SEHNAS.-Seldom has prophecy been more precisely fulfilled than the one made a decade ago that the old Persian rugs would rapidly disappear from the market. Nor is it better exemplified than in the case of those woven before the middle of the last century in Sehna, capital of Ardelan, for to-day it is exceedingly difficult to obtain any of them. Nevertheless, there are still many looms among the four or five thousand families of the city, where true to early traditions are woven modern fabrics that maintain the same floral Persian patterns, the same colour, the same general character of weave; but they lack the fine technique of the older pieces. It is, indeed, surprising that these modern pieces so closely resemble the old in all save quality, when it is considered that Sehna is distant only fifty miles from the western border of Persia; that it is surrounded by Kurdish tribes who for generations have woven rugs with nomadic features; and that it is not far distant from other important rug centres.
To one familiar with the leading characteristics it is possible at once to distinguish these rugs. Their nap is exceedingly short, and the weave is so distinctive that with eyes closed an expert will generally recognise them after rubbing the hand across the front and back. Their patterns, also, conform to well-established types, yet have sufficient variety to be always interesting. They may be conveniently divided into two groups: one represents the entire field covered with floral designs, and the other represents a field of uniform colour with a medallion at the centre, or with two or more concentric medallions. The former, which is undoubtedly the older group, has generally a small diaper pattern of the Herati design or floral figures daintily drawn. To obviate too great monotony, a number of the old pieces have the leaves and flowers so adjusted that the ground conveys the effect of lattice work, or less often have small trees of cypress regularly placed amid the other floral designs. Again, the field may be covered with large pear designs placed in rows. Of modern pieces the most beautiful pattern, as a rule, consists of a field of rich, uniform colour, as ivory or red, containing at its centre a single medallion of contrasting ground colour, which is generally dark blue or even black. The four corners of the field have serrated edges and are covered with floral designs similar to those of the medallion. The borders, which are invariably narrow, usually consist of three stripes, but sometimes of only two. With very few exceptions they are floral, and in the main one, that has a ground colour of yellow or red, are represented designs which are also similar to those of the medallion. Some of the old Sehnas had borders that were less floral than more modern pieces, and the turtle design so common to Feraghans was often used. Isolated and adventitious designs, such as are seen in all nomadic rugs, are never found in these pieces, nor are the floriated scrolls that are peculiar to Sarouks, Kashans, and Kermanshahs.
As is seldom the case with modern rugs, occasionally both linen and silk are used for the warp, and silk for overcasting, but generally the warp is cotton and the overcasting is of wool. The city of Sehna has given its name to the kind of knot with which almost all the rugs of China and Turkestan as well as many of the rugs of India and Persia are tied; yet strange as it may seem, its own weavers have been inconsistent in its use. To be sure, most of its rugs have the Sehna knot, but a surprisingly large proportion of both recent and comparatively old pieces have the Ghiordes knot. Only a few other rugs ever adopt the same style of weaving; for a thread of weft passes between two rows of knots but once, so that at the back only alternate threads of white cotton warp appear between these knots and thus give to the weave a checkered appearance or quincunx effect. Moreover, the yarn of the knots is not drawn tightly against the warp, so that in whatever direction the hand is rubbed the surface feels like a file. Very few other rugs are so closely woven, as four hundred knots to the square inch are not uncommon; and in very old pieces nearly double that number are now and then met with. Since both warp and weft are of fine threads and the nap is very short, these rugs are exceedingly thin and, accordingly, are not well adapted for floor use.
Some old saddle-bags are still to be found, rich in their fields of deep blues and floral forms of brighter tones, but unfortunately they are somewhat marred by the long slit in the centre made to fit the saddle.
_Type Characteristics._ _Colours_, principally dark blue, red, and ivory, with lesser quantities of green, light blue, and yellow. _Knot_, Sehna, often Ghiordes. Knots to inch horizontally eleven to twenty; perpendicularly, twelve to twenty-four. The rows of knots are closely pressed down, but the yarn of knots is not drawn tight against the warp.
_Warp_, generally cotton, occasionally linen, rarely silk. Each of the two threads encircled by a knot is equally prominent at back. _Weft_, generally cotton, occasionally wool or linen, rarely silk. A single thread of small diameter crosses only once between every two rows of knots, so that the white spots of transverse warp exposed at back have a quincunx appearance. _Pile_, wool clipped very short. _Border_, three stripes. _Sides_, a tightly wound double overcasting. _Lower end_, a short web, or web and warp loops, or web and short warp fringe. _Upper end_, short web and fringe. _Texture_, very firm. _Weave_ at back is of fine grain but very rough. _Length_, three to seven feet. _Width_, two thirds to three quarters length.
BIJARS.-One hundred miles beyond Hamadan, on the road to Tabriz, is the city of Bijar, capital of the district of Gehrous. It is surrounded by barren mountains that rise out of high table-lands, where for miles scarcely a habitation or bush breaks the monotony, and where not even a blade of grass or flower brightens the cracked and sun-parched earth, except for a short season of the year. As is the case throughout nearly all Persia, the spirit of desolation has crept into the city; the grapevine climbs over ruined walls; the shade of poplars and willows falls alike on decaying palace and crumbling houses. Yet there still remain caravansaries, schools, and mosques, as well as a population of five thousand people. Without doubt the importance of the city is partly due to the regiment of soldiers that the governor maintains to keep in subjection the bands of robbers and fierce Kurds who, in large numbers, live throughout the surrounding country. Nor are they the only tribes of fierce foreign blood dwelling in this region; for it is stated that during the invasions of the Timurids, a body of Turkomans from the fortress town of old Saraks, where the corners of Persia and Afghanistan meet Turkestan, followed the conqueror westward and settled here. After them is named a small river that flows a short distance to the north and finally empties into Lake Urumiah; and it is not unusual to apply the name Saraks to the rugs woven about Bijar, though they have none of the Turkoman characteristics.
By adopting some of the best qualities of both Persian and Kurdish rugs, the Bijar weavers have produced pieces of unusual merit. The foundation is generally of wool; but unlike almost all other rugs with nomadic features one thread of warp to each knot is doubled beneath the other in the process of weaving, so that it is almost or entirely concealed.
Bijars are accordingly pieces of great firmness and durability.
Moreover, their threads of warp and weft are of coarse diameter, so that they are invariably thick even when the nap is not long. They are also distinctive in the effective massing of bright and strong colours.
Perhaps the association with ranges of treeless hills, with salt wastes, with vast plains where rainless months leave the grass parched and the flowers withered, has deadened the Persian love for the brilliant, joyous colours so acutely cherished in other parts of Asia; but by the weavers of Bijar it is not unusual to discard many of the Persian colours, which, however rich, are subdued and sombre, and adopt the brighter hues seen in some of the rugs of Asia Minor. Yet, as is not always the case with the latter, there is no sense of outraged taste; and though crimson reds, deep blues, or tawny camel's hair be brought in relief against a field of strongly contrasting colour, the effect, except in modern pieces of poor dyes, is never displeasing.
[Illustration: PLATE 31. KULAH PRAYER RUG]
In the pattern much latitude is exercised, but only in the oldest pieces are found the gracefully flowing lines suggestive of the highest Persian art. In many pieces a central medallion and triangular-shaped corners, separated by a field of plain or slightly shaded colour, is a favourite pattern. But the defining lines are severe, and lack the delicate drawing characteristic of Kermanshahs and Sarouks. Or the field may be covered with a lattice-work pattern that contains small repetitive forms, consisting of slender stems supporting one or more flowers.
Frequently a rug is covered with a medley of designs composed of conventionalised flowers, crudely drawn trees, as well as birds, animals, or human beings. The borders generally consist of an outer edging of plain colour, and three stripes, on which are often represented purely geometric forms, but more frequently the undulating vine and pendent leaves, such as are common to most Persian rugs.
Fortunately many sterling pieces still remain that have none of the earmarks of factory-made rugs, but are beautiful with their soft wool and lustrous colours, as well as interesting with their blending of Persian and Kurdish features.
_Type Characteristics._ _Colours_, principally red, also blue, ivory, green, yellow, and chocolate. _Knot_, Ghiordes. Knots to inch horizontally six to ten; perpendicularly, eight to twelve. The rows of knots are pressed down, so that the warp is concealed at back and the weft partly hidden. _Warp_, wool; one of the two threads encircled by a knot is doubled under the other. _Weft_, wool, of medium or coarse diameter, frequently dyed red. A thread of weft crosses twice between every two rows of knots. _Pile_, of medium length, usually wool, but frequently partly of camel's hair. _Border_, of three stripes, often with an outer edging. _Sides_, a double overcasting in red or purple.
_Lower end_, a web that is occasionally coloured or a narrow braided selvage. _Upper end_, a web with loose warp fringe and sometimes a braided selvage. The webbing is occasionally turned back and hemmed.
_Texture_, very firm. _Weave_ at back is of coarse grain. _Length_, six to sixteen feet. _Width_, one quarter to three fifths length.
KERMANSHAHS.-On an ancient highway between Bagdad and Teheran is the city of Kermanshah. As it is situated near the frontiers of northwestern Persia, facing the Turkish provinces, and is surrounded by mountains where once wandered bands of homeless marauding Kurds who recognised no government, it was formerly a most important stronghold of defence. A century ago Robert Kerr Porter, who visited the city, referred to the luxurious gardens and orchards that surrounded it, and to the villages of the vicinity in which were made "carpets of most beautiful colour and fabric." Within later years the moat has filled with rubbish, the encircling walls have crumbled, and the deserted bazaars and caravansaries show that its present population of about twelve thousand is but a small part of what it has been. With its decline in political importance followed a decline in industrial activities; yet for a long time it remained a rug-producing centre of importance. In 1880 Sir George Birdwood wrote that "the finest Oriental rugs of our time, which at the Vienna Exhibition astonished all beholders, are those made in the palace of the Governor of Kermanshah, in Kurdistan, and are only disposed of as presents."[25] And in 1890 a traveller[26] spoke of the weaving as follows: "It is a process carried on in homes, hovels, and tents by women and children.... The vegetable dyes used are soft and artistic, especially a wonderful red and the various shades of indigo.
The dull, rich tints, even when new, are quite beautiful. The women pursue their work chiefly in odds and ends of time, and in some cases make it much of a pastime."
From this city and the surrounding hills are still obtained large quantities of rugs, which follow the same patterns that for years have been characteristic of this district. Yet most of the modern Kermanshahs are made elsewhere in the work-houses of exporting companies. So noticeable is the resemblance in drawing and colouring of some of them to the Kirmans of Southeastern Persia, that they are offered now and then by dealers as real Kirmans, though they lack the fine technique and artistic merit of the latter. They possess, however, the same wealth of floral expression, for throughout border and field are sprays of flowers on delicate vines and foliate stalks. Most of the pieces now seen contain at the centre of the field a large medallion, which may have serrated or lobed edges, be oval or of diamond shape, and with or without pendants. The corners are defined by lines that do not always conform to those of the medallion; and the borders have always several stripes, of which the main one is usually but little wider than the others. In all these different parts are floral and foliage motives that find expression in sunflowers, roses, tulips, daisies, and many simpler forms, supported by delicate branching sprays and vines.
There are, however, other patterns less frequently met with, as it is not unusual to see elaborate pear designs, and sometimes the cypress or the palm tree naturalistically drawn. Covering the field of a rare old Kermanshah recently seen were thirty large panels, which like so many small rugs contained central fields that were alternately coloured blue and ivory. Surrounding each of these little fields, on which were represented the arch of a temple and the tree of life, were borders wherein were woven verses from the Koran, and at the intersections of the borders were floral designs like roses. Encircling all the panels was a wide border containing escutcheons in which were woven other verses. Without doubt this rug was used for sacred purposes. In fact, a larger proportion of Kermanshahs than almost any other Persian rugs have prayer arches as well as verses from the Koran inscribed in some part of them, but with very few exceptions they are recently woven and bear no evidence of devotional usage.
The general colour scheme is distinctive, for the tones are much lighter than those of most other Persian rugs. Frequently a field of ivory surrounds the central medallion, though sometimes a light rose red is used. Other colours are light blue, green, and buff, which are softened by the floccy quality of the excellent and moderately short-clipped wool. One feature common to almost all of them is the narrow edging of pinkish red that surrounds the border. This edging, the foliate scrolls, the soft light tones, and the rather coarse weaving, that leaves the white or sometimes pinkish weft exposed at the back, are characteristics by which these rugs may readily be distinguished. As they come in all sizes from small mats to large carpets, and have tones that harmonise with almost any surroundings, they are a most popular class with those who care little for association and ignore the fact that they are chemically washed.
_Type Characteristics._ _Colours_, principally light rose and ivory, also blue, green, and buff. _Knot_, Sehna. Knots to inch horizontally twelve to eighteen, perpendicularly eleven to eighteen. The rows of knots are pressed down, so that the warp is concealed at back, but the weft is conspicuous. _Warp_, cotton; one of the two threads encircled by a knot is doubled under the other. _Weft_, cotton, of medium diameter, sometimes dyed pink. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, soft and of medium length. _Border_, frequently of three stripes of almost equal width, but sometimes many stripes; also an outer edging that is generally red, but occasionally blue. _Sides_, a double overcasting in same colour as edging. _Lower end_, a narrow web and warp loops, or short warp fringe. _Upper end_, a narrow web and short warp fringe. _Texture_, firm. _Weave_ at back is of moderately coarse grain. _Usual length_, four to fourteen feet. _Usual width_, three fifths to four fifths length.
WESTERN KURDISTANS.-Within the land lying between the Anti-Taurus and Zagros mountains, where the Euphrates and Tigris rivers have their sources, dwell a people almost as untamed as when in the dawn of history they were designated the "Warriors;" or centuries later, under the name "Carduchis," opposed the retreat of Xenophon and his ten thousand Greeks. Now they are known as "Kurds," of whom large numbers, wild, brave, and hospitable, live a nomadic life among table-lands partly covered with sycamores and oaks, or follow their sheep over lofty pine-crowned mountains, that for long months are enveloped in snow.
Doubtless the cheering influence of green hillsides and the rich vegetation of innumerable valleys, where streams flow perennially, is in a measure responsible for their more sprightly aspect when contrasted with that of the Persians. They recognise no law but the will of their chief, to whom they maintain strictest fealty. "There was up to a recent period no more picturesque or interesting scene to be witnessed in the East than the court of one of these great Kurdish chiefs, where, like another Saladin, the bey ruled in patriarchial state, surrounded by his clansmen with reverence and affection, and attended by a body-guard of young Kurdish warriors, clad in chain armor, with flaunting silken scarfs, and bearing javelin, lance, and sword, as in the time of the Crusades."[27]
[Illustration: PLATE 32. MELEZ PRAYER RUG]
Large numbers, also, are settled in Persia, where they cultivate the soil of small tracts of land, or live in villages of stone houses. Many of them are scattered around Lake Urumiah. Others have made their homes in the district of Kermanshah, and not a few have wandered as far as Khorassan. But wherever they may be, they are distinguished by their appearance; for the men are bold and handsome, and the young women, whom custom permits to appear unveiled in public, are beautiful as well as graceful.
There is no racial distinction between the Kurds who live the pastoral life and those who dwell in villages, or between the Kurds of Asiatic Turkey and those of Persia; yet environment has produced a marked difference in their textile fabrics. Those woven by the tribes that live among the mountains that encircle Lake Van and extend to the north of Diarbekr embody the wild characteristics of the weavers. They are strong and coarse, with close weave, long nap, and bold patterns, that suggest Caucasian influence devoid of artistic feeling. In some of them is a large central diamond or lozenge surrounded by latch-hooks, as well as floral forms so conventionalised as to be purely geometric; now and then Arabic symbols and letters are scattered over the field. Moreover, the colours lack the delicate shades of Persian rugs, but possess rich, strong hues obtained from native dyes that applied to the excellent wool give it a warm, lustrous appearance. Brown is very largely used. There are also dark reds and blues brightened by dashes of white and yellow.
Only the Kazaks, Tcherkess, and one or two Asia Minor weaves are trimmed with such long nap, which, together with the deep colours and long shaggy fringe, give these pieces a semi-barbaric appearance possessed by no other rugs. Sometimes they are confused with the Mosuls; but as a rule the pile is longer, and they are more coarsely woven. In fact, the yarn is so coarse that it is not unusual to see pieces with only thirty or forty knots to the square inch. Like the Persian-Kurdish rugs, they rarely come in large, almost square shapes, and are frequently decidedly oblong. They may, however, easily be distinguished from them by their cruder patterns, darker colours, coarser texture, and the fact that each of the two threads of warp encircled by a knot is equally prominent at the back.
_Type Characteristics._ _Colours_, principally brown, red, and blue, with minor quantities of yellow, green, and white, and the natural colour of the undyed wool. _Knot_, Ghiordes. Knots to inch horizontally four to seven; perpendicularly, six to nine. A half knot, as it appears at back, is as long as, or longer than, wide. The rows of knots are closely pressed down. _Warp_, wool; each of the two threads encircled by a knot is equally prominent at back. _Weft_, wool, of coarse diameter, and often dyed a reddish colour. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, occasionally camel's or goat's hair clipped long. _Border_, generally of three stripes. _Sides_, a heavy double overcasting, usually in brown or black, occasionally in several different colours. _Lower end_, a narrow web, through which runs a coloured cord, and warp loops. _Upper end_, a narrow web, one or more rows of knots and long, coarse warp fringe. _Texture_, very stout.
_Weave_ at back is of very coarse grain. _Length_, five to sixteen feet.
_Width_, two fifths to two thirds length.
PERSIAN KURDISTANS.-Nowhere is the influence of association among weavers more evident than in the Kurdish rugs woven by the tribes settled in the rich valleys of Northwestern Persia, as is apparent in weave, colours, and pattern, which differ widely from those seen in the Kurdish rugs of Asiatic Turkey. The warp is only rarely of coarse goats'
hair, and is generally soft, brown wool. The pile is much shorter, so that the drawing is clearly defined. Likewise, the colours are more varied and of more delicate tones so as to include lighter shades of green, rose, and ivory with the darker reds, blues, and browns. But the chief distinction consists of the more artistic pattern. The medallion in the centre of the field with corner pieces in which appear some form of repetitive pattern is most common. Instead of large figures are often the more dainty Herati designs borrowed from the Feraghans and the Sehnas, or the pear design from the Sarabends. Now and then is seen a rare old piece with field completely covered with drawings of the tree of life and strange floral conceits; but the pattern that is pre-eminently typical of this type of Kurdish pieces is the Mina Khani, though it is occasionally adopted in other rugs. The white and yellowish flowers, connected by a lattice work sub-pattern of brown or olive, rests on a ground of dark blue, that in accordance with a feature peculiar to rugs of Kurdish weaves varies from one end of the field to the other, so as to suggest that their wandering life often made it difficult to obtain the roots and herbs necessary to produce similar shades. As is rarely the case with other patterns, the naturalistic flowers that are pendent from the undulating vine of the main stripe and the flowers of the field have nearly the same drawing. The two remaining stripes of the narrow border have most simple vines.
Almost without exception rugs of this class are stoutly woven. To assure firmness, one thread of warp is depressed below the other in tying the knots; and the weft that is thrown across for filling is of fair quality. On account of the firm texture, excellent wool, and good colours it is still possible to obtain moderately old pieces, that as objects of utility as well as ornament are desirable for their sterling qualities.
A similarity exists between the Persian-Kurdish, Mosul, and Bijar rugs; but a precise, even if easily overlooked, difference in the weave serves to distinguish one from the other. As may be seen by examining the backs of typical specimens, in Mosuls every thread of warp lies in the same plane parallel with the surface of the pile; in the Persian Kurdistans one of the two threads of warp encircled by a knot is depressed at an acute angle to that plane; and in Bijars one of the two threads of warp encircled by a knot is doubled under the other so as to be at right angles to that plane.
_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.
[Illustration: PLATE 33. MELEZ RUG]
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 compositae 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.