Oriental Rugs Part 25

MEDALLIONS

The study of medallions which occur in fields of Chinese rugs is not only interesting but is an important aid in determining their age; yet it should be remembered that approved patterns were often repeated even after the introduction of more elaborate styles. Many of the oldest medallions were copied from bronzes or mirror backs, and their drawing is geometric except as embellished by some conventionalised figures of the dragon. By a process of evolution these figures, in turn, were converted into scrolls, which in time were replaced by elaborate leaf and flower patterns.

In Plate M, Fig. 1 (opp. Page 272), is a "Shou" design of octagonal shape, copied from an old rug which was probably woven during the early part of the XVII Century.

[Ill.u.s.tration: PLATE M. MEDALLIONS IN CHINESE RUGS]

Figs. 2, 3 and 4 of Plate M, represent fret-covered medallions, which also are found in rugs of the same period. The first is probably the oldest pattern; and the last, to judge by the panel surrounding it, was apparently copied from a bronze mirror back.

In Plate M, Fig. 5, is a copy of a medallion similar to the one shown in Plate M, Fig. 2, but with the dragons replaced by frets.

A medallion of greater interest is ill.u.s.trated in Plate M, Fig. 6. It shows the evolution of scrolls from dragons, of which the heads alone betray their origin. Such medallions are found mostly in the earliest rugs.

By comparing Fig. 7 of Plate M with the preceding, it is apparent that its scrolls had a similar origin, but in this one the dragon heads have entirely disappeared. The design is characteristic of the early Kang-hi rugs.

In Plate M, Fig. 8, is represented a medallion that closely resembles some of the earliest period; but the more accurate drawing and clearer definition of lines shows that it is a later copy. It is found in late Kang-hi pieces.

To this period, also, belongs the geometric pattern with swastikas represented in Plate M, Fig. 9.

Another medallion with frets and dragon heads is shown in Plate M, Fig.

10. The particular rug from which it was copied was probably woven about the Yung-ching period; but there is little doubt that similar medallions appeared in older rugs.

In Figs. 11 and 12 of Plate M, are represented two medallions with foliate designs that were largely employed in the early Keen-lung period. A comparison of the first with Fig. 13 of Plate M, shows an interesting step in the evolution of the Chinese drawing.

A very different medallion pattern of the same age is shown in Plate M, Fig. 14, in which an encircling border consists of cloud-bands.

Also during the Keen-lung time first appeared medallions with accurately drawn flower designs. One of this period is shown in Plate M, Fig. 15.

Wreath-like borders, such as are seen in this and the preceding one, are found in XVIII and XIX Century pieces.

CHINESE BORDER STRIPES

The knowledge that certain border stripes antedate others in definite sequence of time, is another aid in determining the age of Chinese rugs. As was seen to be the case with medallions, the earliest stripes were purely geometric. In others, still very old, appeared forms of conventionalised dragons, which again were replaced by simple scrolls and these by ornate floral forms. But it should be remembered that earlier designs were often copied in later rugs, so that the evidence of age is merely contributory.

Stripes containing the swastika meander were used almost exclusively in the oldest rugs. Figs. 1, 2, and 3 of Plate N (opp. Page 274), represent three old forms, which rarely appear in any pieces woven since the Kang-hi time. The pattern of Plate N, Fig. 4, in which alternate swastikas are reversed, is also very old.

The usual drawing of the swastika stripe is shown in Plate N, Fig. 5. It is found largely in Kang-hi rugs, and if used in more recent fabrics, is often accompanied by a stripe with some other pattern. As ill.u.s.trated here, the facing of the swastika is reversed in the middle of the stripe.

The shading of Plate N, Fig. 6, which is somewhat similar to Plate N, Fig. 4, is characteristic of the Keen-lung and subsequent periods.

In Figs. 7, 8, 9, and 10, of Plate N, are Key and T patterns, which are found in rugs of the Kang-hi and subsequent periods, but rarely in earlier pieces. When employed in rugs woven later than the middle of the XVIII Century they are often shaded. These meander and key-patterns are of great antiquity; and though the drawing is exceedingly simple, it is supposed that the figures from which they were derived once symbolised clouds and thunder.

A very interesting stripe derived from dragons is ill.u.s.trated in Plate N, Fig. 11. The rectangular frets represent bodies of which conventionalised heads alone betray their origin. The graceful scroll in the middle was also probably derived from dragon forms. This stripe is seen in old Kang-hi rugs.

The rectangular frets and floral forms are combined in an unusual stripe (Plate N, Fig. 12) that appeared in rugs which were probably woven about the Yung-ching period. It shows the influence of older traditions on which are ingrafted the later inspiration.

Still more interesting is a stripe (Plate N, Fig. 13) seen in what are known as Buddhist rugs of the Keen-lung period. In different parts of the border appear the Buddhist emblems, the Joo-e, conch, wheel of law, and knot of destiny, separated by cloud-bands and foliate and floral motives.

[Ill.u.s.tration: PLATE N. PRIMARY AND SECONDARY BORDER-STRIPES OF CHINESE RUGS]

The tendency to use more ornate forms in the Keen-lung and later rugs is shown in Plate N, Figs. 14, 15, and 16, which ill.u.s.trate three stripes that with slight modifications are found in large numbers of Chinese rugs of the last half of the XVIII and the XIX Centuries.

The stripe ill.u.s.trated in Plate N, Fig. 17, on which are represented halves of octagonal discs containing conventional flower forms, is found in some rugs woven as early as the first part of the XVIII Century, as well as in more subsequent pieces. The central fields of some rugs in which it is found have geometric Ming patterns, and others have floral conceits that suggest Persian influences.

In Figs. 18, 19, 20, and 21, of Plate N, are represented simple stripes found in XVIII Century rugs. The last of these, which is found in Keen-lung porcelain, shows a marked resemblance to the reciprocal trefoil so common in Persian pieces.

The simple dotted stripe (Plate N, Fig. 22) was rarely employed before the middle of the XVIII Century, but has been constantly used since then.

CHAPTER XV

KILIMS

KILIMS have a special interest apart from their beauty and utility, as some of them undoubtedly resemble the early fabrics of the Egyptians and Babylonians from which were evolved the more durable pile carpets. The different links in this evolution can only be conjectured. Yet it is not unlikely that such pieces as the nomadic kilims, which occasionally have little tufts of wool attached for ornament or loose threads of weft hanging from one side, first suggested the greater durability and warmth that would be derived from a woven fabric completely covered with tufts of yarn.

It is also certain that the most delicately woven kilims have likewise been evolved from cruder forms. In fact, the different steps in this evolution correspond to three separate styles of weaving still in vogue.

The earliest products which were made subsequent to the primitive weaving of uncoloured warp and weft were doubtless similar to the simple fabrics now used to line the under side of saddle bags, and consisted of a warp and weft of uniformly coloured threads. A much more advanced style, induced by a desire for ornamentation, was the representation of patterns which required the use of different coloured threads of weft.

As these threads were never carried beyond the edges of each pattern, their loose ends were at first allowed to hang at the back, giving an appearance somewhat similar to what is seen in Soumaks. The third and most finished style, representing much higher workmanship, was produced by deftly disposing of the ends of threads of weft so that they should be concealed and thus permit each surface of the kilim to be exactly the same.

Each of these kinds of weaving is constantly seen in the East. The first not only is used as a lining for saddle bags, but is frequently subst.i.tuted for them. It is also sometimes used as the only floor covering, or again is laid as a protection beneath valuable carpets. It often replaces the heavier felt for tents, and indeed is utilised for all purposes requiring a strong material like canvas. The second is found among nomadic weavers, especially those of Asia Minor; who naturally waste no unnecessary labour in weaving kilims with a delicate finish, which would be quickly marred by the rough usage that they receive. The third, which is the more elegant product, is invariably not only of excellent finish but of carefully drawn patterns. In this country, the last two are used princ.i.p.ally for portieres and couch coverings; but in the Orient they still serve, as they have from the remotest times, for floor coverings; and because of the custom of removing the shoes when entering a house, last for a great many years.

Though these three styles represent the princ.i.p.al variations in kilim weaving, there are a few pieces with embroidered pattern; and embroidered st.i.tches are sometimes added to represent some simple design, or as is frequently the case in Shirvans, to make more prominent the separate horizontal compartments.

When weaving a kilim, the threads of warp are strung as in piled rugs, and number from six to eighteen to the inch according to the texture.

There are generally about twenty threads of weft to the inch, measured at the front or back; but in pieces of the finest workmanship, there may be as many as fifty, and in the crudest only eight or nine. At the sides of the kilim, the threads of weft encircle the last thread of warp as at the sides of any pattern; but at the ends, the threads of warp are braided about a heavier added cord, or else are tied in knots, from which their loose ends are permitted to hang like ta.s.sels.

The patterns are usually geometric; and even when an attempt is made to copy floral figures, the drawing inclines to the rectilinear. If a straight line representing the side of a figure is horizontal, or in the direction of the weft, it will often be several inches in length; but a straight perpendicular line never exceeds an inch in length. This is because the threads of weft are never carried from one pattern to another or to the adjoining field, but are turned back at its defining edges, so that an opening is left, which would impair the strength of the fabric if it were of much length. Accordingly, if it is desired to represent a pattern with perpendicular sides, it is necessary that the edges be slightly uneven. But here necessity is turned to advantage, as this unevenness or fringing softens lines that otherwise would be harsh. Defining the outlines of many figures is yarn of different colours, which either may be woven like other threads of weft, or when it serves the purpose of closing the s.p.a.ce between adjacent threads of warp, may be attached by st.i.tches. Borders find slight favour with kilim weavers, and in most pieces they are entirely wanting or only present at one end. Even when they completely surround the field, there is generally some difference in design or colour between the stripes of side and end. Prayer arches are found in some of the kilims, but their outlines rarely correspond closely with those of piled rugs.

The colours, by which alone the patterns are distinguished, are largely responsible for the character of the kilim. Threads of weft of every hue that is seen in piled rugs are employed in these pieces; yet the colouring never appears the same, since there are lacking the l.u.s.tre and deep wealth of tones due to the length of pile, in which appears an almost imperceptible gradation from the ends that are exposed to the light and have incurred the mellowing influence of the elements to the part which retains more of the original colours and seems darker, because it is more concealed. Indeed, on account of the lack of pile, the colours and patterns would seem harsh were it not for the irregularities of perpendicular and diagonal lines, the devices of latch-hooks, and other peculiarities that convey to the eye an impression of blending. Moreover when the designs are large, the effect of the colour is always severe; but when the field is covered with innumerable small figures, it is greatly softened.

As kilims are much less durable than rugs that have a pile to protect the warp and weft, it is not surprising that few of great age remain.

The oldest piece of which we have any knowledge is a fragment obtained by Dr. M. A. Stein, the archaeological explorer, from the ruins near Khotan, in Eastern Turkestan, of an ancient settlement, which was buried by sand drifts about the fourth or fifth century _anno domini_. The weave is almost identical with that of modern kilims, and has about fourteen threads of warp and sixteen threads of weft to the inch. The pattern consists of narrow stripes of blue, green, brownish yellow, and red, containing very small geometric designs. With this one exception, so peculiarly preserved, there are probably very few over a century old.

[Ill.u.s.tration: PLATE 62. SRINAGAR RUG]

Though kilims are now made in most of the districts where piled carpets are woven, very few cla.s.ses are recognised. This is because it is difficult to distinguish between most of them, and such differences as exist are with few exceptions unimportant. The best known cla.s.ses are the Sehna, Shirvan, Karaman, Kurdish, Turkish, and Merv.

The Sehna kilims are usually of small size, and rarely exceed a breadth of four and a half feet and a length of seven. They are far superior to all others in the delicacy of colour, daintiness of design, quality of material, and character of workmanship. Their patterns, including border, are identical with those of the piled rugs; and the colours, to which at a short distance the small figures of the Herati design give the effect of blending, are the same. As is not the case with other kilims, the warp is of cotton or linen and there are generally from fourteen to sixteen threads to the inch. The weft is of wool, and to an inch there are often nearly fifty threads encircling a thread of warp as they cross and recross. The old pieces, like the rugs of which they are true copies, are rapidly becoming scarce. They resemble tapestries and are unfit for hard usage.

A large percentage of the kilims now sold in this country are Shirvans.

Their fields are divided into a number of parallel horizontal compartments or bands a foot or more in width separated by narrower bands. Not infrequently the princ.i.p.al figures of the wide bands are hexagons surrounding smaller geometric figures; and through the more narrow bands runs a waving line or a parti-coloured cord. Another peculiarity, occasionally seen, are the ray-like projections of uniform colour fringing the edges of the sides. As a rule, there are no borders, but at each end are two or more narrow bands that give the effect of a border. In some pieces webs of plain colour extend beyond the bands; and the ends are fringed with loose threads of warp. The colours are always p.r.o.nounced, because of lack of shading, and consist mostly of red, blue, and ivory. Yellow and green are also used. These kilims are much heavier than the Sehnas, and also larger, as the average size is about five by nine feet; and some are even seven by twelve feet.

From the district of Karaman in Southern Asia Minor, such a large number of kilims were formerly imported into Europe that the general name of Karamani was applied to all kilims. They are still made there by many of the tribes of Turkish or Turkoman origin, who wander over the Taurus mountains, and like all their fabrics are stoutly woven. Their average size is about four and a half by eight feet. In colours and patterns, they resemble many of the Kurdish kilims from the districts farther to the east.

A distinction similar to what exists in the piled rugs of the Kurds, and dependent on the district in which they are made, is observable in their kilims, as those which come from the Persian border have carefully drawn designs, that are generally lacking in others woven in the mountainous watershed of the Tigris and the Euphrates. Many of these are coa.r.s.ely woven, and from the back hang the loose ends of threads of weft, that in more artistic pieces, are removed. Moreover, in modern pieces the colours are often crude or even garish. Some of the kilims have large diamond-shaped figures containing small designs; others have horizontal bands in which are woven embroidered devices suggestive of the so-called Bagdad portieres; in many are wide s.p.a.ces without designs; but whatever the pattern, there is usually a parti-coloured cord running through the web at the end.