Chapter IX: Persian Rugs (3)

_Type Characteristics._ _Colours_, principally red and blue, also yellow, green, and white. _Knot_, Ghiordes. Knots to inch horizontally seven to ten; perpendicularly, eight to twelve. A half knot, as it appears at back, is no longer than wide and is frequently not so long. The yarn is loosely woven, so that each separate ply is distinct. The rows of knots are pressed down, so that the warp is largely concealed and the weft partly hidden at back. _Warp_, wool; one of the two threads encircled by a knot is generally much depressed below the other at back; but sometimes each is equally prominent. _Weft_, wool, of medium diameter. A thread of weft usually crosses twice between every two rows of knots, only rarely once. _Pile_, wool, and occasionally some camel’s hair of medium length. _Border_, three to four stripes. _Sides_, a heavy double overcasting in dark colour. _Lower end_, web crossed by a parti-coloured cord, and warp loops. _Upper end_, web crossed by a parti-coloured cord, and loose warp fringe. _Texture_, very firm. _Weave_ at back is of coarse grain. _Usual length_, six to twelve feet. _Usual width_, five eighths to two thirds length.

KARAJES.—Dwelling near Hamadan, in the northwestern part of Persia, are tribes who weave rugs that are known in the markets as Karajes. In their colour scheme, length of nap, and texture they resemble many of the Kurdistans; but in the technicalities of weave they show a marked difference. As a rule, a single thread of weft crosses only once between two rows of knots, or in a few pieces two threads of weft pass side by side as though one. In this particular they resemble Hamadans; but the alignment of their knots at the back is more regular, their weft is inserted with some slack, their warp is of wool, and their weft is almost always of wool. They are generally runners, with long nap of soft, lustrous wool, with rich colours, and with border of three stripes. The pattern is Iranian, and very often consists of a small bush or sprig of leaf and flower disposed in formal array throughout the field. Sometimes the floral forms are placed within the diamonds formed by a trellis pattern, but more frequently they are arranged in rows like the pear designs of Sarabends. In some pieces they are very much conventionalised and suggest similar figures seen in rugs of Southern Caucasia; and in others stem, leaf, and flower are very realistic. Another pattern frequently followed consists of three or four large diamond-shaped medallions extending from one end of the field to the other. The borders are moderately narrow, and an undulating vine of well-known Persian character generally appears in one or more of the stripes. As these pieces are almost always comparatively old, the vegetable dyes that were used for colouring have mellowed, and have a richness of tone that is accentuated by the depth of pile and softness of wool. The prevailing tone of many is a deep plum colour.

_Type Characteristics._ _Colours_, principally dark blue or plum and red, with minor quantities of yellow, brown, and white. _Knot_, Ghiordes. Knots to inch horizontally six to twelve; perpendicularly, seven to twelve. A half knot, as it appears at back, is as long as wide, and occasionally is longer. The rows of knots, which have even alignment at back, are not firmly pressed down. _Warp_, wool, rarely cotton; each of the two threads encircled by a knot is equally prominent at back. _Weft_, wool, rarely cotton; a single thread of medium diameter crosses once between every two rows of knots; but in parts of the same rug two, three, or even four threads of small diameter will cross side by side as a single coarse thread. Occasionally a thread of weft crosses three or four times. The filling of weft stands up as high as the knots at the back, giving an even surface. _Pile_, wool, of medium length or moderately long. _Border_, of three stripes. _Sides_, a heavy double overcasting. _Lower end_, web and warp loops. _Upper end_, web and short fringe. _Texture_, moderately loose. _Weave_ at back is of coarse grain. _Usual length_, eight to fourteen feet. _Usual width_, three eighths to one half length.

TABRIZ.—Although Tabriz, capital of the province of Azerbijan, is situated in a remote corner of Persia, from the earliest times it has been one of the most important centres in the Orient for the production of carpets. They were well known in the days of the Caliphs; and some of the earliest masterpieces that now remain were woven there during the reign of Shah Tamasp, who extended to this industry his royal patronage. This city has been for a long period on the great routes of caravans passing to Trebizond and Tiflis from the country to the south and east, so that it has become the principal mart of Persia for the export of rugs gathered from surrounding regions. Nevertheless, it still continues to produce its own pieces; but the weavers are in the employ of foreign companies who prescribe the character of workmanship. As a consequence, the rugs are of good material, excellently woven; and though many of the old dyes are no longer used, the colours as a rule are fair; yet on account of the mathematical exactness of their formal patterns the truly Oriental spirit is largely lacking.

Since the rugs are made solely to meet the requirements of Western buyers, the patterns are various. Most of them consist of a large central medallion surrounded by a broad field of ivory, blue, or red that extends to the sides and ends. In others, a small diamond occupies the centre and is surrounded by a series of concentric medallions. Although in these respects they correspond with Kermanshahs, Sarouks, and Kashans, the patterns of their fields lack the long scrolls and interlacing branches, and consist frequently of short, slender stems supporting fronds, leaves, flowers, or the pear designs arranged so as to present almost the appearance of lace-work. Sometimes the drawing is a delicate tracery representing intertwining arabesques. A field completely covered with the small designs peculiar to Sehnas, or containing the disjunct forms of nomadic rugs, is never seen; and yet it is not improbable that many of the early Tabriz weavers were Kurds. Sometimes the flowers are similar to the roses of Kirmans, or are realistically drawn compositæ surrounded by delicate leaves on graceful stems; some times the small designs are as formal as the palmettes of old Ispahans, from which they were doubtless copied; again, the naturalistic and conventional may be blended together in an harmonious whole. But whatever the pattern, the different parts show the perfect balance so frequently seen in the antique pieces of three or four centuries ago. Nevertheless, to these types are many exceptions, since the weavers will produce for hire any class of rug or copy any coloured drawing.

The borders differ from those of Kermanshahs, with which these rugs are frequently compared, in the fact that in their central stripe the continuous vine of leaf and flower is less conspicuous; and in its place are often palmettes, pears, shrubs, or formal trees separated by foliated scrolls. Not infrequently the smaller stripes, also, have a repetitive pattern of leaf and flower, though in some of the many stripes is usually a well-drawn vine. Again, the border may consist of a series of cartouches that have been copied from much older rugs and contain verses of the Koran or of Persian poets. Within recent years this tendency among the Tabriz and Kermanshah weavers to imitate not only borders but also fields of old masterpieces is increasing.

A feature peculiar to a very large number of these rugs is the adoption of very finely spun linen for the warp; though cotton, which is used for the weft, is sometimes substituted. The knots are carefully tied, and the closely woven texture presents an appearance at the back similar to that of Sarouks; but the almost concealed weft is generally either white or pink. The weave compared with that of Kermanshahs is finer, but the wool of the closely shorn nap is neither so soft to the touch nor so silky, the colours are harsher, and the patterns more formal. These rugs are made in all sizes, though most are large and almost square.

_Type characteristics._ _Colours_, principally red, blue, and ivory. _Knot_, Ghiordes. Knots to inch horizontally twelve to twenty; perpendicularly, ten to twenty-two. The rows of knots are pressed down, so that the warp is hidden and the weft partly concealed at back. _Warp_, generally cotton, frequently linen; one of the two threads encircled by a knot is doubled under the other. _Weft_, as a rule, is cotton, occasionally it is wool or linen, of fine diameter, and frequently dyed pink. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, clipped short and harsh to the touch. _Border_, from five to eight stripes and an outer edging. _Sides_, a two-cord selvage. _Both ends_, a narrow web and loose warp fringe. _Texture_, firm. _Weave_ at back is of fine texture. _Usual length_, nine to eighteen feet. _Usual width_, two thirds to four fifths length.

GOREVANS.—Of the many rugs now made in Persia and designed primarily for use, few are of such moderate price as the Gorevans, which, during recent years, have been imported in large numbers from the province of Azerbijan in Northwestern Persia. A hasty glance suggests Occidental craftsmanship, but in every essential they are distinctly Oriental. Their stout weave, large size, and nearly square shape place them in the class of Persian pieces often called carpets, to which belong the Kermanshahs, Muskabads, Mesheds, and rugs of Tabriz. Yet they are frequently larger than any of these, and are readily distinguished from them by their colours and patterns. It is true that they have the same light shades, but the tones are in a distinctly different scale, consisting principally of dull brick-red, light terra cotta, buff, dark blue, dull green, yellow, and ivory, which, when once recognised, are rarely mistaken for those of any other rugs. Nor are the colours distributed in patches so small as to blend when viewed at a short distance, but are of sufficient masses to be separately observed and analysed.

The patterns are equally distinctive. The field is generally covered with a number of concentric hexagonal-shaped medallions, of which the longer sides of the largest are often marked with conspicuous indentations such as are not seen in classes made in other districts. All of the medallions are covered with large designs, in which the artist has departed from the usual forms of vine, leaf, and flower, that poorly imitate the splendid examples of so-called “Ispahans,” and in many instances has represented them in the archaic drawing of the oldest remaining Persian carpets. Hard, straight lines with angles replacing graceful curves define the medallions, corners, stems, leaves, and flowers. And not infrequently the formal treatment shows a European influence, as when all semblance of leaf and flower has disappeared in the extremely conventionalised forms that are placed with set regularity in the field. A very noticeable feature of these rugs is the manner in which the designs are coloured, as it is not unusual to represent a large figure in two strongly contrasting colours, as blue and pink separated by a stiffly drawn line.

The designs of the corners are similar to those of the central medallions, but the designs of the borders are dissimilar. The small stripes are marked with Persian vines of well-known floral and leaf forms that show nothing of the drawing characteristic of the field. The main stripe occasionally has cartouches and star medallions, but in most instances has the turtle pattern, though its treatment differs from the usual form seen in Feraghans. A co-ordination in colour exists between field and border. The ground of both the main stripe and one of the medallions is often a dark blue or a red, while the ground of the other stripes corresponds with those of other medallions.

All of the Gorevans are modern pieces, and so lack the interest of those that follow traditional patterns; but their stout weave, warm colours, and archaic designs make them both serviceable and pleasing.

_Type Characteristics._ _Colours_, principally dull red, dark blue, and buff, with minor quantities of green, yellow, and white. _Knot_, Ghiordes. Knots to inch horizontally six to eight; perpendicularly, six to ten. The most conspicuous half of a knot, as it appears at the back, is, as a rule, longer than wide. The rows of knots are somewhat pressed down, but the warp is rarely entirely concealed at back. _Warp_, cotton; one of the two threads encircled by a knot is usually depressed below the other at back; sometimes both threads are equally prominent. _Weft_, cotton, of coarse diameter, sometimes dyed blue. A thread of weft crosses only once between every two rows of knots, or frequently twice. _Pile_, wool, of medium length. _Border_, generally of three stripes, occasionally four or five. _Sides_, a two-cord double selvage. _Both ends_, a short warp fringe. _Texture_, rather loose. _Weave_ at back is of very coarse grain. _Usual length_, ten to sixteen feet. _Usual width_, three fifths to three quarters length.

BAKSHIS.—A close relationship exists between the Gorevans, which are a comparatively modern product, and several other less known sub-classes of earlier origin that are woven in small towns in the east central part of the province of Azerbijan. One of these towns, located fifty miles to the southeast of Tabriz, is Bakshis, which formerly produced rugs that were highly esteemed by the Persians, before the weavers were corrupted by a spirit of commercialism. Those which are exported to-day are of little artistic value, are poorly coloured, and carelessly woven. The patterns are inferior copies of other well-known classes.

SERAPIS.—The rugs known as Serapis are named after the village of Sirab in the mountainous district between Tabriz and Ardebil; but they are made not only there, but also in the country farther to the east. The large sizes are frequently mistaken for Gorevans, as they are of similar shape and have similar finish of sides and ends, yet as a rule they are better woven. Many of them follow the same patterns of concentric medallions, but the lines of others are more artistically drawn. Although the borders lack the gracefully symmetric vines of old Iranian pieces, the drawing is interesting in its individuality and is in harmony with that of the field. All the colours are cheerful. A field of ivory or some light shade of buff usually surrounds the central medallions, on which appear soft and pleasing tones of smaller designs. Yet on the whole there is a tendency to employ richer and deeper tones than those of Gorevans. The smaller pieces often contain more elaborate patterns, but there are always the same pleasing and unobtrusive shades of colour.

_Type Characteristics._ _Colours_, principally red, blue, and ivory, with minor quantities of green and yellow. _Knot_, generally Sehna, frequently Ghiordes. Knots to inch horizontally six to ten; perpendicularly, seven to twelve. The rows of knots are firmly pressed down, so that the warp does not show at back. _Warp_, cotton; one of the two threads encircled by a knot is generally much depressed below the other at back, and frequently doubled under the other. _Weft_, cotton, of coarse diameter. A thread of weft crosses twice between every two rows of knots. _Pile_, wool of medium length. _Border_, three stripes. _Sides_, a double selvage of two cords, or double overcasting attached figure-eight fashion to the sides. The selvage or overcasting is usually in red or buff. _Lower end_, a narrow web and warp loops or short warp fringe. _Upper end_, a narrow web and warp fringe. _Texture_, stout. _Weave_ at back is of coarse grain. _Usual length_, ten to eighteen feet. _Usual width_, two thirds to three quarters length.

HEREZ.—The city of Herez is in the extreme eastern part of the province of Azerbijan, where for a long time the weavers steadily adhered to the sterling values of early fabrics and produced pieces that were followed with slight modification in many of the former Gorevans. In a measure the rugs of Tabriz also are reflected in the medallion pattern of some of these pieces, but for their gracefully flowing lines are substituted more rectangular ones; and in place of many colours are few, of which blue and a reddish copper are particularly noticeable. Another well-known and interesting type consists of a field of white, on which, with formal precision, are represented, in delicate shades of red, blue, yellow, and green, archaic leaves and flowers supported by stems and tendrils that are so conventionalised as to form geometric lines and angles. At regular intervals the branching tendrils assume the shape of arches, of which in larger pieces there are frequently one or two dozen; and so closely do they resemble prayer arches that these rugs are sometimes mistaken for namazliks. The borders usually consist of three stripes. The outer and inner are narrow guards containing some simple floral figure, and the broad central stripe has often a continuous vine with formal leaves and a conspicuous design suggestive of the cloud-band. The tones are never harsh; many of the pieces are large and almost square, and the wool of the pile is generally excellent.

_Type Characteristics._ _Colours_, principally ivory, light blue, and reddish brown, also some yellow and green. _Knot_, Ghiordes. Knots to inch horizontally five to ten; perpendicularly, six to twelve. The most conspicuous half of a knot, as it appears at the back, is longer than wide. The rows of knots are only slightly pressed down, so that the weft is noticeable at back. _Warp_, cotton; one of the two threads encircled by a knot is depressed below the other at back, or each thread is equally prominent. _Weft_, of cotton, seldom of wool, of moderately coarse diameter. A thread of weft crosses twice between every two rows of knots. _Pile_, wool of medium length. _Border_, generally of three stripes. _Sides_, a two-cord double selvage. _Lower end_, a very narrow web and short warp fringe. _Upper end_, a short warp fringe. _Texture_, loose. _Weave_ at back is of very coarse grain. _Usual length_, nine to fifteen feet. _Usual width_, two thirds to seven eighths length.

SUJ-BULAKS.—About fifty miles to the south of Lake Urumiah and the same distance from the western boundary of Persia is the old Kurdish capital of Suj-Bulak. Kurds still largely predominate in the district and comprise most of the population of the city, to the discomfort of the much smaller number of Persians, for whose protection a large garrison was formerly maintained. Accordingly, the rugs made in this vicinity are strongly characteristic of Kurdish pieces in the strong texture, the excellent quality of wool, the rich, dark colours, the finish of sides and ends. The patterns also are largely Kurdish, but frequently show the influence of Persian association.

In typical old pieces deep reds and blues are largely used. One of them is generally the ground colour of the central field, and shows the Kurdish influence by a gradual shading from end to end; the other appears in the overlying pattern, which partakes of a floral character. The drawing sometimes represents flowering plants, such as the rose bush, arranged in perpendicular rows and brightened by tints of white, green, or yellow. Detached flowers not infrequently line the edges of the field. The wide borders also, as a rule, have vines and floral forms.

_Type Characteristics._ _Colours_, principally dark red and blue, with minor quantities of brown, green, yellow, and ivory. _Knot_, Ghiordes. Knots to inch horizontally seven to ten; perpendicularly, eight to twelve. The rows of knots are, as a rule, pressed down, so that the alignment of each half knot is very uneven; but frequently this feature is not regularly maintained in all parts of the same rug, so that here and there the warp is noticeable at back. _Warp_, wool; each of the two threads encircled by a knot is generally equally prominent at back, but occasionally one is depressed below the other. _Weft_, wool, of medium diameter. A thread of weft crosses twice between every two rows of knots. _Pile_, wool of medium length. _Border_, of three to four stripes. _Sides_, a double selvage of two or three cords in blue, red, or brown. _Lower end_, a web through which runs a parti-coloured cord, and a warp fringe. Frequently there is a braided selvage in addition to the web. _Upper end_, the same as lower, excepting that the web is occasionally turned back and hemmed. _Texture_, moderately loose. _Weave_ at back is of slightly coarse grain. _Usual length_, six to seven feet. _Usual width_, two fifths to three fifths length.

KARADAGHS.—In the extreme northwestern part of Persia, between the city of Tabriz and the river Aras, is a mountain range called Kara Dagh, which signifies the “Black Mountain,” On its slopes and in the adjoining valleys rugs have been woven for at least several hundred years, and at one time were well known in Europe, but few have reached this country. Most of them are produced for home use, so that they are, as a rule, well woven, of good material, and of vegetable dyes. They resemble in colour scheme, weave, and finish of sides and ends the rugs of Karabagh, which immediately adjoins this district on the north. Indeed, in no other rugs of Persia are the traditions of Iranian weavers so much disregarded and Caucasian ideas so closely followed.

The field of many of these rugs is completely covered with conventionalised flowers of several different colours, so arranged that diagonal lines are of similar colours. Sometimes it is covered with a pattern of hexagonal-shaped figures containing geometric forms or conventionalised floral designs. Again, it may contain the Herati pattern or one similar to the Mina-Khani. In fact, some repetitive pattern of small design is the usual type; but now and then some form of pole medallion, which the weavers have learned from their more southern neighbours, is substituted. The patterns of the borders are either mechanically drawn vines or contain geometric figures characteristic of Caucasian pieces. For guard stripes the reciprocal trefoil is constantly used.

The colour scheme is generally bright and pleasing. A favourite colour for the field is blue or a camel’s hair yellow; sometimes rose is seen. The nap of modern pieces is medium long and of old pieces is short. The weave of the latter is excellent, so that the closely pressed knots and stout threads of weft make at the back an even surface unlike the coarse appearance of many rugs.

_Type Characteristics._ _Colours_, principally blue, red, yellow, green, and white. Knot, Ghiordes. _Knots_ to inch horizontally seven to eleven; perpendicularly, seven to eleven. The rows of knots are not firmly pressed down, so that the warp appears at back, and the weft is prominent. _Warp_, wool; each of the threads encircled by a knot is equally distinct at back. _Weft_, wool, of coarse diameter, occasionally dyed. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, of moderate length. _Border_, three to six stripes. _Sides_, a double selvage of two or three cords. _Both ends_, a narrow web and short warp fringe. _Texture_, moderately firm. _Weave_ at back is of rather coarse grain. _Usual length_, five to nine feet. _Usual width_, two fifths to two thirds length.

MOSULS.—Near the ruins of ancient Nineveh, on the bank of the Tigris, is the city of Mosul. Once it was not only an important mart for wares carried up and down the river, and for vast caravans from east and west, but it became noted for its textiles from which was derived the name “muslin.” At length on account of pestilence, misrule, and the sack of armies its population and industries have dwindled; though it is still the capital and commercial centre of a district that lies between the high table-lands surrounding Lake Van and the low plains of Bagdad, and that extends across the Mesopotamian valley to the mountain ridges bordering Western Persia. Within this extensive area are large stretches of rich pasture, where Abraham once fed his flocks, and where each year Kurdish nomads from the north drive their sheep when the winter snows cover their own hillsides. Arabs, Turks, Armenians, Jews, and Christians likewise mingle with the natives, so that the population is as mixed as can be found anywhere in the Orient.

Thus it happens that the rugs marketed in the city of Mosul are made by different races and show great diversity of character. It would, indeed, be often difficult to distinguish them if the weave were disregarded; for though they are prone to yellow and russet hues, and the long wool is floccy as well as lustrous, there is no pattern that can be considered truly typical. Many of them borrow Caucasian designs, such as stars, latch-hooks, diagonal bands, and barber-pole stripes. Others have patterns adopted almost bodily from Kurdish pieces. But however much the nomadic rugs are copied, a Persian influence is always shown by the way in which the severer features are softened. In fact, a very large percentage of rugs that come from Mosul are made by the tribes that wander as far east as the great mountain divides along the borders of Western Persia, and adopt patterns and colour schemes current in Azerbijan and Ardelan. It accordingly happens that medallion patterns resembling those of Bijars, but with bolder and less graceful outlines, are seen. More frequently the field is covered with small figures common to Feraghans, as well as with the well-known pear designs; but the former are coarsely drawn, and the latter lack the gracefully rounded lines seen in Sarabends and are often as geometric as those of the Baku rugs. Somewhere in almost all these pieces appears evidence of some conventionalised floral form; but now and then a rare old piece is found which was woven in the plains of Mesopotamia, with field completely covered with a naturalistically drawn tulip that grows on the banks of the Tigris and Euphrates. Its bright flowers and leaves, supported by a delicate stalk, constitute one of the most beautiful designs seen in any rug.

The borders are rarely wide, and generally consist of three stripes, one of which usually has some simple vine, and the others some well-known geometric pattern. It is, also, not unusual to find an outer edging surrounding the border. In a few of these pieces camel’s hair is used even to the extent of occupying the whole field; and goat’s hair or sheep’s wool, dyed to a similar colour, is constantly employed. One of the most usual colours is some shade of yellow. Reddish hues also prevail. These rugs frequently have the same pleasing effect of slightly graduated changes so common in the ground colour of Kurdistans, but as a whole the colour scheme is lighter. On the other hand, they follow the shading adopted in Persian rugs, which in a measure eliminates the sudden transition between adjacent areas of strongly contrasting colour so noticeable in nomadic pieces. On account of the present remoteness of the Mosul district from important highways of travel, many excellent pieces, which with careful use should acquire the rich tones of those now old, are still woven there.

_Type Characteristics._ _Colours_, principally yellow and brownish red, with minor quantities of blue, green, and white. _Knot_, Ghiordes. Knots to inch horizontally five to seven; perpendicularly, seven to nine. A half knot, as it appears at back, is as long as wide and frequently longer. The yarn is not drawn tightly against the warp. The rows of knots are firmly pressed down, so that the warp is concealed at back. _Warp_, almost always wool, rarely cotton; each of the two threads encircled by a knot is equally prominent at back. _Weft_, generally of wool, of coarse diameter and frequently dyed red or orange, but occasionally of cotton. As a rule, a thread of weft crosses twice between two rows of knots, but sometimes crosses only once; or two or three threads cross side by side, as in Karajes. _Pile_, wool and occasionally camel’s hair, of medium length. _Border_, of three stripes with frequently an outer edging of solid colour. _Sides_ are generally a heavy double overcasting, but in a few pieces there is a two-cord weft selvage or double selvage. _Lower end_, a web. _Upper end_, a web and warp fringe; occasionally there is a heavy braided selvage, or the web is turned back and hemmed. _Texture_, moderately firm. _Weave_ at back is of coarse grain. _Usual length_, six to ten feet. _Usual width_, two fifths to three quarters length.

Now and then are seen comparatively scarce rugs, such as the Teheran, Gulistan, Kara-Geuz, Bibikabad, Afshar, and Gozene, that were woven within the Iranian boundaries. Some of them are no longer produced, and others are woven in such small numbers that but few are exported.

The Teherans were formerly made in the present capital of Persia. The typical pattern consists of the Herati design or some floral form occupying the central field, which is two or three times as long as wide. The weave resembles that of Irans, since the knot is Ghiordes, each of the two threads of warp that it encircles is equally prominent at the back, and both warp and weft are cotton. The borders are wide, and the sides are finished with a two-cord selvage.

Gulistan is the Persian name for a flower garden, and the rugs known by that name were once made in a district not far from Kashan, where rose bushes bloomed profusely. The fields may be covered with conventionalised floral and leaf patterns, or again they may contain roses naturalistically drawn with extended petals, as if viewed from above. The most striking characteristic is the opulence of colour, such as red, blue, and yellow softened by shades of brown and green. Even the weft and the webs of the ends are red, blue, or brown. The sides have a two-cord selvage, warp and weft are usually of cotton, and one thread of warp to each knot is depressed at the back. These rugs, which formerly came in large sizes, are no longer made.

Only a short distance to the northeast of Hamadan is the district of Kara-Geuz, which is occupied by a large tribe, who in the past have furnished some of the best of Persian cavalry. The people are industrious, and not only cultivate the land but engage in weaving. Some of their rugs closely resemble the Kurdish pieces, and others correspond with the Irans. In the technique of weave they often follow the Hamadans. On the outskirts of this district is the town of Bibikabad, where, also, rugs are woven for market.

For a number of generations the country adjoining Lake Urumiah on the west and stretching into the Turkish domain has been partly occupied by a powerful race of brave and active people who are known as Afshars. They are regarded as a branch of the Yuruks of Asia Minor, and the rugs of both tribes have many points of similarity. The wool of the nap is generally the coarse product of the mountain sheep. The patterns incorporate some of the floral features of Persian rugs, though they display many Caucasian characteristics. These Afshars bear a close resemblance to the Kazaks, from which they may be distinguished by observing a fold as they are bent backwards, which will show the fibres of the yarn of a knot standing out at front as a unit, while in Kazaks they have a greater tendency to blend. Also at the back, each half of a knot is no longer than wide, nor is it drawn closely against the warp, while in Kazaks each half of a knot is often double its width and is drawn closer.

In the country about Gozene, in the watershed of the Euphrates river, are made a few rugs for local use, though they occasionally reach Western markets. The pattern, which is very simple, usually consists of some small diaper figure of brown or grey colour, or of dull tones of maroon. Many of this class have a double foundation of warp; and frequently, at the back, the knots do not form regular lines parallel with the length, as is the case with other rugs. This is due to the fact that any thread of warp may be encircled by both the left half of some knots and the right half of others. Occasionally, also, a knot is tied about four threads of warp. In other rugs of this class which have a single foundation of warp the weave resembles that of Mosuls.

BORDER STRIPES

The most noticeable feature of Persian border stripes is their floral character, which is very frequently represented by a vine winding from side to side with pendent flowers marking each flexure. Some of these vines have been evolved from arabesques, and others from naturalistic tendrils, but all are graceful. In a few pieces the stripes contain rows of detached flowers, rosettes, or pears, expressed in rich yet unobtrusive colours, that are always in perfect harmony with those of the field. Rarely is the pattern geometric. Accordingly, with the exception of the Indian and some of the Chinese, they are the most elegant, pleasing, and artistic of all border stripes. Moreover, some of them follow almost the same patterns that were in use centuries ago.

_Primary Stripes._—In Plate E, Fig. 1 (opp. Page 156), is represented a typical Herat stripe derived from some of the XV and XVI Century carpets. It shows close relationship to the pattern of conventional rosette and pair of attendant leaves so frequently seen on the fields of such rugs as the Feraghans and Sehnas. In this stripe the angular and serrated leaves are extended to form a vine.

One of the best known Khorassan stripes, shown in Plate E, Fig. 2, bears a resemblance to the Herat stripe; and it is not unlikely that they had a common origin, since they were designed in adjoining and freely communicating districts. The enlargements of the vine at the centre of each flexure are doubtless leaves, but they occasionally resemble the heads of birds.

The so-called turtle pattern, Plate E, Fig. 3, has probably been derived from the interlacing arabesques that appeared in rugs at least as early as the beginning of the XV Century, as is indicated on Page 79. The rosette and attendant leaves between adjacent “turtles” suggest the Herati pattern. This stripe is found principally in Feraghans, Irans, Sehnas, and Muskabads. One that is similar, but more mechanically drawn and with wider spreading arms, is typical of Gorevans and Serapis.

A stripe found in Joshaghans, representing a row of floral bushes, is shown in Plate E, Fig. 4. It is also seen in some of the old rugs of Northwestern Persia. Another Joshaghan stripe, which also suggests the Herati pattern, is represented in Fig. 5.

A single row of pears (Plate E, Fig. 6) is a characteristic Luristan stripe.

The dainty pattern of Plate E, Fig. 7, in which the vine has been abandoned and serrated leaves nearly surround a floral device, shows a not unusual Herez stripe.

As a rule the drawing of Persian-Kurdish stripes is never crowded, and represents a simple vine with bright pendent flowers. A stripe commonly seen in this class is represented in Plate E, Fig. 8. It is also seen in the Bijars.

On account of the geographic position of the Karadagh district, which is separated only by the Aras river from Caucasia, its stripes show a combination of floral and geometric design not usual in other Persian pieces. Plate E, Fig. 9, represents one of these stripes with a rosette, and the serrated leaf so common among the Shirvans. Plate E, Fig. 10, represents another stripe of the same class with eight-petalled star-shaped flowers pendent from an angular vine.

A beautiful stripe, representing a vine and pendant flower, which is frequently seen in some of the Persian-Kurdish rugs, is shown in Plate E, Fig. 11.

In Plate E, Fig. 12, is illustrated a very dainty pattern of vine and roses that now and then is seen in old Feraghans; and in Fig. 13 are also represented vine and roses as they occasionally appear in old rugs of Northwestern Persia.

The very mechanically drawn double vine shown in Plate E, Fig. 14, is sometimes seen in stripes of Hamadans. In fact, simplicity of border is a characteristic of this class.

Mosul and Kurdish stripes show a similarity, but the former are often more mechanically drawn than the latter. In Plate E, Fig. 15, is a stripe from an old and beautiful Mosul with conventionalised vine and King Solomon’s eight-pointed star.

Undoubtedly the most typical of any class of Persian stripes is the well-known Sarabend pattern of formal vine with pendent pear on white ground. It is very rarely that a rug of this class is without this stripe (Plate E, Fig. 16). Its presence at once indicates that the piece is either a Sarabend or an Iran copy.

In Plate E, Fig. 17, is the well-known pear pattern of a Meshed stripe. The graceful form, resembling in a measure the Indian drawing, is peculiar to these stripes.

The Kirman stripe (Plate E, Fig. 18) invariably contains red roses naturalistically drawn, surrounded by a profusion of leaves and stems. This is one of the most beautiful of Persian border patterns.

Somewhat similar, but far more formal, is the Kermanshah stripe, one of which appears in Plate E, Fig. 19, with mechanically drawn flowers, leaves, and vines.

The formal pattern (Plate E, Fig. 20) of octagons surrounded by latch-hooks is now and then found in borders of Shiraz rugs, and indicates how great a concession their weavers at times make to nomadic influences.

The main stripe of Sehnas is always narrow and contains some floral form, though frequently much conventionalised. One of these stripes is shown in Plate E, Fig. 21.

Very few Persian rugs have such wealth of floral ornamentation in the borders as the Sarouks and Kashans. A stripe typical of the former is represented in Plate E, Fig. 22.

_Secondary and Tertiary Stripes._—The ornamentation of a large proportion of secondary stripes of Persian rugs consists of running vines, which fall within two divisions, according to the absence or presence of pendants.

Plate F, Fig. 1 (opp. Page 158), taken from an inner stripe of a Kermanshah, shows one of the simplest vines with budding tendrils at each flexure.

In Plate F, Fig. 2, is a simple stripe seen in such rugs as Gorevans. Similar stripes are very common. As there is no pendant, the character of the vine depends upon the form it assumes in alternating flexures, one of which in this instance is an eight-petalled star.

In many of the Karadaghs is seen the Caucasian stripe (Plate F, Fig. 3) consisting of an angular vine, from each flexure of which spring small designs like three-leaf clover.

Another type peculiar to some rugs of Northwestern Persia, as the Bijars and even Sehnas, is shown in Plate F, Fig. 4. Here one flexure is a serrated leaf, and the other is a small rosette with short curving tendrils.

A simple vine of somewhat similar order appears in Plate F, Fig. 5. At each flexure is a flower of four petals, and from alternating flexures spring tendrils of colour different from that of the vine. Stripes of similar drawing appeared in Persian carpets as early as 1350 A. D. A further stage in the development of the same pattern is illustrated in Plate F, Fig. 6.

One of the simplest forms of a vine with pendant is shown in Plate F, Fig. 7. It appears in Asia Minor carpets woven during the XIII Century, and also in some of the earliest Iranian carpets. Now and then it is seen in modern Persian rugs.

A very common form of a vine with pendant is shown in Plate F, Fig. 8. This pattern is seen in a large number of Persian rugs, such as Mosuls, Bijars, Kurdistans, and Hamadans. Each flexure of the vine is enlarged to almost the form of a leaf, and between them is a branching pendant.

In another stripe (Plate F, Fig. 9), taken from a Feraghan, there is no particular enlargement to the vine, and the alternating pendants are buds and flowers of four petals.

A more geometric form that appears in such rugs as Muskabads is shown in Plate F, Fig. 10. In this the vine represents serrated leaves, and suggests one of the Shirvan patterns.

A very similar stripe (Plate F, Fig. 11), taken from a Sehna, should be compared with those of Figs. 8 and 10, as it serves to illustrate the evolution of vine patterns. In fact, if a very large number of stripes were arranged in proper order, they would show almost imperceptible gradations from one type to another.

One of the simplest vines with pendant, adopted by the Kurdish tribes, is shown in Plate F, Fig. 12; and in Fig. 13 is another vine with pendent pear alternating with a rosette.

Not all the patterns, however, are vines. In Plate F, Figs. 14 and 15, for instance, is represented the same secondary stripe as it appears at the sides and the ends of some moderately old Persian rugs. The former pattern bears a resemblance to the one in Fig. 5, and each illustrates a series of connecting links.

A graceful pattern that is seen in Bijars, Hamadans, and other rugs of Northwestern Persia is represented in Plate F, Fig. 16. It was probably derived from an old form of leaf and tendril.

The reciprocal trefoil (Plate F, Fig. 17) which is constantly used in a tertiary stripe, is probably a degenerate form of an ornate floral design. It is more widely used for a border stripe than any other pattern, as it is found not only in such Persian rugs as Sarabends, Bijars, Sarouks, and Kashans, but in many of the Indian and Beluchistan rugs, and in almost all of the Caucasian group. It was commonly used in Persian rugs as early as the year 1500.

In many of the rugs of Persia and Asia Minor is seen as a tertiary stripe the simple ribbon pattern (Plate F, Fig. 18). Its origin is lost in the dim past, and it is not improbable that once it had a symbolic meaning.

A very interesting tertiary stripe, because of its well-authenticated age, contains the “Y” pattern shown in Plate F, Fig. 19. It is found in some Persian carpets that were woven as early as 1550.

One of the simplest guard stripes, shown in Plate F, Fig. 20, is frequently found in modern Persian rugs, as well as in Iranian carpets woven six centuries ago.

This carpet and the one at the Naesby House, Sweden, which it resembles in pattern but not in colouring, are, so far as known, the only complete carpets of this type. The Naesby carpet has been assigned to the middle of the XVIII. Century; this is undoubtedly much older.

A 16TH CENTURY PERSIAN ROYAL “GARDEN” CARPET (Reputed to have been made for Shah ’Abbās for Safavi Palace.) Date 1587-1628.

31 ft. 0 in. x 12 ft. 3 in.

[_Statement of the owner_]

ORIGINALLY IMPORTED BY VINCENT ROBINSON & CO., LTD., LONDON.]

The pattern represents a Persian garden divided into four sections by two intersecting streams, which are bordered by rows of cypress trees, alternating with bushes on which are birds. These sections are similarly divided by smaller streams, that meet at the four pavilions of each side, into plots containing trees and flowering bushes. Four peacocks rest above the central basin. The colours are harmonious, and show the mellowing influence of time.

TECHNICALITIES IN THE WEAVE OF PERSIAN RUGS

Legend:

KNOT—
H = Horizontally
P = Perpendicularly
WARP—
s = silk
l = linen
e = each equally prominent
d = 1 to the knot depressed
h = 1 to the knot doubled under
WEFT—
s = silk
l = linen
No. = No. times crossing bet. two round knots
SIDES—
O = overcast
S = selvage
LOWER END
W = web
S = Selvage
K = Rows knots
L = warp loops
F = fringe
UPPER END
W = web
S = selvage
K = Rows knots
T = turned back and hemmed
F = fringe

┌────────────┬────────────────────────────┬──────────────────────────────┐
│ │ KNOT │ WARP │
│ ├─────────┬──────┬───────────┼─────┬───────┬────┬───────────┤
│ PERSIAN │ │ │ Number to │ │ │ │ At back │
│ │ │ │ Inches │ │ │ │ │
│ │ G = │ S = ├─────┬─────┤ w =│ c = │ ├───┬───┬───┤
│ │ Ghiordes│ Sehna│ H │ P │ wool│ cotton│ s/l│ e │ d │ h │
├────────────┼─────────┼──────┼─────┼─────┼─────┼───────┼────┼───┼───┼───┤
│Bijar │ G │ │ 6-10│ 8-12│ w │ │ │ │ │ h │
│Feraghan │ [G] │ S │ 8-13│ 7-18│ │ c │ │ e │ │ │
│Gorevan │ G │ │ 6-8 │ 6-10│ │ c │ │[e]│ d │ │
│Hamadan │ G │ │ 6-9 │ 8-12│ │ c │ │ e │ │ │
│Herat │ G │ [S] │ 8-11│ 6-12│ [w] │ c │ │ │[d]│ h │
│Herez │ G │ │ 5-10│ 6-12│ │ c │ │[e]│ d │ │
│Iran │ G │ │ 6-11│ 7-11│ │ c │ │ e │ │ │
│Mod. Ispahan│ G │ │ 6-9 │ 8-11│ w │ c │ │ e │ │ │
│Joshaghan │ G │ │ 7-11│ 8-13│ [w] │ c │ │ e │ │ d │
│Kashan │ │ S │16-20│16-24│ │ c │[l] │ │ │ h │
│Karadagh │ G │ │ 7-11│ 7-11│ w │ │ │ e │ │ │
│Karaje │ G │ │ 6-11│ 7-12│ w │ [c] │ │ e │ │ │
│Kermanshah │ │ S │12-18│11-18│ │ c │ │ │ │ h │
│Khorassan │ │ S │ 8-13│12-20│ │ c │ │ │ │ h │
│Kirman │ │ S │11-20│11-20│ │ c │ │ │ │ h │
└────────────┴─────────┴──────┴─────┴─────┴─────┴───────┴────┴───┴───┴───┘

┌────────────┬────────────────────────┬───────┬─────────────────┐
│ │ WEFT │ SIDES │ LOWER END │
│ +─────┬───────┬────┬─────┼───┬───┼─────┬───┬───┬───┤
│ PERSIAN │ │ │ │ │ │ │ │ │ │ │
│ │ w = │ c = │ │ │ │ │ │ │ │ │
│ │wool │ cotton│ s/l│ P │ O │ S │ W/S │ K │ L │ F │
├────────────┼─────┼───────┼────┼─────┼───┼───┼─────┼───┼───┼───┤
│Bijar │ w │ │ │ 2 │ O │ │ W │ │ │ │
│ │ │ │ │ │ │ │ [S] │ │ │ │
│Feraghan │ │ c │ │ 2 │ O │ │ W │ │ │ │
│Gorevan │ │ c │ │ 1-2 │ │ S │ │ │ │ F │
│Hamadan │[w] │ c │ │ 1 │ O │ │ W │ │ L │ │
│Herat │ w │ [c] │ │ 2 │ O │ │ W │ │ L │ │
│ │ │ │ │[3-4]│ │ │ │ │ │ │
│Herez │[w] │ c │ │ 2 │ │ S │ W │ │ │ F │
│Iran │ │ c │ │2/[1]│ O │ │ W │ │ │ │
│Mod. Ispahan│ w │ c │ │ 1-2 │ O │ │ W │ │ │ │
│Joshaghan │ w │ │ │ 2 │ O │ │ W │ │ │ F │
│Kashan │ │ c │[l] │ 2 │ O │ │ W │ │ │ │
│Karadagh │ w │ │ │ 2 │ │ S │ W │ │ │ F │
│Karaje │ w │ [c] │ │ 1 │ O │ │ W │ │ L │ │
│Kermanshah │ │ c │ │ 2 │ O │ │ W │ │[L]│ F │
│Khorassan │[w] │ c │ │ 2 │ O │ │ W │ │ │ F │
│ │ │ │ │[6-8]│ │ │ │ │ │ │
│Kirman │ w │ [c] │ │ 2 │ O │ │ W │ │ │ F │
└────────────┴─────┴───────┴────┴─────┴───┴───┴─────┴───┴───┴───┘

┌────────────┬─────────────────┬───────────┬───────────┬──────────┐
│ │ UPPER END │ NAP │ WEAVE │ TEXTURE │
│ ├─────┬───┬───┬───┼───────────┼───────────┼──────────┤
│ PERSIAN │ │ │ │ │l = long │f = fine │l = loose │
│ │ │ │ │ │m = medium │m = medium │m = medium│
│ │ W/S │ K │ T │ F │s = short │c = coarse │f = firm │
├────────────┼─────┼───┼───┼───┼───────────┼───────────┼──────────┤
│Bijar │ W │ │ │ F │ m │ m │ f │
│ │ [S] │ │ │ │ │ │ │
│Feraghan │ W │ │ │ F │ s │ m │ m │
│Gorevan │ │ │ │ F │ m │ c │ l │
│Hamadan │ W │ │ T │ │ m/s │ m │ f │
│Herat │ W │ │ │ F │ m │ c │ f │
│Herez │ │ │ │ F │ m │ c │ l │
│Iran │ W │ │ │ F │ m │ c │ l │
│Mod. Ispahan│ W │[K]│[T]│ F │ m/s │ m │ f │
│Joshaghan │ W │ │ │ F │ m │ f │ m │
│Kashan │ W │ │ │ F │ s │ f │ f │
│Karadagh │ W │ │ │ F │ m │ m/c │ m/f │
│Karaje │ W │ │ │ F │ m/l │ c │ l │
│Kermanshah │ W │ │ │ F │ m │ c │ f │
│Khorassan │ W │ │ │ F │ m │ m/f │ m/f │
│Kirman │ W │ │ │ F │ s │ f │ f │
└────────────┴─────┴───┴───┴───┴───────────┴───────────┴──────────┘

┌────────────┬────────────────────────────┬──────────────────────────────┐
│ │ KNOT │ WARP │
│ ├─────────┬──────┬───────────┼─────┬───────┬────┬───────────┤
│ PERSIAN │ │ │ Number to │ │ │ │ At back │
│ │ │ │ Inches │ │ │ │ │
│ │ G = │ S = ├─────┬─────┤ w =│ c = │ ├───┬───┬───┤
│ │ Ghiordes│ Sehna│ H │ P │ wool│ cotton│ s/l│ e │ d │ h │
├────────────┼─────────┼──────┼─────┼─────┼─────┼───────┼────┼───┼───┼───┤
│Persian │ │ │ │ │ │ │ │ │ │ │
│ Kurdistan │ G │ │ 5-9 │ 6-13│ w │ │ │ e │ d │ │
│Western │ │ │ │ │ │ │ │ │ │ │
│ Kurdistan │ G │ │ 4-7 │ 6-9 │ w │ │ │ e │ │ │
│Mahal │ G │ S │ 7-12│ 6-12│ │ c │ │ e │ d │ │
│Meshed │ [G] │ S │ 8-15│12-17│ [w] │ c │ │ │ │ h │
│Mosul │ G │ │ 5-7 │ 7-9 │ w │ [c] │ │ e │ │ │
│Muskabad │ G │ S │ 6-11│ 6-11│ │ c │ │ │ d │[h]│
│Niris │ G │ │ 6-11│ 7-15│ w │ │ │ │ d │[h]│
│Sarabend │ │ S │ 8-13│ 9-13│ │ c │ │ e │ │ h │
│Sarouk │ │ S │12-18│12-20│ │ c │[l] │ │[d]│ h │
│Sehna │ G │ S │11-20│12-24│ │ c │[l] │ e │ │ │
│Serapi │ [G] │ S │ 6-10│ 7-12│ │ c │ │ │ d │[h]│
│Shiraz │ [G] │ S │ 7-12│ 8-12│ w │ │[g] │ e │[d]│ │
│Suj-Bulak │ G │ │ 7-10│ 8-12│ w │ │ │ e │[d]│ │
│Tabriz │ G │ │12-20│10-22│ │ c │[l] │ │ │ h │
└────────────┴─────────┴──────┴─────┴─────┴─────┴───────┴────┴───┴───┴───┘