Chapter XI: Part II (3)

OWNER'S DESCRIPTION.--Unusually fine for Shirvan. This rug is in
the century class. The three borders are not often seen, but are
characteristic of the older rugs of the Daghestan district. The
glory of this rug is in the marvelous centre. At first sight one
might think of the famous "rose" Kirmans. The treatment of the
roses, lilies, peonies, etc., merit more than a passing glance. No
weaver could possibly show greater fidelity to nature in the
shading of leaf and petal than did the now forgotten factor of this
unusual rug. The erosion of time has given the surface an
appearance of brocade velvet. Casual examination would indicate a
green background, but in reality it is black, the profusion of
green being an intricate and realistic arrangement of leaves.

GENGHIS

SYNONYMS.--Guenja, Guendja, Guenges, Turkman.

WHY SO NAMED.--Authorities differ greatly as to the origin of the name. Some say that the proper name should be Guenja, which was the ancient name of Elizabethpol, from whence they came. Others insist they should be called Genghis, which is the name of the tribe of Nomads living in the vicinity of Elizabethpol who weave them.

KNOT.--Ghiordes. Number vertically six to ten; number horizontally five to eight; number to square inch thirty to eighty.

WARP.--A three-strand thread of brown wool or goats' hair.

WOOF.--Gray or brown wool, frequently dyed. Generally several woof threads between each row of knots.

NAP.--Usually rather long wool or goats' hair. Of a much finer quality in the antiques.

WEAVE.--As a rule coarsely woven.

SIDES.--Selvaged or overcast, with different colored wool, most frequently the former.

ENDS.--Web with small knotted fringe on one or both ends. Sometimes the web is wide as in the Turkoman rugs.

BORDER.--From two to five border stripes, most frequently three, one wide one with a narrow one on each side, all carrying geometrical designs.

PREVAILING COLORS.--Similar to those of the Kazaks. Usually considerable white with rather bright red, light and dark blue.

DYES.--Apt to be inferior.

DESIGNS.--Similar to those of the Kazaks and Karabaghs. Geometrical as a rule, sometimes flowers and vines. The pear is frequently employed, usually in alternate rows of red and blue. Birds and animals.

SIZES.--Seldom square, mostly runners three to five by four to nineteen feet.

PRICES.--The lowest priced Caucasian rug as a rule. From $0.50 to $2.00 per square foot.

REMARKS.--Durable. Often sold as Karabaghs.

THE EXAMPLE ILLUSTRATED

KNOT: Ghiordes. Nine to the inch vertically and seven horizontally,
making sixty-three to the square inch.

This is a very old piece. Note that the outer border appears in
the ends and is lacking on the sides, having been cut off on
account of its worn-out condition.

The field is covered with the pear design in alternating rows of
light and dark colors upon a rich red ground. The inner border
carries the Greek meander in red and white upon a blue ground,
while the main stripe is filled with the octagon and the
eight-pointed star of the Medes in different colors upon a white
ground. The third border, which remains on the ends only, carries
the Greek meander in blue and white upon a red ground. Both warp
and woof are of wool.

KARABAGH

SYNONYM.--Carabagh.

WHY SO NAMED.--After Karabagh, the name of a province in Transcaucasia just across the Persian border north of Tabriz, where they are made.

KNOT.--Ghiordes. Number vertically six to twelve; number horizontally five to ten; number to square inch thirty to one hundred twenty.

WARP.--Coarse white or brown wool.

WOOF.--Coarse wool, sometimes dyed. Generally several strands between each row of knots.

NAP.--Long, heavy wool or camels' hair.

WEAVE.--Coarsely woven and carelessly knotted.

SIDES.--Antiques usually selvaged. Moderns nearly always overcast with colored wool.

ENDS.--Short webs, one of which is generally turned back and hemmed. The other end has a fringe of loose or twisted warp threads.

BORDER.--From two to fourteen border stripes with a large range of geometrical designs. The reciprocal trefoil is especially common. Frequently a border of camels' hair.

PREVAILING COLORS.--More subdued in antiques than in the moderns. Magenta is used lavishly. Strong reds, yellows, and blues, with considerable white.

DYES.--Nearly all of the modern pieces are chemically dyed.

DESIGNS.--Similar to the Kazaks, only a trifle more Persian in character, that is, more Persian floral forms are introduced. Sometimes the field is plain, sometimes it is filled with some tree patterns or with numerous floral and geometrical figures. In some of the antiques the field is covered with black and tan spots, giving it the appearance of a leopard's skin, which no doubt it was intended to represent.

SIZES.--Two to six by four to eight feet. Usually small. Never in carpet sizes.

PRICES.--Antiques rare and rather costly. Moderns among the cheapest of the Oriental weave. From $0.50 to $1.50 per square foot.

REMARKS.--One of the most inferior products of the Eastern loom, but artistic. Have deteriorated considerably of late years.

THE EXAMPLE ILLUSTRATED

OWNER'S DESCRIPTION.--An exceptional Karabagh. The design shows
evident attempt at Persian elaboration, this weave being about the
only Caucasian that shows such tendency. The floral display in the
centre; the beautiful old ivory of the corner pieces, and the
exquisite canary, coral and blue of the three borders, evidence
that the artisan that wrought this fabric had thoroughly mastered
the harmony of color. The blacks in this piece have gone fully down
to the knot. Such Karabaghs have not been made for a hundred years.

KAZAK

SYNONYM.--Small Kazaks are called Kazakdjie.

WHY SO NAMED.--A corruption of the word Cossack.

WHERE MADE.--In the Transcaucasian district of Erivan, near Mt. Ararat, where Russia, Persia, and Turkey meet.

BY WHOM MADE.--By the Cossack Nomads, whose origin seems to be unknown. They were probably related to the Cossacks of Russia.

KNOT.--Ghiordes. Number vertically six to twelve; number horizontally six to ten; number to square inch thirty-six to one hundred twenty. Fewer than any of the other Caucasian fabrics.

WARP.--Always wool.

WOOF.--Nearly always wool, usually dyed. A characteristic feature is the number of woof threads between each row of knots, usually four or more.

NAP.--Fine lustrous wool, which is usually cut long. The great number of woof threads causes the nap to lie so that the side of the yarn is exposed more than the ends.

SIDES.--Usually a wide selvage in colored wool. Occasionally overcast.

ENDS.--Usually a short colored selvage at each end, one of which is sometimes turned back and hemmed. A fringe of knotted or braided warp ends. When braided the ends of the rug are apt to be drawn and twisted so that it does not lie well.

BORDER.--From three to four border stripes, usually three. The crab, wine glass, reciprocal saw-teeth, reciprocal trefoil, tarantula, and latch hook variations are common.

PREVAILING COLORS.--Rather bright shades of red, green, yellow, brown, and rose, with more or less ivory or white. These colors are more subdued in the antiques.

DYES.--Poor in some of the modern pieces.

DESIGNS.--Similar to those of the Shirvan and Genghis. Bold geometrical figures which are characteristic of the people who weave them. The tarantula, diamond, palm, animals, and human beings are profusely portrayed. The Greek cross is almost always present and the Russian coat of arms common.

SIZES.--Small and medium, three to six by five to eight feet. Usually square or nearly so.

PRICES.--Antiques few and valuable. The moderns are among the cheapest of the Oriental products. From $0.75 to $2.00 per square foot.

REMARKS.--As a rule thick and heavy though soft and durable.

THE EXAMPLES ILLUSTRATED

COLOR PLATES

with accompanying descriptions at pages 94 and 144.

DOUBLETONE (page 272)

The field design is known as the Palace or Sunburst. It is common
in the Kazaks and Shirvans, but never used in any other rugs. This
piece shows the most common form of Kazak with the Palace design in
the centre and the Crab border, on each side of which is the
reciprocal saw-teeth.

Quite dissimilar to any other form of prayer rug although the niche
resembles very closely that of the Meles. The designs are unlike
those used in the other Turkoman products and the color combination
is quite pleasing. This piece is evidently of some age as the woof
threads in the lower end are gone, leaving a fringe of loose warp
threads instead of a variegated webbing as on the other end.

(See page 280)]

THE TURKOMAN CLASSIFICATION

The territory from which the so-called "Turkoman" rugs come is that part of Central Asia consisting of Turkestan, Eastern Turkestan and Russian Turkestan lying north of Persia and Afghanistan and west of the Caspian Sea.

It comprises thousands upon thousands of square miles and is inhabited by numerous rug-making tribes of Nomads. The distinguishing marks of the Turkoman products are their wide web, their octagon and medallion designs and their old traditional colors of predominating red with patches of white, brown, and green. The dyes are usually fast and the knot is always Persian with the exception of an occasional Yomud or Samarkand, which may be tied with the Turkish knot. The rugs of Eastern and Russian Turkestan are really Chinese, but geographically should be classed with the other Turkoman products. Having been in the past less accessible they are now found in relative abundance and are therefore the least costly.

KHIVA BOKHARA

SYNONYM.--Afghan.

WHY SO NAMED.--After the city of Khiva, in the province of Bokhara, from the vicinity of which they come. The name Afghan is sometimes used because some of the inhabitants of northern Afghanistan contribute to the supply.

BY WHOM MADE.--By the Kirzig tribe of Nomads living in the province of Bokhara and in Northern Afghanistan.

KNOT.--Senna. Number vertically seven to twelve; number horizontally six to eight; number to square inch forty-two to ninety-six.

WARP.--Dark wool or goats' hair.

WOOF.--Black or gray wool or goats' hair.

NAP.--Fine lustrous wool or goats' hair of various lengths.

WEAVE.--Loosely tied so that on the back it has the appearance of the Ghiordes knot.

SIDES.--Usually a wide selvage of black or dark brown goats' hair, sometimes containing as many as seven cords.

ENDS.--Wide selvage at each end in plain red or striped with blue lines. The long, shaggy fringe of the loose goats' hair warp is a characteristic feature.

BORDER.--From two to four narrow border stripes, usually three.

PREVAILING COLORS.--A lavish use of the Turkoman reds in the field with designs in blue, orange, brown, green, and white.

DYES.--Good in the antiques. Nearly all of the new pieces are chemically dyed.

DESIGNS.--The octagon is almost universally employed and is quartered by alternating colors. Animal forms are seldom seen. The prayer form is also seldom found.

PRICES.--$1.25 to $2.00 per square foot.

SIZES.--They are the largest of the Turkoman rugs, being nearly always in carpet sizes and almost square, six to nine by eight to eleven feet.

REMARKS.--One of the best inexpensive rugs on the market. Coarser and heavier than the other Turkoman products and in damp weather they are liable to have more or less of the smell of goats. The Khiva is about the only antique carpet now on the market.

THE EXAMPLES ILLUSTRATED

KNOT: Senna. Ten to the inch vertically and seven horizontally,
making seventy to the square inch; unusually close for a rug of
this class.

This piece is of an unusually fine grade with a long nap and
beautiful colors. The field, like that of nearly all Khivas, is
filled with conventional octagon and diamond forms with a small
eight-pointed star between each.

SHORTELL RUG (page 120).--Prayer rugs of this particular class are
extremely rare and the peculiar prayer niche in this one is
certainly most unique and unusual. Note the hands in the two upper
corners of the field. It is on these that the worshipper is
supposed to place his hands while prostrating himself in the act of
prayer.

BESHIR

WHY SO NAMED.--After the words "Bech Schehr," meaning "Five Villages," being woven in five adjoining villages west of Khiva on the shores of the Amour Daria River in Turkestan.

KNOT.--Either the Senna or the Ghiordes, usually the former. Number vertically five to ten; number horizontally six to twelve; number to the square inch thirty to one hundred twenty.

WARP.--Wool or goat's hair.

WOOF.--Wool or goat's hair.

NAP.--Wool.

BORDERS.--Few stripes and narrow in proportion to the size of the rug. The designs are usually Tekke in character. The reciprocal saw teeth design is a feature.

ENDS.--A fairly wide web which is usually dyed red through which generally pass blue stripes or strands of colored yarn. Knotted or loose warp ends.

SIDES.--A three or four corded selvage.

PREVAILING COLORS.--The free use of yellow is characteristic. Browns, brownish reds and blue with very little white, as a rule.

DESIGNS.--Those of the border are Tekke in character while those of the field are usually composed of tree motifs arranged in strips with alternating colored background. Caucasian and Mongol designs are commonly employed. Occasionally the field is filled with Chinese cloud bands.

SIZES.--From three to eight feet in width by five to twelve feet in length.

PRICES.--From $1.75 to $5.00 a square foot.

REMARKS.--One of the rarest of the Turkoman products. Most of those brought to this country are antiques.

THE EXAMPLE ILLUSTRATED

OWNER'S DESCRIPTION.--This rug differs from the Bokhara commonly
seen, as it has the Tree of Life pattern drawn in the conventional
form of the Bokhara weavers, but very artistically done, the wool
used being the very best, very silky, and the selvage is finished
in a very workmanlike manner. It was a skilful weaver who made this
rug and it probably was his masterpiece. See also color plate at
page 274.

TEKKE BOKHARA

WHY SO NAMED.--Because they are made by the Tekke Turkoman tribes of Nomads, one of the most numerous and powerful of the Turkoman tribes, who inhabit the country extending to Afghanistan on the south and Khorasan on the west.

KNOT.--Senna. Number vertically eight to twenty-eight; number horizontally five to twenty-five; number to square inch forty to four hundred.

WARP.--Splendid wool.

WOOF.--Wool, dyed red or brown.

NAP.--Splendid soft, velvety, closely clipped wool. Sometimes some goats' hair or silk.

WEAVE.--Renowned for its close texture.

SIDES.--Overcast in wool which is dyed the predominating color of the rug. Occasionally selvaged.

ENDS.--A web from ten to twelve inches in width at each end which is colored the same as the body of the rug. This is finished with a fringe of loose warp ends. Sometimes there are twisted ropes at one end, showing that it was intended for hanging. This is especially common in the prayer Tekke.

BORDER.--One to five border stripes, usually three.

DESIGNS.--Elongated octagon forms arranged in rows alternating with rows of diamond forms with straight lines connecting the centres of the octagon, each of which is divided into four equal parts. In the centre of each octagon is frequently found the eight-pointed star. Sometimes the field is covered with octagon or the diamond forms alone without the alternate arrangement. In the prayer rug the field is covered with little candlestick patterns and divided into four sections by a large cross, the arms of which carry designs similar to those found in the border stripes.

PREVAILING COLORS.--Ground usually of a rich dark mahogany red with designs in blue, green, orange, old rose, wine, and pink, with more or less white or cream.

DYES.--Usually good. Of late years some aniline has been used.

PRICES.--The antiques are rather scarce and are of good value. From $2.00 to $5.00 per square foot.

SIZES.--Mats to carpet size. Two to eight by three to eighteen feet. The prayer rugs are nearly square, from four to four and one-half by five feet.

REMARKS.--Their durability is phenomenal. The modern pieces are vastly inferior to the antiques. The prayer rugs differ so greatly from the others of their class that they might almost be arranged under a separate heading, in fact they are separately classed by some authorities under the name of Hardjli or Princess Bokhara. The Armenians call them Khatchlie Bokhara for the reason that the bands that divide the field into four sections form a cross, and the word "khatchlie" in the Armenian language means a cross. This class of rugs is growing rapidly scarce.

THE EXAMPLES ILLUSTRATED

Page 284. This is the prayer Tekke, the so-called Hardjli,
Khatchlie or Princess Bokhara. The Greek cross divides the field
into quarters, each one of which is filled with rows of candle
sticks. The niche, the "Tekke border design" and the "Indian fish
bone" are here employed as in most prayer rugs of the class.

Page 282. In design this piece is quite characteristic of its
class. The octagon is invariably present, sometimes alone,
sometimes in an alternate arrangement with diamond forms or with
smaller octagons as in this example. Here the smaller octagons
only are quartered. The peculiar arrangement of the "fish bone"
design, the wide web and the loose warp threads at each end are
also characteristic features.

Page 150. KNOT: Senna. Number to the inch horizontally sixteen,
vertically eighteen, to the square inch two hundred eighty-eight.
The predominating color throughout is a beautiful terracotta. The
four diamond forms through the centre are filled with geometrical
figures in buff and terracotta upon a dark blue ground. Of the
semi-diamond forms the first and third upper and the second lower
have an old ivory background, while the second upper and the first
and third lower have a background of a most beautiful buff shade.
The figures on all of these are in blue, terracotta and white. The
first and third border stripes carry an S form on the top and
bottom, while on the sides they carry a form of barber-pole
stripe, all upon a dark blue background. The main border stripe
carries a peculiar rectilineal eight-petaled flower in different
colors upon an old ivory background; the loose yarn ends hanging
alternate in red and blue every four inches. The color combination
and sheen of this piece are unexcelled.

STANTON RUG (page 162).--The predominating dark mahogany color and
long thick nap, together with a touch of blue in the octagons,
makes this piece most attractive. See also frontispiece.

YOMUD

SYNONYMS.--Yamoud, Yamut. Sometimes called yellow or brown Bokhara.

WHY SO NAMED.--After a tribe of Nomadic Turkomans by that name who dwell in the western part of Turkestan on the plains along the shores of the Caspian.

KNOT.--Either the Senna or the Ghiordes. Number vertically eight to fifteen; number horizontally seven to twelve; number to square inch fifty-six to one hundred eighty.

WARP.--Brown wool or goats' hair.

WOOF.--Good wool of medium length or goats' hair. Frequently dyed red.

NAP.--Fine wool of medium length or goats' hair.

SIDES.--A coarse selvage of two cords which are colored in alternate squares of red and blue, red and brown, or two shades of red, giving it a checker-board effect.

ENDS.--A wide web at each end in plain red or with blue stripes. Frequently stripes of colored wool are worked into the web with apparently as much care and skill as that given to the body of the rug. Finished with a fringe of loose warp threads which are occasionally twisted at irregular intervals.

BORDER.--There are usually three border stripes, one medium sized one with a narrow one on each side. The barber-pole stripe, the reciprocal saw-teeth, and the latch hook variations are the predominating border designs.

PREVAILING COLORS.--Ground almost invariably of a rich brownish red which is softer and deeper in tone than that of the Khivas and Tekkes. Figures in drab, blue, green, and yellow.

DYES.--Usually the best.

DESIGNS.--The tribal patterns show great individuality and combine the Turkoman octagon with many of the Caucasian designs. A common arrangement is that of octagons and elongated diamond forms in alternate rows with plenty of latch hook variations. Very frequently the field is covered with the diamond forms alone.

PRICES.--From $0.75 to $2.50 per square foot.

SIZES.--Seldom smaller than five by eight or larger than eight by eleven feet.

REMARKS.--They resemble the Bokharas in some respects and the Caucasian products in others. About the only antique, in carpet sizes, now found in the market.

THE EXAMPLE ILLUSTRATED

MAJ. L. B. LAWTON'S DESCRIPTION.--This weave is the rarest of the
Turkomans. So rare is it that Mr. Mumford in his article in the
_Century Magazine_, January, 1910, states that to his knowledge no
bales of antique Yomuds had been imported for seven years. Nearly
all Yomuds have the cross pattern, are usually deeper in tone than
their cousins the prayer Bokharas, and lack the little niche.
Yomuds are silkier than prayer Bokharas, and have the color of the
Delaware grape. This specimen has an unique pattern as a panel
across the end, otherwise it is typical. Yomuds adhere more closely
to their type than do any other weave.

KASHGAR

WHY SO NAMED.--After the city of Kashgar, a city of Eastern Turkestan which enjoys a great caravan trade and is one of the richest markets in Central Asia.

KNOT.--Senna. Number vertically five to nine; number horizontally four to seven; number to square inch twenty to sixty-three.

WARP.--Coarse cotton.

WOOF.--Four-stranded cotton.

NAP.--Wool of medium length, frequently part silk.

WEAVE.--Coarse and poorly tied.

SIDES.--An added yarn selvage.

ENDS.--Selvage of varying lengths with a fringe of loose warp threads at each end.

BORDER.--Chinese in character. Swastika border common.

PREVAILING COLORS.--Usually strong yellow, blue, red, pink, green, and orange with white or old ivory. Pale terracotta is common.

DYES.--Good as a rule.

DESIGNS.--Chinese in character. Generally fretted grounds or trellis covered with figures of bats, butterflies, cranes, dragons, fish, and trees. The knot of destiny is very commonly employed.

PRICES.--$1.00 to $3.00 per square foot.

SIZES.--From three to six by six to twelve feet.

REMARKS.--Not very many found in the markets.

YARKAND

WHY SO NAMED.--After a city of that name in Eastern Turkestan, in the vicinity of which they are made.

KNOT.--Senna. Number vertically five to nine; number horizontally four to seven; number to square inch twenty to sixty-three.

WARP.--Coarse wool or cotton.

WOOF.--Coarse wool or cotton. Generally four strands between each row of knots.

NAP.--Coarse wool of medium length, sometimes more or less silk.

SIDES.--A selvage of two cords.

ENDS.--Web of varying lengths with loose warp threads at each end.

BORDER.--Usually three border stripes, one of medium width with a narrow one on each side.

As a rule the borders are small in proportion to the size of the rug. The swastika border design is commonly employed.

PREVAILING COLORS.--Resemble those of the Bokhara with a field of rich brownish reds. Sometimes the field is of tan color. The designs may be in blue, red, green, yellow, pink, and terracotta.

DESIGNS.--Resemble those of the Bokhara and Kashgar. Fretted grounds with figures of animals, dragons, bats, butterflies, circles, and octagons. A common design is the arrangement of four dragons in the form of a swastika.

PRICES.--$0.75 to $2.50 per square foot.

SIZES.--From three to six by six to twelve feet.

REMARKS.--Quite similar to the Kashgar. The modern ones are not attractive.

SAMARKAND

SYNONYM.--The trade name of "Malgaran" is given to an inferior grade.

WHY SO NAMED.--After the city of Samarkand, a city of Western Turkestan in the valley of Zarab-Shan, one hundred miles east of Bokhara, which was once the centre of learning in Asia, having had several universities there.

WHERE MADE.--In the vicinity of Samarkand.

KNOT.--Nearly always the Senna, seldom the Ghiordes. Number vertically five to seven; number horizontally six to ten; number to square inch thirty to seventy.

WARP.--Wool, cotton or silk, usually dyed blue or yellow.

WOOF.--In the antiques cotton or wool. In the moderns cotton. Like the Kazaks there are three or four woof threads between each row of knots.

NAP.--Good, heavy, loose, lustrous wool. Sometimes silk or a mixture of silk and wool.

WEAVE.--Loosely woven.

SIDES.--Antiques have a narrow selvage added sometimes with two colors like the Yomuds. Modern pieces are overcast.

ENDS.--Similar to those of the Turkoman products. Wide web with fringe of loose or twisted warp threads.

BORDER.--From three to five border stripes, usually three. The inner border usually carries the Greek meander, the outer one floral designs and the middle one figures corresponding to the central designs. The undulating vine and lotus pattern are frequently used.

PREVAILING COLORS.--Field usually blue, red, or golden brown. Bokhara reds and yellows are lavishly used.

DYES.--Of the best.

DESIGNS.--There are usually five medallions (circles of happiness), one at each corner of the field and one in the centre bearing some dragons, animal, or floral forms. Very little trace of Persian, Turkish, or Caucasian influence; Mongolian characteristics predominate with some trace of Turkoman. Chinese fret, swastika, dragon, fish, and floral forms.

SIZES.--From three to nine by nine to fifteen feet.

PRICES.--Antiques rare and costly, moderns from $1.00 to $2.50 per square foot.

REMARKS.--The moderns are much inferior to the antiques. They are suitable for library and hall use.

THE EXAMPLE ILLUSTRATED

Although made in Russian Turkestan, Samarkand weavings are Chinese
in every respect.

This particular piece displays three round medallions or circles
of happiness, also butterflies and various Chinese plant forms.
The first and third border stripes are composed of one of the
Chinese lotus bud border designs, while the central stripe
consists of the swastika fret.

OWNERS' DESCRIPTION.--In all the rugs that we have imported from the
Caucasian provinces we do not recollect having seen one with a finer
texture than this Daghestan. It has as many knots to the square inch
as the finest Kashan rugs, which, as is well understood, are the
finest products of the Persian looms.

The "barber pole" stripes in the border, the reciprocal Van Dyke
design, and the "wine glass" figure in the widest border are all
characteristic designs found in Caucasian rugs. Even the niche is
similar to other Daghestan prayer rugs. But we see at once Persian
influences in the field of the rug.

The "flame" design as it is called here, which is in reality a
variation of the familiar "river loop" or "El-Ayassi" pattern, and
which is distinctly a Persian figure, is here used throughout the
field. As if to emphasize the theory that the flame, which the early
Persians worshipped, is represented by this design, each individual
figure is made to give off rays of light and warmth.

Another interesting and noticeable feature in this rug is that while
in Persian fabrics like the Sereband, where this or a very similar
design is used, the figures are almost all exactly alike, whereas here
they differ considerably and no two are alike in detail.

(See page 254)]

THE BELUCHISTAN RUGS

Beluchistan is a vast, wild and mountainous country extending from Kirman to India and from Afghanistan to the South Arabian Sea, partly under Persian rule and partly under the protection of Great Britain. It has an area of about 146,000 square miles with but 800,000 population. The capital, Kelat, has a population of 15,000. The inhabitants are principally Nomad tribes of primitive habits and of the Mohammedan faith. The rugs of Beluchistan are taken way across Afghanistan to Bokhara to be marketed. On this account and also because of their great likeness to the Turkoman products they are classified as such by several prominent writers. Like the latter they invariably have a wide web at each end, usually with a woven design. The colors and designs are similar to those of the Turkoman class and the dyes are good, but nowadays unwashed ones are extremely scarce.

BELUCHISTAN

SYNONYMS.--Balooch, Baloochee, Bilooz, Bilouche, etc. Sometimes wrongly called "Blue Bokhara."

BY WHOM MADE.--By the Nomadic tribes of Beluchistan and by Beluches residing in Afghanistan and Eastern Persia.

KNOT.--Always Senna. Number vertically six to ten; number horizontally five to twelve; number to square inch thirty to one hundred twenty.

WARP.--Usually wool, frequently goats' hair.

WOOF.--Always dark wool.

NAP.--Fine, long, compact, lustrous wool, goats' and camels' hair.

SIDES.--Overcast or selvaged, usually with goats' or horses' hair.

ENDS.--Wide ornamented selvage with loose or twisted warp ends. Often a row of colored yarns run through the web.

BORDER.--From three to four border stripes, usually one wide one and two narrow ones.

PREVAILING COLORS.--Usually dark reds and dark browns with a sprinkling of white. Tan is frequently employed in the field and is generally the undyed camel's hair.

DESIGNS.--Geometrical devices, hexagons, octagons, etc. Occasionally stiff floral patterns.

SIZES.--Mostly small, two to seven by three to eleven feet.

COST.--From $1.00 to $2.50 per square foot.

REMARKS.--One of the last rugs to be affected by outside influences. Although scarcely any chemical dyes are used, the "doctoring" process has been adopted so that nowadays an unwashed Beluchistan is a scarce article. The modern ones are inferior to the antiques, although all wear well.

THE EXAMPLE ILLUSTRATED

KNOT: Senna. Eight to the inch vertically and thirteen
horizontally, making one hundred eight to the square inch. The
centre field of dark blue is covered with the Mina Khani design,
which, being a Kurdish design, is seldom found in Beluchistan
products. The two narrow border stripes in white are of the Greek
key design upon a background of dark brown, while the main border
stripe consists of rectilineal vines and flowers arranged similarly
to the Herati border design upon a varying background of light and
dark Turkoman red. The webbing at each end is covered with fine
designs and stripes and in several places are talismanic tufts of
wool.

CHINESE RUGS

Presented by the late Mr. J. Pierpont Morgan to the Metropolitan
Museum of Art, New York City. A very unique and beautiful piece. It
is one of the most celebrated and costly rugs in America. The cloud
bands and the five clawed Chinese dragons are framed in by the Chinese
fret.

(See page 301)]

CHINA

CHINESE RUGS.

It is practically within the last decade or so that the artistic merits of the Chinese rugs have been fully appreciated. Previous to that time they were promptly laid aside to make place for the other Oriental weaves. A few wise connoisseurs were in the meantime securing all the choice pieces available and some have made themselves independently wealthy by their sagacious forethought. At the present time Chinese rugs are eagerly sought and treasured more than those of any other class, good ones bringing fabulous prices.

To illustrate the rapid advance in the value of choice pieces the writer will relate one incident out of many similar ones which to his knowledge have occurred.

About eighteen years ago a wealthy horseman of Central New York died leaving a stable which, together with its furnishings, was worth many thousands of dollars. Sometime after his death the furnishings were sold at public auction. Among the articles thus disposed of was a Chinese rug 10 × 12 which was bid in by a New York man for $150.00. Two years ago it was resold for $25,000.

Excluding those of recent make, Chinese rugs are of good workmanship and honest dyes, the weavers being little influenced by modern ideas, consequently they are durable and, on account of their original Mongolian designs, can easily be distinguished from the other Oriental products. Unfortunately, on account of the growing scarcity of wool in China and on account of foreign invasion, the rug industry seems to be dying out.

The classification of Chinese rugs is a difficult matter, in fact anything like an accurate classification is impossible even for a connoisseur for they cannot be assigned to the different provinces by the finish of their sides and ends as are the other Oriental weaves, but the classification must depend mostly upon the colors, materials and workmanship, which were in vogue at certain periods, as well as the effect of time upon these colors and materials.

Those which reach our own shores are generally divided into three classes according to the districts from which they came, namely, Pekin, Tientsin and Thibet, the latter being practically Chinese although not geographically so. The above are named in order of their excellence, the finest pieces, as a rule, coming from northern China.

Unlike other Oriental textiles those of China may be interestingly classified according to the symbolism of their designs, thus we may have the longevity rug in which are depicted the crane, the stork, the deer, or the tortoise, all of which are symbols of longevity. The literary rug is decorated with books, ink stands, pencils, brushes, scrolls, and sceptres. The bat, the gourd, the circle of happiness, and the shou denote happiness; the dragon, the lion, the phœnix, and the sword authority and power; the swastika, the knot of destiny, the swallow, and the magpie are symbols of good luck, while in the religious rugs are found the rosary, the incense burner and various altar implements.

The Chinese weaver is fond of filling every available space with objects with which he comes in daily contact, thus among the animate things may be mentioned butterflies, dogs, doves, ducks and swans. Among the inanimate things are vases, chess boards, jars, stands, baskets, wheels, ribbons, shells, pots and plates, while among the flowers are the peony, the primrose, the peach, the magnolia and tea blossom, the lotus, the orchid, the chrysanthemum, the sun flower and the aster.

There are seven designs, which on account of the great frequency with which they are used, are worthy of special mention. Named in order of their employment, they are the circle of happiness, the Chinese fret, the swastika, the butterfly, the bat, the shou, and the dragon.

The circle of happiness which is found in nearly all classes of Chinese rugs is a circle or ovoid within which are worked various Mongolian designs. The Chinese, or Greek fret, as it is sometimes called, is a border design suggested by the overlapping of the sea waves and is found in fully two-thirds of the Chinese products. The swastika needs little explanation other than the statement that for centuries it has symbolized good luck to many tribes in distant parts of the world. Butterflies, symbols of vanity, are frequently found intermingled with flowers or bats, the latter being symbolic of happiness. The shou, which stands for prosperity, has nearly a hundred different forms, many of which are similar in shape to the Egyptian scarab. The dragon, the Chinese symbol for sovereignty, always has five claws, unlike the Japanese dragon, which has but three. It is frequently represented as holding or looking towards a round object, the so-called "chin" or jewel.

The materials from which the Chinese make their rugs are practically the same as are used in the other rug making countries with perhaps the exception that the wool varies more in quality, being on an average considerably coarser than that of Persia or Anatolia. The Chinese also employ considerable hair, which in appearance very much resembles that of a cow. Rugs made of this hair are known as Yak rugs.

Chinese weaving differs little from that of other parts of the Orient. Both the Senna and the Ghiordes knots are employed, most frequently the former, but the appearance is different on account of the size and looseness of the warp and pile yarn, which, in many instances, makes it impossible for the weaver to tie over eight to ten knots to the square inch. During the early part of the eighteenth century, designs were frequently made to stand out in relief by cutting somewhat shorter the wool around them.

Chinese designs are characteristic and interesting, being similar to those found in the old Chinese porcelains. As a rule they are simple, with little detail and are outlined with a contrasting color. No family or tribal designs are employed as in the other rug making countries. Each rug being usually the work of one weaver, both in design and execution, it is frequently symbolic of his creed.

During the 16th and 17th centuries the majority of Chinese rugs had a field of solid color or were covered with the trellis design. They also had but few narrow border stripes, either in plain colors or carrying simple geometric designs, but about the middle of the 18th century, they began to show Persian influence, floral patterns being adopted especially for the borders.

Like the designs, the colors employed by the weavers are quite similar to those used in the old porcelains. As a rule, they are dull, warm and harmonious, but few shades being used in the same piece.

The colors and shades most frequently used in Chinese rugs, named in order of their employment, are dark blue, yellow, light blue, apricot, ivory white, dark brown, cream, old red, tan, fawn, robin's egg blue, green, fruit red, persimmon red, ash white, sapphire blue, peach blow, salmon pink, brownish red, brick red, greenish yellow, turquoise blue, copper pink, and black.

OWNER'S DESCRIPTION

Color: Blue and gold.
Field: Elaborate peony leaf and flower decoration.
Border: Intricate swastika-fret motive.
Date: 1790.]

The different shades are of considerable assistance to the connoisseur in estimating the age of a rug, for instance, robin's egg blue, golden brown, and tan were mostly in vogue during the 17th century, and during that period, green and lemon citron, greenish and reddish yellows were never employed.

THE EXAMPLES ILLUSTRATED

Three color plates of these attractive rugs are given, with
accompanying descriptions (see pages 300, 306 and 318).

GHILEEMS, SILKS, AND FELTS

GHILEEMS

Also spelled Gileem, Gilim, Khilim, Kilim, Killim. A pileless rug which is made by binding a dyed weft thread around the warp threads by means of a shuttle or needle, making the fabric alike on both sides and leaving open spaces between the warp threads where the changes of color are made. This is the primitive mode of weaving and requires much more skill than does the pile method. Ghileems are woven at the present day more than ever all over the Caucasus, Anatolia, Kurdistan, Persia, and in some parts of Turkestan. Those which are found in the Western markets come mostly from Cæsarea, Senna, Shirvan, Kurdistan, and Merve.

As a rule each variety adopts the designs and colors which are in vogue in the particular locality from which they come, but frequently the border stripes do not extend around the whole fabric as is almost invariably the rule with the pile carpets. By the Oriental the Ghileems have been used as floor coverings from the earliest times; by the Occidental they are used almost exclusively as portières, couch covers, and table spreads. As a rule, they are sold in the Orient by weight, and, like most of the other textiles, have of late years not been extremely free from outside influences.

SENNA GHILEEM

Senna Ghileem is the finest quality of Ghileem produced, being much finer in texture than any of the other Ghileems. As a rule they have small intricate patterns, with an opening at each change of color, in fact they are exact duplicates of the Senna pile rugs in design and have the same finish on the sides and ends. The Herati design is commonly used in the field but seldom in the border. In sizes they vary from three and one-half to four and one-half by five and one-half to seven feet, seldom larger or smaller.

THE EXAMPLE ILLUSTRATED

The main border stripe carries a meandering vine with a pear-shaped
leaf at each turn and on either side of it is a narrow stripe
consisting of floral forms which are connected by leaves arranged
in the form of a meander.

ANATOLIAN GHILEEM

Anatolian Ghileems are, as a rule, light in weight and coarse in texture, with many open spaces and with bold geometrical Turkish designs and bright colors. They are made of good wool and are finished with a fringe at each end. As a rule they can be distinguished by their prayer niche or by a seam through the centre, the larger sizes, which do not come in the prayer design, usually being made by sewing two long, narrow pieces together.

KIS GHILEEM

Kis Ghileem, which means "girl rug," are Turkish Ghileems made by the Mohammedan girls for their suitors, it being a Turkish custom for a girl, as soon as she becomes engaged, to weave one of these rugs to present to her future husband in order to show the quality of her handiwork; therefore, being judged to a certain extent by the grade of her weaving, she naturally does her best. For this reason many of the so-called Kis Ghileems are of excellent workmanship. They carry typical Turkish designs and are finished with a fringe at each end. In size they vary from two and one-half to seven by four to fifteen feet, the smaller sizes usually being of the prayer style, while the larger ones are made of two parts sewed together, little care being taken to make the patterns of the two pieces match well. Frequently we will find small tufts of wool, beads or a lock of the weaver's hair attached to the warp threads as a talisman.

SHIRVAN GHILEEM

Shirvan Ghileems are always recognized by their designs, which are like those of no other Ghileem, being composed of numerous stripes running across the whole width of the rug and covered with geometrical devices similar to those of the Daghestan. These stripes are from eight to twelve inches wide with narrow plain blue, green, or red stripes between. They are nearly always woven in one piece and of good wool, but are heavy and coarse, with large openwork spaces. In size they vary from three to eight by six to twelve feet, the average being five by nine feet.

KURDISH GHILEEM

Kurdish Ghileems, like other Kurdish rugs, rank among the best of their class, being made of the finest of wool and closely woven. They usually consist of two or more pieces sewed together or joined by embroidered geometrical designs and many yarn ends are left loose on the under side, giving a shaggy appearance like the under side of the Shemakha rugs. In this respect they are unlike any of the other Ghileems. The colors are as a rule subdued, dark shades of crimson, blue, yellow, and green, with more or less black and white. The prayer design is frequent, with a niche like that of the Ghiordes. The ends are finished with a web upon which an attractive design is woven or through which runs a parti-colored thread similar to that in other Kurdish rugs. The antiques are very scarce. In sizes they vary from four to six by seven to twelve feet.

THE EXAMPLE ILLUSTRATED

This is one of two strips which were originally sewed together like
many of the Ghileems of this class. The predominating colors are
green, red, dark brown and white. Each end is finished with a short
web and braided warp threads. It also has many loose yarn ends on
the back side, which is a characteristic feature of the Kurdish
Ghileems.

MERVE GHILEEM

Merve Ghileems are made in the vicinity of Merve, in the Turkoman district. They differ from all other Ghileems in that the colors are divided diagonally instead of vertically or horizontally with the warp or woof threads. For this reason no open spaces are left. The colors are few and subdued, white especially being seldom used, and in design they are most modest, the field as a rule being divided transversely into three or four parts by ornate line patterns resembling in some respects the Kurdish Ghileems. They frequently come in prayer form with designs less striking than those of the Kurdish Ghileems and strongly resembling those of the Beluchistan. Some are of great size.

THE EXAMPLE ILLUSTRATED

One of two strips which were originally sewed together. Like many
of its class the field of this piece is divided transversely into a
number of stripes, each about a foot wide. Each stripe is of a
different color, being tan, green, white and brown, and the whole
field is covered with a trellis of serrated latch hook designs in
red, the divisions of which contain diamond forms in different
colors. There is a short web at each end, one with loose warp
threads and the other knotted.

SILK RUGS

Silk rugs were first made in China and afterwards in Anatolia and Northern Persia, where silk is produced in great quantities. They were formerly made for mosques, for royalty, or for very rich people, expert weavers being hired for the occasion and the material being furnished by the one who ordered the work done.

Fine silk rugs are unsurpassed in beauty, rich, exquisite coloring, and rare sheen, but they have never been practical as floor coverings; first, because they require such luxurious surroundings, and second, because the wearing quality of silk does not compare with that of wool.

The genuine Persian silk rugs are getting scarce and almost priceless. Strange as it may seem, few of these pieces have been sought by either the museums or collectors of America.

KURDISH GHILEEM
Size 15'4" × 2'6"
PROPERTY OF MR. JOSEPH SHEHADI]

Those made at Kashan in Northern Persia are the best of the present day products. As a rule they are made entirely of silk having a narrow web and a fringe of loose warp threads at each end and with beautiful shades of red, rose, turquoise, old ivory, and green.

In Persia they sell for from $10.00 to $15.00 per square foot and in the United States for from $15.00 to several hundred dollars a square foot.

A much cheaper and a purely commercial product comes from Kaisarieh or Cæsarea, in Asia Minor. These, as a rule, have a cotton warp and weft and are copied after the old Persian and Ghiordes designs, especially the so-called "Mosque design" with the hanging lamp. These rugs are undesirable in color, dyes and workmanship and are invariably worth much less than the prices asked for them. The great majority of them can be detected by the direction in which the pile runs, it being inclined towards the top instead of towards the bottom.

It is easy to go astray in the purchase of silk rugs on account of the numerous mercerized and wool silk imitations, many of them not even being hand-tied but machine made.

FELT RUGS

Felt rugs are made to a certain extent in nearly every part of Persia, but chiefly at Ispahan, Astrabad, and Yezd. They are made of wool, goats' hair or camels' hair or of a combination of two or all of these substances, according to the color desired. As no dyes are employed and the finished product is the same in color as that of the materials used, they are usually gray, white or buff, most frequently the latter. The material is matted together by being pounded, occasionally sprinkled with water in which rapeseed-oil cakes have been soaked for a long time, and then pounded more until it becomes compact and solid. The finished product varies in thickness from three-quarters of an inch to three inches and is as soft and pliable as cloth, but too heavy for exportation, consequently few come to Western markets. In the Orient they are used as floor coverings on top of which ordinary pile carpets are placed. In this country they have been used in bedrooms, also as a covering for dining tables, and as silence cloths, but they will not stand the wear of chairs and are an easy mark for moths. They can be purchased for from $7.00 to $10.00 per yard.

KNOT: Senna. Eight to the inch horizontally and six vertically,
making only forty-eight to the square inch, but the pile wool is
so fluffy that it has the appearance of being quite closely woven.

This piece is undoubtedly a very old one. It has a long silky pile
with deep Chinese blue ground, displaying a central medallion of
floral forms, frets and swastikas woven in soft red, yellow, drab
and white. Also corner motifs in similar colors, all of which is
framed by three harmonious borders, an inner band consisting of
white dots on a blue background; the main border stripe composed
of graceful floral scrolls and blossoms in yellow, light blue,
drab, red and white on a blue ground, and the other border of plain
blue.

(See page 301)]

CLASSIFICATION ACCORDING TO THEIR INTENDED USE

PRAYER RUGS (NAMAZLIK)

In all ages fine rugs have been used for religious purposes by the faithful followers of the prophet. Every Mohammedan has his prayer rug, more or less valuable according to his means, which he always carries with him and upon which he prostrates himself five times a day when the appointed hour for prayer arrives.

By means of a small compass he spreads his rug so that the mihrab or niche points towards Mecca, where Mohammed's body lies. Then after removing all jewelry and money from his person, in order to appear before God in the most abject humility, he combs his beard, produces a rosary of ninety-nine beads and a dried cake of earth which came from Mecca. These he places just under the niche and then, resting his head on the earth with his hands outstretched on either side, he performs his devotions.

The mihrab or niche on which the worshipper places his head represents the door of a mosque and reminds those who use it of the sacred mosque at Mecca.

Occasionally prayer rugs will be found with three or more niches, especially among the Caucasian products. These are intended for children or for family worship. Others may have instead of a prayer niche, three small medallions, one each for the hands and one to receive the forehead.

For convenience the prayer rug is of small size, usually from two and one-half to four by four to six feet. Those intended for personal use frequently have the name of the owner on and are of the very best workmanship. Combs and other objects used in the act of worship are frequently depicted in or near the prayer niche.

The prayer niche takes various forms in different kinds of rugs, seldom more than one class having the same form. As a rule that of the Persians is formed by curved lines, while all others are formed by straight lines, those of both the Persian and Turkish classes being pointed, while those of the Caucasian and Turkoman classes may either be pointed or flat at the top, usually the latter.

In differentiating between these different classes we are assisted not only by the shape of the mihrab, but also by the various field designs, such for instance as the panels above and below the prayer field, the lanterns or pendants which hang from the centre of the niche, etc.

1. Persian
2. Persian
3. Persian and Konieh
4. Meshed and Saruk
5. Tabriz
6. Kirman
7. Kirman
8. Kirman and Kulah
9. Herez and Kulah
10. Kulah
11. Kulah
12. Kulah
13. Kulah
14. Ghiordes
15. Ghiordes
16. Ghiordes
17. Ghiordes
18. Anatolian
19. Anatolian
20. Konieh
21. Konieh and Meles
22. Ladik
23. Ladik
24. Kaisariyeh
25. Bergama, Genghis, Daghestan, Bokhara
26. Bergama
27. Meles
28. Meles
29. Daghestan and Kazak
30. Kazak and Beluchistan ]

SINGLE PANELS.--When only one panel is used it is invariably above the prayer field. The Kulah nearly always has but one, the Anatolian generally, and the Ghiordes seldom.

DOUBLE PANELS.--The Ghiordes nearly always has two, the Bergama generally, and the Kulah seldom.

HANGING PENDANTS are always present in the Kaisarieh, frequently in the Ghiordes, and seldom in the Kulah.

PILLARS are always present in the Kaisarieh, frequently in the Kulah, and only occasionally in the Ghiordes.

PLAIN PRAYER FIELDS (excepting the lamp) are most frequent in the Turkish rugs.

FILLED PRAYER FIELDS are invariably present in the Caucasian and Turkoman rugs and generally in the Persians.

HEARTH RUGS (ODJAKLIK)

Hearth rugs may be distinguished by the shape of their field, each end of which resembles the niche of the prayer rugs belonging to the same class. They are usually from three and one-half to four by five to seven feet and are very precious to the family, who always spread them before the fire upon the arrival of a guest, and once a fugitive, fleeing from his enemies, enters a tent and sets his foot upon the hearth rug, the owner and his people were bound to defend him.

GRAVE RUGS (TURBEHLIK)

Grave rugs are usually the combined handiwork of all the members of the household and, in accordance with an ancient custom, are used to cover the dead before interment and the grave after interment, having practically the same import as flowers do with us. They are usually woven in sombre tints to express grief and in light colors to denote resurrection. The cypress tree, which is symbolic of sorrow, is usually the leading feature of the design and there are generally some inscriptions from the Koran.

DOWRY OR WEDDING RUGS (KIS GHILEEM)

Dowry or wedding rugs are woven by the Eastern maiden for her dowry. They are usually small in size and are seldom seen in America, as they are always greatly prized by the Oriental. A more definite description of them will be found under the heading of Ghileems.

MOSQUE OR MECCA RUGS

Mosque or Mecca rugs are sometimes called Tribute rugs. The wealthy Mohammedan rulers vied with each other in taking with them on their pilgrimage to Mecca rugs of the finest materials and choicest designs for presentation to the mosque, the whole interior of which was usually hung with carpets, beautiful and costly beyond description. Many of these so-called mosque rugs were of the Shiraz class. It is still the custom in some parts of the Orient to give rugs to the mosque as thank offerings for special blessings received and frequently the Mohammedan bequeaths a rug when he dies to the mosque where he worshipped.

BATH RUGS (HAMMANLIK)

Bath rugs are usually about three feet square and have a peculiar lustre due to their frequent contact with soap and water. One of these bath rugs is usually presented to the bride by her parents on her wedding day.