RRrR O A
TekkeR O ORO fuFR  RdA  RO
YomudR O  FR   A RRr
or b
A   A
Rpc
KashgarR   OOR  RO   A   A ad
YarkandR   OOR  RO   A   A ad
SamarkandR   ORO COR  Rb or
y
ORRMo.R
An. O
An.R
Mo. O
  BeluchistanR FO ORO  A FRd   Mo.OAn.A
O hh
  ChineseR   OFR CA    R  Mo.RAn.R

Explanation of Symbols: A = always; R = as a rule; F = frequently; O = occasionally; S = seldom; An.= antiques; Mo.= moderns; em = embroidered; ad = added; c = coarse; f = fine; fl = fluffy; h = heavy; t = thick; w = wide; u = upright; oe = one end; pa = part; p = pileless; pc = parti-colored; g = gray; lb = light blue; y = yellow; r = red; d = dark; b = brown; bl = black; ic = if cotton; iw = if wool; gh = goats' hair; hh = horse hair; s = silk.

From the foregoing table the following facts may be advantageously emphasized, viz: (1) Comparatively few rugs are tied with the Senna knot, and these are mostly of the Persian and Turkoman classes. (2) All Persian and Caucasian rugs are tied with the Ghiordes knot. (3) Most of the finest Persian rugs have cotton warp and woof, and are tied with the Senna knot. (4) The Kurdistan is the only one of the Persian classification which ever has a dyed warp, but many of them have a dyed woof. (6) The Turkish and Caucasian rugs, as a rule, have a wool warp and woof. (7) The Persians nearly all have narrow webs, with the exception of the Niris and the Shiraz, which have wide ones. (8) All Turkish rugs have narrow webs, with the exception of the Karaman, the Ladik and the Bergama, which have wide ones. (9) As a rule the Caucasians have narrow webs, and the Turkoman have wide ones. (10) The knotted warp ends are found especially among the Caucasian rugs. (11) As a rule the Persians are overcast on the sides, and the Turkish and Turkoman are selvaged, while the Caucasians are as much one way as the other. (12) The length of the pile is of very little assistance in classifying.