OUSHAKS.-Fifty miles eastward from Kulah is the city of Oushak, famous during the XV and XVI Centuries for the carpets exported thence to Europe to adorn the halls of cathedrals and thrones of monarchs. But with the subsequent decadence in Asiatic art its glory ebbed, so that half a century ago it was but a small mud-housed city known for the excellence of its dyes and the wool which was taken there from the interior to be washed, spun, and then sold to the weavers of the surrounding country. Since then, however, its population has steadily grown, and the weaving industry has thrived, until now it is one of the most populous cities of Asia Minor, with looms more numerous than those of any other city. The weaving is done entirely by women and girls, most of whom are Mohammedans. Though they live principally in private houses, they are under the direction of large firms, who furnish the wool as well as the patterns, which are in accordance with European and American demands.
Important distinctions exist between the different grades of these rugs.
Some are known as "Turkish Kirmans," in which Persian designs are frequently introduced, others are of still finer workmanship, but the oldest and coarsest pieces were formerly known as "Yapraks." These are distinguishable by their strong colours of red, green, and blue, of which only two as a rule are seen in a single rug, and are massed to produce striking effects. Their foundation of warp and weft, which are dyed in the same colours, is loosely woven and often of an inferior grade of wool. Many of them are too large and heavy for domestic use, but are well adapted for salons and public halls.
With such slight variations in pattern and none in colour, Oushaks would be of little interest were it not that their prototypes were striking pieces woven by artisans whom Sultan Solyman the Magnificent brought from the northwestern part of Persia, when he conquered it in the XVI Century. Some of them appear in the paintings of old masters, and when contrasted with the modern fabrics indicate how great is the decline in the craftsmanship of the weavers. Of the beautiful well-balanced designs once represented in the fields, only large stars and diamonds, defined by less pleasing lines and placed with less regularity, remain. All of the graceful arabesques and dainty floral motives that appeared as sub-patterns are omitted. As works of art, the modern products are little esteemed; but their durability, depth of pile, and wealth of colour make them excellent objects of utility.
_Type Characteristics._ _Colours_, principally red, blue, and green.
_Knot_, Ghiordes. Knots to inch horizontally four to eight; perpendicularly, four to nine. A half knot, as it appears at back, is longer than wide. The rows of knots are not closely pressed down.
_Warp_, wool. Each of the two threads encircled by a knot is equally prominent at back, or one is slightly depressed below the other. _Weft_, wool of medium diameter and generally dyed red. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, clipped long.
_Border_, usually of three stripes. _Sides_, generally a double overcasting, occasionally a selvage. _Both ends_, generally a web coloured red and a warp fringe. _Texture_, very loose. _Weave_ at back is of moderately coarse grain. _Length_, carpet sizes. _Usual width_, two thirds to four fifths length.
AK-HISSAR.-Almost seventy-five miles by rail from Smyrna and a short distance to the west of Ghiordes is the Turkish town of Ak-Hissar, the White Citadel. Even before the building of the railroad rugs were woven in this district; and in recent years the work-house system has been established, and large quantities, that bear some resemblance to the modern products of Kulah and Oushak, have been exported.
DEMIRDJI.-Half a century ago the town of Demirdji was almost uninhabited; but as a result of the Occidental demand for Oriental rugs and the disappearance of old pieces, it has grown to be an important manufacturing centre. Many of its weavers learned their trade at the historic Ghiordes, which is about twenty-five miles distant; but the fabrics are more closely woven and the wool is more carefully selected than is the case with the modern Ghiordes.
KUTAYAH.-On the main railroad that will eventually connect the Bosphorus with the Euphrates is the town of Kutayah. As it is on the edge of the Anatolian plateau, wool and goat's hair have been for a long period important articles in its trade. Both of them are now used in the local manufacture of rugs, which in a measure resemble the products of Oushak.
SMYRNA.-The location of Smyrna on a magnificent harbour and its connection by rail with all the important rug districts of the interior, have made it the principal centre for the export trade in Asia Minor rugs. Many of the people are also largely engaged in the industry of weaving, but almost all weavers are now in the employ of large companies who furnish the materials and patterns. As a result, the Smyrna rugs are mere copies of well-known types of other Turkish pieces, or, as is generally the case, of stereotyped patterns that have been evolved to meet the requirements of European and American tastes. Many of the rugs, to be sure, are well woven and serviceable, but they lack individuality of character.
MELEZ.-About seventy-five miles to the south of Smyrna and twenty from the Mediterranean Sea is the town of Melassa, or Melez. It is now little known, but was once the market place of an important rug-producing district, which included a large part of the classic province of Caria.
Accordingly, the pieces that came from there were sometimes called Carian, but are more generally known as Melez.
[Illustration: PLATE 40. KABISTAN RUG]
On their face they show a close relationship to the Anatolians, and also, though in a less degree, to many other Asia Minor rugs; yet as is to be expected of the products from one corner of the country, they have a distinct individuality in both pattern and colour. Occasionally an old piece is seen, in which the border is very narrow and the whole field is covered with parallel stripes on which are systematically arranged geometric and semi-floral forms; but as a rule the fields are not much wider, and often less wide, than each of the adjacent borders. Within this central space are frequently arranged prominent designs, which are widely different from the designs of any other rugs, and are suggestive of Chinese ornament, but were doubtless derived from floral or tree forms (Plate O, Fig. 12, Page 291). Moreover, projecting in regular order from the alternate sides of the narrow border stripe, next to the field, are sometimes seen thumb-like figures, that fit against one another like the cogs of a wheel (Plate H, Fig. 15, opp. Page 194). Each of these features, though not always present, is peculiar to this class.
Of the several border stripes, the central is generally as wide as the remainder and not altogether dissimilar to that of the Ladiks. Very frequently it consists of a row of palmettes between which are conventionalised leaves and flowers on slender stems; but now and then the palmettes are replaced by eight-pointed stars or other geometric figures, and the intervening spaces filled with corresponding designs.
The secondary stripes are of a pronounced Caucasian type; and almost invariably in a smaller tertiary stripe is represented a waving line or the reciprocal sawtooth.
The prayer rugs are equally characteristic. In typical examples the lines defining the mihrab descend from the niche to meet the sides of the narrow field at an angle of forty-five degrees, and are then deflected towards its centre, to return again to its sides. The resulting drawing shows two equilateral triangles on each side of the field at the base of the mihrab, which in conjunction with the upper sides of the triangles has the appearance of an incomplete diamond. This effect, moreover, is frequently accentuated by a perpendicular row of diamonds extending from just below the niche to the base of the field.
The sides of mihrab, field, and central designs are, as a rule, fringed with small geometric or conventionalised floral forms; and in the spacious spandrel are more realistic floral designs arranged on a trellis-like sub-pattern.
This individuality of pattern is accompanied by a less marked yet noticeable individuality of colour scheme. As is the case with many Bergamos, the principal tone is a dark red, which generally appears in the central field, and is also used almost without exception in the broad end webs, the side selvages, and the threads of weft. Ivory white for the spandrel, some yellow and green for the borders, are common colours; but the one that rarely appears in any appreciable quantity in other rugs is a characteristic tone of lavender or mauve, which is present in almost every old Melez. Not always are these tones pleasing, as many of the rugs have been poorly dyed; but there are other pieces, now rapidly growing scarce, of which the colours are exceedingly rich and harmonious.
_Type Characteristics._ _Colours_, principally red, with minor quantities of blue, yellow, white, and some mauve. _Knot_, Ghiordes.
Knots to inch horizontally five to eight; perpendicularly, six to eleven. A half knot, as it appears at back, is as long as wide or slightly longer. The rows of knots are not closely pressed down, yet the warp does not show at back. _Warp_, wool; each of the two threads encircled by a knot is equally prominent at back. _Weft_, wool of small diameter, dyed blue or red. A thread of weft generally crosses four times between every two rows of knots. _Pile_, wool, of medium length and sometimes short. _Border_, wide, from three to seven stripes.
_Sides_, a selvage of two to four cords, usually coloured red. _Lower end_, a red web and loose warp fringe. _Upper end_, a red web, a braided selvage, and loose warp fringe. _Texture_, moderately loose. _Weave_ at back is of slightly coarse grain. _Usual length_, four and one half to six feet. _Usual width_, three fifths to three quarters length.
ISBARTA.-In the town of Isbarta in the southern part of the province of Konieh are woven rugs which are sometimes known to the trade as "Spartas." Like many other pieces made to meet the Western demand, they lack spontaneous individuality, but are often of excellent quality and coloured in delicate tones, arranged harmoniously.
RHODIAN.-Even at a very early period the people of the islands bordering the southwestern coast of Asia Minor produced textile fabrics that rivalled many of the best products of the mainland. None of them were more beautiful or more interesting than those which came from the Island of Rhodes, where were blended the vigorous Grecian and the more subtle Oriental arts. Here was the inspiration of the sea, cloudless skies, luxuriant vegetation. Here was felt the deep influence of the Mohammedan and Christian religions, as well as an early pagan mythology; and there is little doubt that the cathedral walls and picturesque church of the valiant knights of St. John made an impression on the weavers. It is not surprising, therefore, that the fabrics should be of deep, rich colour full of suggestion, and that the drawing of the long central panels should remind one of cathedral windows.
Of the many beautiful rugs formerly woven in Rhodes only a few now remain, and these are generally in the hands of collectors. Some are odjaliks, some namazliks, some sedjadehs; but all, with the exception of a few crude and coarsely woven pieces, have colours and weave that bespeak a ripe age, amounting in many instances to one hundred years or more. On the field of odjaliks are represented as a rule the usual hexagonal figure with two sides at each end forming a triangle; and on the fields of the namazliks are prayer arches which, though characteristic, never equal the graceful drawing seen in Ghiordes rugs.
It is the sedjadehs that awaken the greatest interest, as they have some striking peculiarities rarely seen in rugs of the mainland.
Their field is divided into two or three panels that extend almost the full length of the field, and terminate at one end in flat and often serrated arches. The spandrels are small; and placed transversely above them is a low panel, that contains designs of mechanically drawn leaves, vandykes resembling those of Ladiks, and other figures common to Asia Minor rugs. In fact, these pieces at once suggest prayer rugs containing two or more prayer arches, but the pattern is generally regarded as a representation of cathedral windows. Both colouring and designs give force to this idea. In each of the principal panels is a different ground colour, as red, blue, or green, which is never gaudy, yet exceedingly rich on account of the depth of pile; and in the overlying figures there is often a strangely contrasting splendour of brighter colouring. Furthermore, one of the most usual of these designs, arranged like pole medallions, consists of large eight-pointed stars with effulgent rays of brilliant hues. As we look at some of the rare old pieces with this pattern, cathedral windows almost appear before us with bright sunshine streaming in golden rays through the stained glass and brightening the interior with its more sombre tones of "dim religious light." Sometimes the pole design is modified so as to suggest a tree of life extending from one end of the panel to the other. An equally common design represents six very mechanically drawn leaves assembled in the form of a medallion (Plate O, Fig. 15, Page 291). Each of these leaves has two straight edges meeting at right angles and containing at the corner a small rectangular spot; but the remaining sides that form the circumference of the medallion are deeply serrated, so as to produce much the same effect as the rays of effulgent stars. In the fields are also frequently seen latch-hooks, and occasionally checkerboards with different colours for separate squares.
Between field and border is a close correspondence in both colours and small designs. The latter consist principally of geometric and semi-floral forms, as eight-pointed stars, the octagonal disc, and the geometric leaf that is typical of Kulah rugs. No other design is more prevalent than the last, which may be found in all parts of these rugs.
Sometimes it is drawn most realistically so as to resemble the flower forms so common in spandrels of Kulahs; but again the outlines are most conventional with square-like projections at the edges and a bar of underlying field of contrasting colour crossing the face diagonally, as in the border stripe of Plate G, Fig. 13, (opp. Page 192), which shows the foliate origin of the latter.
The name "Makri" is frequently applied to these rugs, since they were often bought in the city of that name, which is one of the harbours of Southwestern Asia Minor nearest to Rhodes.
_Type Characteristics._ _Colours_, principally red and blue, also considerable yellow, green, and white. _Knot_, Ghiordes. Knots to inch horizontally five to eight; perpendicularly, seven to nine. The rows of knots are not firmly pressed down, so that the warp shows in places at back. _Warp_, wool; each of the two threads encircled by a knot is equally prominent at back, occasionally one to each knot is slightly depressed below the other. _Weft_, wool, of medium diameter, coloured red. A thread of warp usually crosses twice between every two rows of knots, rarely only once, and sometimes as many as four times. _Pile_, wool, clipped long. _Border_, two to three stripes. _Sides_, a double selvage of two, three, or four cords, usually coloured red or blue.
_Lower end_, a web, either red or of several colours, and long warp fringe hanging loose or braided. _Upper end_, a web, either red or of several colours, beyond which is often a heavy braided selvage; also a long warp fringe hanging loose or braided. _Texture_, moderately loose.
_Weave_ at back is of slightly coarse grain. _Length_, four to seven feet. _Width_, three fifths to four fifths length.
[Illustration: PLATE 41. KUBA RUG]
BROUSSA.-At the base of Mt. Olympus and distant only twenty-five miles from the Sea of Marmora, with which it is connected by rail, is the city of Broussa. By reason of this location and its proximity to Constantinople, it is an important commercial centre; and on account of the excellence of the wool and silk obtained in the surrounding country, rugs are woven here for foreign markets. The fabrics are stoutly made and compare favourably with those of Smyrna.
HEREKE.-In the town of Hereke, on the Sea of Marmora, is a Turkish factory, where large numbers of silk rugs are manufactured. Most of the silk is obtained in the immediate neighbourhood and from the country about Mt. Olympus. As the early weavers were brought from Kirman to instruct the artisans of the Sultan, and the patterns have been largely copied from old Persian and Asia Minor pieces, it is not surprising that many of the fabrics compare favourably with the silk rugs of Persia.
KONIEHS.-At the base of Mt. Taurus and overlooking the salt desert of Central Asia Minor is the city of Konieh. Within its present walls is all that is left of the ancient Iconium that opened its gates to Xenophon, Cyrus, and Alexander, but drove forth the Apostle Paul.
Finally it surrendered to Seljukian conquerors, who, realising the importance of its situation on one of the great highways between east and west and in an oasis of well-watered fields, orchards, and gardens which face a great barren plain, established there a Mussulman capital, that became noted for its opulence and culture. In later years it successfully resisted the assault of Frederic Barbarossa; but subsequently it declined, until now the only remaining vestiges of its former importance are several colleges, one hundred mosques, and the famous green tower surmounting the tomb of the whirling dervishes.
In few other cities of Asia Minor were greater inducements offered to the rug weavers. Surrounding them lay hills and plains that produced sheep with soft, fine fleeces. On the oaks that grew not far to the north lived the kermes, from which were obtained the vermilion dyes famous even through Persia. The political and commercial importance of the city, as well as the religious fanaticism of the people, aided them.
Accordingly a great many choice pieces were formerly woven there, but on account of the remoteness of the city from the markets that supplied Europe, few found their way into channels of trade.
Large numbers were used solely for religious purposes, but other kinds are as frequently seen. All of them contain both geometric and floral forms. The geometric forms resemble designs prevalent in Eastern Anatolia and in Caucasia, such as latch-hooks, eight-pointed stars, and barber-pole stripes; and the floral forms consist of mechanically drawn palm leaves and the tree-of-life design.
Probably in no other Asia Minor rug is such latitude in the drawing of the prayer arch. Sometimes it begins below the middle of the field and rises at a sharp angle to a point near the upper end; again it may be exceedingly flat; but generally it has the same pitch as the arches of Kulahs, and, like them, the sides, as a rule, are stepped or serrated.
Furthermore, it is not unusual to see latch-hooks projecting from each step or serration into the spandrel, which is filled with small floral and geometric forms. From the niche is occasionally suspended a lamp; and arranged against the border, on each side of the field, is a row of conventionalised flowers, or small sprigs which resemble three triangular-shaped petals at the end of a straight stem. These floral or foliate designs are one of the most constant features of this class. The borders are more geometric than those of almost any other Asia Minor rugs, and even when vines are represented they are drawn with stiff formality.
Whatever may be lacking in artistic drawing is frequently atoned for by the excellence of the colour scheme, which occasionally rivals that of the Ghiordes and Kulahs. Rich reds or blues are almost invariably found in the fields, where there is sufficient depth of nap to enhance their richness; and the borders are brightened by attractive tones of yellow, green, and white. Contrasted with these old pieces, the modern rugs of Konieh have little artistic merit, but are large pieces desirable solely for their durability.
_Type Characteristics._ _Colours_, principally red and blue, with minor quantities of yellow, green, and white. _Knot_, Ghiordes. Knots to inch horizontally five to eight; perpendicularly, six to ten. The rows of knots are not very firmly pressed down. _Warp_, wool; each of the two threads encircled by a knot is equally prominent at back. _Weft_, wool, of medium diameter, dyed red. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, of medium length. _Border_, from two to five stripes, with frequently an outer edging. _Sides_, generally a selvage of two or three cords, but occasionally an overcasting. _Both ends_, a web and warp fringe. _Texture_, only moderately firm. _Weave_ at back is of slightly coarse grain. _Usual length_, four and one half to six feet. _Usual width_, three fifths to three quarters length.
LADIKS.-On the ruins of ancient Laodicea is the mud-walled town of the village of Ladik, once the centre of an important rug industry. Among the surrounding hills are still woven pieces which resemble in pattern, though they poorly imitate in weave and colour, the early prototypes that have been classed among the masterpieces of Asia Minor. Few of these old rugs remain, and they are often badly worn in spots; yet they display tones mellowed by the touch of more than a century, and rival the Ghiordes in beauty of design.
As is the case with other classes of rugs woven in Turkish countries, the sedjadehs and odjaliks lack the interesting details of the namazliks, from which they widely differ. On the central fields of many of them are oblong hexagonal-shaped medallions, often three in number, that contain designs of stars or other geometric figures. Between the fields and the borders of the ends are generally spacious panels, on which are represented rows of vandykes. These figures are one of the most permanent characteristics of this class of rugs; and though their origin is uncertain, it is not improbable that they are derived from arrowheads, which were one of the emblems of the Chaldean deity Hoa, the reputed inventor of Cufic writing. The borders are also geometric, consisting, as a rule, of three stripes, of which the central contains an angular vine that in different pieces may be very simple or very ornate. One of the central stripes often adopted is represented in Plate G, Fig. 10 (opp. Page 192) and shows a vine with conventionalised leaf.
Latch-hooks are common in the sedjadehs, and when floral forms are present the fact is generally disguised by the harsh, mechanical drawing.
In contrast with these pieces, the namazliks with their interesting arches and dainty drawing are most pleasing. In a large number of them the central fields occupy about one half the space within the border, the spandrels extend for a considerable distance above the arch, and the panels are larger than in any other prayer rug. Occasionally arches resembling those of the Ghiordes or Kir-Shehrs are seen; but they are to be regarded merely as copies, since the typical arch differs widely from any other and gives to this class one of its greatest charms.
Instead of rising to the apex in lines of many serrations, each side of the arch rises from the border and falls in one large serration, then rises again to form the niche. The arch is often fringed with latch-hooks, and extending above the apex of each serration and the niche are perpendicular devices that may, also, be a development of the latch-hook, since they have not been traced to any other satisfactory origin. But whatever their origin may be, their shape as well as that of the arch at once suggests Saracenic mosques. In the spandrel are constantly seen serrated leaves, rosettes, and designs peculiar to the Ladik. The large panel is equally typical, and consists of reciprocally drawn vandykes, from which rise perpendicular stems supporting leaves and pomegranates. These are generally five in number, and are so gracefully and naturalistically drawn that it seems surprising that the vandykes, from which they spring, are ornamented with a profusion of latch-hooks. The central fields are sometimes without ornament, but as a rule they contain some suggestions of the tree of life either in the central design or in the three-leaf sprigs arranged about the borders.
The latter are as characteristic as any other part of the rug, and consist of four stripes separated by dotted lines. The main stripe most frequently contains a row of delicately drawn lilies alternating with rosettes, though occasionally a very formal vine with conventionalised leaf is substituted for it. In the stripes at each side are very angular vines with three-cleft leaves, and in the narrow innermost stripe is generally a ribbon pattern.