Oriental Rugs Part 18

SHIRVANS.-Between the rugs of Shirvan and Daghestan is a relationship easily accounted for by the fact that they are adjoining provinces, and that almost the only approach to Daghestan for the Asiatic races among whom the art of weaving reached its highest development was through Shirvan. Both districts, therefore, received ideas from the same sources; but since Shirvan has been at times more completely under the sway of Persia, it has yielded more readily to the influence of the Persian weavers, as is observable in the flower and foliate forms which are used more frequently and are drawn more realistically in its rugs than in those of Daghestan. On the other hand, the technique of weave as well as finish of sides and ends in the Shirvans lacks something of the refinement observable in the Daghestans.

The oldest existing Shirvans are absorbingly interesting. In them the foliate forms are more noticeable than in almost any other Caucasian rugs, though they may in a measure be disguised by formal treatment.

Sometimes they appear as large figures covering a great part of the field and acting as sub-patterns for superimposed smaller devices; but they are most frequently found in the borders. Other old pieces contain lattice-work of hexagonal-shaped diaper patterns, within which may be designs abounding in latch-hooks and figures strongly suggestive of Chinese devices. Such patterns, however, are unusual; as the fields of most old Shirvans are covered with large medallions, stars, and diamonds similar to those of Daghestans, although the drawing inclines to greater simplicity of outline and detail; and they have greater diversity of colour, as tones of blue, red, green, and brown in a field of ivory are not unusual.

[Ill.u.s.tration: PLATE 48. KAZAK RUG]

The patterns of the more modern rugs have become corrupted into a mere mechanical copying of conventional forms lacking all artistic spirit.

Some of them resemble those found in both Daghestans and Kabistans, but generally the designs are drawn less clearly in Shirvans. This is partly because, as a rule, they are not so closely woven and the nap is not quite so short. Now and then the large medallions so common to Soumaks are seen; and not infrequently the field is covered with diagonal parallel stripes on which are small geometric devices.

There is, however, one pattern peculiar to Shirvans that rarely, if ever, is adopted in any other cla.s.s. It has somewhat the appearance of pole medallions and consists of a panel that occupies nearly the whole field and contains broad incisions at each side, which nearly divide it into three or four rectangular sections. Within each of them are octagonal figures, and an octagonal shape is given to both ends of the panel so as to leave small corners to the field. Each part often contains small designs such as latch-hooks, octagonal discs, S forms, eight-pointed stars, and combs, as well as crudely drawn dogs and other animal or human forms. With slight modifications this pattern is sometimes repeated in the prayer rugs (Plate C, Fig. 11, Page 61), but the section at one end is more completely an octagon, and the remainder is an oblong rectangle. A more usual pattern for prayer rugs has the same form of arch that is common in Daghestans.

Whatever the fields of these rugs may lack in delicacy of drawing is amply compensated for by the diversity and beauty of some of their borders, which have a well balanced harmony of colours. They have seldom less than three, nor more than five stripes, of which the secondary are often as interesting as the primary. The best known is the one with serrated leaf and wine gla.s.s, represented in Plate I, Fig. 1, opp. Page 226, which is found in such a large percentage of Shirvans that it is almost typical of them. If the figures of the field contain latch-hooks, they are very apt to be expressed in some form in the primary stripe.

Such a one appears in Plate I, Fig. 2; and the beautiful Georgian pattern (Plate J, Fig. 9, opp. Page 228) is also occasionally seen. A very much rarer stripe, which is shown in Plate J, Fig. 8, is only used when the field has a large central panel with a corresponding pattern.

Now and then appears a stripe with no other ornamentation than a formal row of pear designs. Of the secondary stripes, the one with the designs of carnations (Plate K, Fig. 1, opp. Page 230) is very frequently seen, but its beauty depends largely upon the delicacy of its drawing and colour scheme. On the whole, the Shirvan dyer displays a wider scope in the selection of colours than his Daghestan neighbour, but the tones are not always so rich or harmonious.

_Type Characteristics._ _Colours_, princ.i.p.ally blue, red, and ivory.

_Knot_, Ghiordes. Knots to inch horizontally seven to twelve; perpendicularly, eight to twelve. The rows of knots are firmly pressed down, so that the transverse warp does not show at back. _Warp_, wool; each of the two threads encircled by a knot is equally prominent at back. _Weft_, generally wool, occasionally cotton, of medium or coa.r.s.e diameter. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, of short or medium length. _Border_, three to five stripes. _Sides_, generally a weft selvage of two or three cords or a double selvage, occasionally a double overcasting. _Both ends_, a web, one row of knots or more, and a warp fringe. _Texture_, slightly loose.

_Weave_ at back is moderately coa.r.s.e. _Usual length_, four to six feet.

_Usual width_, one half to four fifths length.

SOUMAKS.-Seventy miles to the northwest of Baku, and about the same distance to the south of Kuba, where the high ranges of the Caucasus begin to descend to the sea, is the city of Shemakha. It was almost destroyed by Nadir Shah, but recovered sufficiently within the last century to become the capital of Shirvan and a manufacturing centre of silks. It is the market place for many tribes from the mountains of Daghestan and the valley of the Kur, who take thither their rugs, from which its own weavers often borrow patterns. By a corruption of the name of the city, their fabrics are called Soumaks, though they are more popularly known as Kashmirs, because ends of yarn hang loosely at the back, as is the case with the beautiful shawls of the noted valley of India.

[Ill.u.s.tration: PLATE 49. KARABAGH PRAYER RUG]

It is, of course, the finish at the back and the absence of pile that make them so different from all other rugs and place them in a cla.s.s by themselves; but even apart from these characteristics, they are as distinct a type as any in Caucasia. On the fields of most of them are three or four diamond-shaped medallions, that occupy nearly the full width of the field and extend from one end to the other. Almost without exception they are slightly hexagonal, and are incised on the diagonal sides to represent crosses. These patterns are doubtless derived from very old Armenian rugs; and it is possible that once the crosses had a religious significance, as it is claimed that the earlier weavers of this type were a Christian sect; but the present weavers are mostly Mohammedans. At the centre of the medallions and in the triangular s.p.a.ces at the sides are flattened octagons, which are generally ornamented with some star-shaped devices. Superimposed on these larger patterns and surrounding them on the field, are also many small designs, which as a rule are grouped with a regularity suggestive of the mosaic.

Some are common to other Caucasian pieces; but a few are more frequently seen in this cla.s.s than in any other, as for instance, the knot of destiny (Plate O, Fig. 17, Page 291), and the tri-cleft leaf, drawn like a bird's claw, which appeared in Armenian rugs at least five centuries ago. Sometimes the medallions and octagons are replaced by smaller and more ornate figures, but the geometric character is seldom entirely lost.

There are also some old pieces with a totally different pattern, and with fine colours that are most pleasing in the rich harmony of tones.

They may contain geometric, foliate, or floral designs. One recently examined had a field of rose red completely covered with diagonal rows of innumerable dainty figures, which were evidently the conventionalised forms of small flower bushes. Not a single other design appeared in the field, yet the richness of colour and chasteness of pattern made it exceedingly beautiful.

The patterns of the border stripes, that number from two to five, are generally distinctive; though occasionally they follow well known Caucasian drawing. The outer one has so frequently the running latch-hook that it is almost typical. As a rule, it has the simple form shown in Plate K, Fig. 20 (opp. Page 230); but now and then the more elaborate drawing of the Georgian stripe (Plate J, Fig. 9, opp. Page 228) is followed. Sometimes this is replaced by the reciprocal trefoil, which is used also for the inner stripe; and a running vine and rosette, such as the one in Plate K, Fig. 4, is not infrequently used for a secondary stripe. The primary stripes, on the other hand, although most dissimilar to those of other rugs, differ so widely among themselves, that no one is typical. Separating these primary and secondary parts of the border are frequently narrow lines with the barber-pole device.

The old pieces are of fine texture and excellent wool, which even in the warp displays a silky character. The dyes are faultless, though the colours never acquire a l.u.s.tre. Red and blue are largely employed, but they are partly replaced by brown in the more modern pieces; and in both old and modern is usually an orange yellow that rarely appears in other Caucasian rugs.

_Type Characteristics._ _Colours_, princ.i.p.ally red, blue, brown, some yellow, and white. _Knot_, flat st.i.tch. Knots to inch horizontally eight to fourteen; perpendicularly, six to sixteen. _Warp_, wool; each thread is equally prominent at the back. _Weft_, wool, of fine or medium diameter. A thread of weft crosses twice between every two rows of knots in old rugs, and between every second and third row in modern rugs.

_Border_, two to five stripes. _Sides_, generally a double selvage of several cords, occasionally an overcasting. _Both ends_, narrow web, one or more rows of knots and fringe; sometimes heavy added selvage. _No nap._ _Usual length_, five and one half to twelve feet. _Usual width_, one half to three quarters length.

SHEMAKHAS.-Flatly woven Soumaks are not the only rugs of the Shemakha tribes. Some of the same people, who dwell among the ranges of the Caucasus a short distance to the north, make rugs of pile that occasionally surpa.s.s in quality of material and beauty of colour scheme the best of Daghestans, and are sometimes spoken of by dealers as "Royal Daghestans;" yet they are seldom seen and little known. In fact, they are frequently mistaken for Persian fabrics on account of the subdued richness of their deep reds, blues, greens, yellows, and browns, and the patterns which are largely floral.

Very often the princ.i.p.al border stripe is the well-known Georgian pattern, that occurs in so many Soumaks, even though the secondary stripe be some Persian pattern. These rugs also resemble the Soumaks in the coloured woollen selvage of the sides, and in the narrow coloured web of "herring-bone" weave and knotted fringe of the ends. In some, the field is divided by diagonal bars into large diamond-shaped figures containing conventionalised flowers; in others, it is merely a background over which are strewn more realistically drawn floral forms; and in all is expressed an artistic perception of design and colour not frequently found in Caucasian pieces.

_Type Characteristics._ _Colours_, princ.i.p.ally blue, red, and brown.

_Knot_, Ghiordes. Knots to inch horizontally seven to eleven; perpendicularly, seven to thirteen. The rows of knots are pressed down, so that the warp is almost hidden. _Warp_, wool; one of the two threads encircled by a knot is depressed below the other at back. _Weft_, wool, of fine or medium diameter. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, of medium length. _Border_, two to three stripes. _Sides_, a blue selvage of two or three cords. _Both ends_, a narrow blue web of "herring-bone" weave, a knotted selvage or several rows of knots, and short warp fringe. _Texture_, slightly firm.

_Weave_ at back is of moderately fine grain. _Usual length_, four to eight feet. _Usual width_, two fifths to two thirds length.

TIFLIS.-When it is considered that for centuries Tiflis has been the Georgian capital, where culture and art received more encouragement than in the provinces; that it was in constant communication with the rug-producing countries on all sides; and was on one of the great highways between Persia and Europe, it is surprising that what has been written hitherto about Caucasian rugs has contained almost no reference to a type peculiar to this city and district. This is undoubtedly due to the fact that within recent years hardly any rugs have been produced there, and that the old pieces are few and but little known.

Nevertheless, now and then come to light beautiful old rugs which are dissimilar to those of all other cla.s.ses. The wool of their moderately long nap has a silkiness that suggests a Shiraz or a Meshed; the colour scheme includes a very wide range of bright and positive tones, such as blue, green, rose, and ivory; the weave of delicate and fine threads is as close as that of old Bergamos. A glance at the ends and back helps to determine the type; for the warp is occasionally of cotton, which is a peculiarity not seen in many other Caucasian cla.s.ses; the weft which crosses from three to five times is of very finely spun wool mostly dyed a brown or dull red, and strung with great exactness; and the knots are tied with care. There is also something distinctive in many of the patterns; for however interesting they may be, precision of drawing is often combined with discordance of detail. One part of the field, for instance, may consist of a well executed diaper pattern; another part may represent a number of stiff, perpendicular, parallel bars, occupying the full width of the field; and still another part may be entirely occupied by hexagonal-shaped pear designs. Adjoining these may be other pear designs of totally dissimilar shape as well as mystic symbols and other strange devices. Likewise, many different colours may be placed in close relation, yet the wool is so soft and the tones so delicate that the effect is not harsh. Some sort of tree-form is not unusual; but on the whole, the designs of both field and border are geometric.

_Type Characteristics._ _Colours_, princ.i.p.ally blue and red, with minor quant.i.ties of yellow, green, and brown. _Knot_, Ghiordes. Knots to inch horizontally six to ten; perpendicularly, six to ten. A half knot, as it appears at back, is as long as wide or longer. The rows of knots are firmly pressed down, so that the warp does not show at back. _Warp_, generally wool, occasionally cotton; each of the two threads encircled by a knot is equally prominent at back. _Weft_, wool, of fine diameter, usually dyed red or brown. A thread of weft crosses from three to five times between every two rows of knots. _Pile_, soft wool of medium length. _Border_, three to five stripes. _Sides_, a double overcasting or narrow selvage. _Both ends_, a web and warp fringe. _Texture_, firm.

_Weave_ at back is of moderately fine grain. _Usual length_, six to eleven feet. _Usual width_, three eighths to two thirds length.

KUTAIS.-Among a large a.s.sortment of Caucasian rugs are occasionally seen a few pieces from Kutais, once famed as the home of Media, and now the capital of Imeritia. The gardens surrounding its homes, that line both banks of the river Rion, are fragrant with lilacs and roses; in the valley beyond the city, pink rhododendrons and yellow azaleas blossom beneath the oaks. Here is woodland scenery not found in other parts of Caucasia, and it might be expected that the weavings of the people would have a striking individuality of their own; but they are little known as a distinct cla.s.s. In fact, they bear such a resemblance to the Kazaks that they are constantly mistaken for them; though as a rule they have a more oblong shape and somewhat shorter nap; they are less stoutly woven, less barbaric, and contain fewer crude, nomadic devices. Moreover, as this district was producing rugs before the Cossacks had settled permanently in Southern Caucasia, it is not improbable that some of its patterns were copied by them.

[Ill.u.s.tration: PLATE 50. GENGHA RUG]

A peculiarity of this cla.s.s is the drawing of the pear designs, which are found in a very large number of the rugs. The extension of the narrower end, instead of being a short, curved hook, is generally more developed, so that it may be as long as the major axis of the pear and frequently stands almost at right angles to it. Also attached to the sides of the pear are rectangular bead-like processes (Plate O, Fig. 6c, Page 291). In many of these rugs, the field is divided into a number of bands parallel with the sides; and through them run vines, from which the pears are suspended. Or the pears may be arranged in regular order on the field without the bands and vines. Sometimes the field is reduced to a very small s.p.a.ce by a broad border consisting of a number of stripes, some of which are often of striking patterns. One of them is represented in Plate I, Fig. 15 (opp. Page 226), which suggests the grape vine common to the gardens of Kutais. Some form of the tree of life and floral forms are also seen in old pieces.

A resemblance exists between the weave of Kutais and Tiflis rugs, as in each the weft usually crosses several times; it is generally coloured blue or red, and is formed of fine threads of yarn. The wool of the nap is of the same fine quality; but the warp of the Kutais rugs, which is almost invariably of wool, frequently consists of a brown and white thread twisted together; and the knots are tied less evenly, so that the alignment at the back is a little more irregular, yet less so than in Kazaks.

_Type Characteristics._ _Colours_, princ.i.p.ally red, blue, and white, with minor quant.i.ties of yellow, brown, and black. _Knot_, Ghiordes.

Knots to inch horizontally five to nine; perpendicularly, six to eleven.

A half knot, as it appears at back, is as long as wide or longer. The rows of knots are slightly pressed down. The alignment is more even than in Kazaks. _Warp_, generally wool, occasionally cotton; each of the two threads encircled by a knot is equally prominent at the back. _Weft_, wool, of fine or medium diameter. A thread of weft usually crosses three times, occasionally only once, and again four or five times. _Pile_, wool, of medium length or long. _Border_, three to five stripes.

_Sides_, either a double overcasting, or a double selvage of two or three cords. _Both ends_, a web and warp fringe. _Texture_, moderately firm. _Weave_ at back, generally of medium fine grain but occasionally coa.r.s.e. _Usual length_, six to twelve feet. _Usual width_, one third to two thirds length.

KAZAKS.-Of the warlike Cossack tribes, which were once stationed along the southeastern border of Russia to protect it from the depradations of Caucasians, a number settled permanently in Circa.s.sia, and a few crossed the mountains to the high plateau lying between Lake Gotcha and Mt.

Ararat. Here they adopted more sedentary lives; but there still lingers the inherited spirit that generations ago won for them the name Kazaks, which denotes to the Tartars, from whom many have doubtless sprung, a Marauder. All of these tribes weave; but the rugs seen in this country come princ.i.p.ally from the southern district, where may also be found the fabrics of other races such as Armenians, Tartars, and the native people. Nevertheless, the Kazak weavings are of a most distinct type, to which even the smaller Kazakjes conform. They have bright, rich colours, of which a liberal amount of green is almost invariably present, though sparingly used in other Caucasian rugs. Only the Tcherkess vie with them in the length of the nap; and no other cla.s.s has such noticeable patterns of incongruous sizes and shapes. They have, in fact, the most nomadic, unconventional patterns of all this northern group; and in their barbaric characteristics, they bear much the same relation to other Caucasian rugs as those of Western Kurdish and Yuruk tribes bear to Persian and Asia Minor pieces.

In marked contrast to the almost mosaic drawing of Chichis and many Daghestans, the Kazaks show a tribal fondness for large patterns.

Sometimes the field is divided into three horizontal panels, which may be entirely plain except for a simple design fringing the edges; or as is more frequently the case, it may be occupied by large, slightly elongated octagons, within which are represented smaller figures.

Occupying almost the entire field of other pieces are large patterns like medallions, perfectly balanced with reference to the centre and subdivided into small sections, each of which contains individual motives. A few of this cla.s.s, also, have the "sunburst" pattern, so characteristic of the Tcherkess.

At least half the pieces now seen are without any formal pattern, but contain a heterogeneous lot of geometric designs characteristic of nomadic weavings; but even these are generally arranged with the idea of symmetrical balance. For instance, at the centre may be a large geometric figure surrounded at equal distances by pairs of smaller and similar figures. Not infrequently the drawing of the upper and lower half, or of the right and left side, shows an almost perfect correspondence, notwithstanding the many separate designs. The most common of these are eight-pointed stars, lozenges fringed with latch-hooks, and what are known as the "tarantula" device. Of the innumerable small figures, the octagonal discs and S forms are the most common; crude animal and human figures are also seen.

Excepting the addition of the arch, there is little distinction between namazliks and sedjadehs. It is small and less graceful than that of Asia Minor pieces, and follows stiff lines in harmony with the general pattern. It is, however, drawn in two different ways. Generally it has the shape of half an octagon, or of a wall-tent with apex flattened; but not infrequently it is square or slightly oblong. The narrow bands that form the arch are extended transversely from each side of the base to the borders; and occasionally they are continued down the sides of the field to form at the bottom a figure similar to the square-shaped arch. Now and then a comb, or small figure of diamond shape, on which to place the bit of sacred earth from Mecca, is outlined within the mihrab; and now and then crude palm-like figures, indicating where the hands are to be rested in the act of devotion, are represented at the sides.

However many stripes the border may contain, rarely are there more than one of any consequence; since the guard stripes have generally only the reciprocal sawtooth or trefoil patterns, the barber-pole or dotted lines.

The absence of important secondary stripes, however, brings out more prominently the drawing and colouring of the main one. The most common pattern is what is known as the "tarantula" represented in Plate I, Fig.

8 (opp. Page 226). Very similar is the crab pattern (Plate I, Fig. 7), which was undoubtedly derived from the double vine of some Persian rug, as the crab-like figure may be resolved into a rosette to which are attached four conventionalised leaves. Another pattern, which is also seen in Kutais rugs, is the crude but striking vine shown in Plate I, Fig. 15, which, when represented in bold, rich colours on an ivory field, makes a most effective and beautiful border stripe. Other border stripes frequently employed in these rugs appear in Plate I.

Unfortunately, during recent years, many inferior rugs of other tribes have been sold as Kazaks, which in a measure they often resemble though they lack their spirit and character. The very modern Kazaks, also, are often of poor quality, but those made two generations or more ago were carefully and stoutly woven, with silky wool dyed with the best of vegetable colours. There is always something interestingly barbaric in their long, almost s.h.a.ggy nap, their ma.s.ses of rich red and green, their bold designs surrounded by smaller nomadic figures, all of which collectively find no counterpart in any other Caucasian rugs.

_Type Characteristics._ _Colours_, princ.i.p.ally red, green, and yellow, also some blue, white, and brown. _Knot_, Ghiordes. Knots to inch horizontally six to nine; perpendicularly, seven to ten. The rows of knots are pressed down, so that the warp is hidden at back. _Warp_, wool; each of the two threads encircled by a knot is equally prominent at back. _Weft_, wool, of coa.r.s.e diameter, usually dyed red or brown. A thread of weft generally crosses only twice between every two rows of knots, but occasionally three or four times. _Pile_, wool, clipped long.

_Border_, three to five stripes. _Sides_, a double overcasting attached in figure-eight fashion to the sides, or a double selvage having from three to five cords. _Lower end_, a red or brown web and warp loops, or a braided selvage and fringe. _Upper end_, a red or brown web, occasionally a braided selvage or several rows of knots, and a warp fringe. _Texture_, stout. _Weave_ at back is of very coa.r.s.e grain.

_Usual length_, five to twelve feet. _Usual width_, one third to three quarters length.

KARABAGHS.-To the southeast of Lake Gotcha and north of the river Aras, that divides Caucasia from Persia, is the district of Karabagh, a name signifying "Black Vineyard." On account of its geographic position, it has been subject to the Shahs for long periods, during the many struggles between the two countries. It is, moreover, separated from the rug-producing district of Karadagh by the river only; and its southern border is less than eighty miles distant from the city of Tabriz, to which many of its rugs are taken. For these reasons it would be only natural to expect that the weavings of Karabagh would show more of the Persian influence than those of any other part of Caucasia. Such, indeed, is true, when applied to the oldest pieces; but it is not at all true in the case of a large percentage of the modern products.

Within recent years large numbers of these coa.r.s.ely made and wretchedly dyed rugs have reached the Western markets. Some of them resemble Kazaks in their geometric figures; but differ from them in their workmanship, since one of the two threads encircled by a knot is depressed; they are much more loosely woven; they are not so large; nor for the most part are they so heavy. Other pieces often lack the symbolic and other small designs that render nomadic rugs so interesting. Occasionally the central field is almost figureless, or there may be large expanses of white or some raw colour such as startling red, yellow, or blue, on which appear stiffly and crudely drawn nondescript devices.

[Ill.u.s.tration: PLATE 51. ROYAL BOKHARA RUG]