A geometric stripe of uncertain origin that is found in some Koniehs is shown in Plate G, Fig. 18.
In Plate G, Figs. 19 and 20, are represented two stripes characteristic of Kir-Shehrs. The former is a dainty pattern consisting of a row of bushes separated by the lily design. It is occasionally found in the Melez also.
A typical Mudjar stripe in which the geometric patterns are subdivided into small and richly coloured mosaic work is seen in Plate G, Fig. 21.
In Plate G, Fig. 22, is illustrated a Yuruk border stripe such as is frequently seen in modern pieces.
_Secondary and Tertiary Stripes._-In Plate H, Figs. 1 and 2 (opp. Page 194), are illustrated two secondary stripes frequently seen in Ghiordes and Kulah rugs. The first is most suggestive of a running vine, and the second has doubtless been derived from it.
A more ornate pattern, which generally accompanies the broad band of perpendicular lines peculiar to Ghiordes and Kulah rugs, is shown in Plate H, Fig. 3. The arrangement of three leaves in angles of quadrangular spaces suggests relationship to the primary stripe of Plate G, Fig. 3 (opp. Page 192).
Two other secondary stripes found in Ghiordes rugs are seen in Plate H, Figs. 4 and 5. The former, which is also found in Kulahs is a vine and flower subject to many modifications.
A tertiary stripe containing a ribbon-like vine is very usual in Ghiordes and Kulah pieces. One of these, which is very graceful, is shown in Plate H, Fig. 6.
Another angular vine with pendent flower, that appears as a secondary stripe of a large number of Ladik prayer rugs, is illustrated in Plate H, Fig. 7. This resembles a few Persian stripes, but the drawing of the pendent leaf is characteristic of Asia Minor.
Figs. 8 and 9 of Plate H represent two tertiary stripes often seen in Ladiks and Kulahs. They illustrate the evolution of patterns; for in the same stripe of a rug will sometimes be seen the first of these and the simple ribbon pattern of Plate F, Fig. 18 (opp. Page 158), and also in the same stripe of another rug will sometimes be seen the second of these and a continuous row of "_ff_" designs, as in Plate H, Fig. 2.
The most typical of all Kulah secondary stripes, though it is also seen in Rhodian rugs and occasionally in an old Ghiordes, is illustrated in Plate H, Fig. 10. A somewhat similar stripe is shown in Plate H, Fig.
11. The design looks like a Chinese motive, but that it is evolved from a vine will be seen by comparing these stripes with those in Figs. 4 and 12. All of them are Asia Minor border stripes.
[Illustration: PLATE H. SECONDARY AND TERTIARY BORDER-STRIPES OF ASIA MINOR RUGS]
In Figs. 13 and 14 of Plate H are illustrated the swastika and S stripe, which are seen now and then in Asia Minor rugs, such as Kulahs, and also in Caucasian rugs.
One of the most typical of Melez secondary stripes, representing processes like cogs projecting in a row from alternating sides of the stripe, is shown in Plate H, Fig. 15. The stripes shown in Figs. 16 and 17 of Plate H, representing a row of small rosettes and a row of octagonal discs, are also occasionally seen in Melez rugs.
The very angular vine shown in Plate H, Fig. 18, is sometimes seen in Koniehs.
A very unusual secondary stripe (Plate H, Fig 19), found in a few Anatolians, represents a fret pattern, which was probably copied from some monument.
The chain pattern (Plate H, Fig. 20) is occasionally seen as a tertiary stripe in the Ghiordes. It appeared in Asia Minor rugs of several centuries ago, and has been copied by the weavers of Caucasia. Sometimes the lines are angular, and again the S's are separated by small round or square dots.
TECHNICALITIES IN THE WEAVE OF ASIA MINOR RUGS
Legend:
KNOT- H = Horizontally P = Perpendicularly WARP- g = goat's hair s = silk e = each equally prominent d = 1 to the knot depressed h = 1 to the knot doubled under WEFT- s = silk j = jute No. = No. times crossing bet. two round knots SIDES- O = overcasting S = selvage LOWER END W = web S = Selvage K = Rows knots L = warp loops F = fringe UPPER END W = web S = selvage K = Rows knots T = turned back and hemmed F = fringe
+------------------------------------------------------------------------+ KNOT WARP +----------------------------+------------------------------ ASIA MINOR Number to At back Inches G = S = +----------- w = c = +----------- Ghiordes Sehna H P wool cotton s/l e d h +------------+---------+------+-----+-----+-----+-------+----+---+---+--- Anatolian G 5-9 6-12 w e Bergamo G 5-9 7-10 w e Ghiordes G 7-12 8-16 w c [s] e [d]
Karaman G 6-9 8-13 w d Kir-Shehr G 5-9 5-10 w e [d]
Konieh G 5-8 6-10 w e Kulah G 5-10 7-12 w [e] d Ladik G 9-1210-13 w [e] d Meles G 5-8 6-11 w e Rhodian G 5-8 7-9 w e [d]
Sivas G 7-11 9-15 c d [h]
Youruk G 5-7 6-9 w [g] e +------------------------------------------------------------------------+
+-----------------------------------------------------------------+ WEFT SIDES LOWER END +--------------------------+-------+----------------- ASIA MINOR w = c = wool cotton s/l P O S W/S K L F +------------+-----+-------+----+-------+---+---+-----+---+---+--- Anatolian w 2-4 S W F Bergamo w 2-6 S W F Ghiordes w c [s] 2 S W F Karaman w 2 O S W/S L Kir-Shehr w 2-6 S W L Konieh w 2 S W F Kulah w [j] 2/[1] S W F Ladik w 2 S W F Meles w 4 S W F Rhodian w 2/[1-4] S W F Sivas w c 2 S W F Youruk w 2-4 O [S] W [K] L F +-----------------------------------------------------------------+
+-----------------------------------------------------------------+ UPPER END NAP WEAVE TEXTURE +-----------------+-----------+-----------+---------- ASIA MINOR l = long f = fine l = loose m = medium m = medium m = medium W/S K T F s = short c = coarse f = firm +------------+-----+---+---+---+-----------+-----------+---------- Anatolian W F m c l Bergamo W F m/l f m Ghiordes W F s f m Karaman W/S T F l c l Kir-Shehr W F m c l Konieh W F m m/c m/f Kulah W F m/s m/c l Ladik W F m m m/f Meles W/S F m/[s] m/c l Rhodian W/S F l m/c m/l Sivas W F m/s m/c f Youruk W K [T] F l c l +-----------------------------------------------------------------+
[] indicates the less frequent condition.
CHAPTER XI
CAUCASIAN RUGS
ASIDE from the facts that the Caucasus is rugged, that during the Middle Ages it was ruled by the illustrious Tamara, and that till recently the physical charms of its women made them favourites in the slave markets of Constantinople, the character and history of that country are to-day almost as unknown to the average reader as they were when the bards of ancient Greece bound Prometheus to its rocks and hung the Golden Fleece from its oaken boughs. Yet it is a country of wonderful interest. Above its gorges, rivalling those of the Himalayas, rise mountains higher than the Alps. On the southwestern slope are combined the luxuriant vegetation of tropical lowlands with virgin forests of fir and pine, and in meadows and beside shaded brooks grow flowers of strange beauty.
Beneath the ground is undeveloped wealth of ores and mineral oil. The river Phasis is the natural home of the pheasant; the crags are the resorts of ibex; and in secluded glens sharing solitude with bear, wolf, and boar are hidden the wild aurochs.
Moreover, the philologist, ethnologist, and historian can here follow his favourite pursuit with as much zest as the Alpine climber, botanist, mineralogist, and sportsman; for within the confines of this region are spoken some seventy languages by as many distinct clans, each of remote origin. Some are the descendants of the early dwellers; some are the Aryan stock that found its way to Europe before the beginning of history; still others are but the offspring of the flotsam and jetsam which recurring waves of Asiatic conquerors, surging westward in ancient times, left stranded here. Nevertheless, for so many generations have the present inhabitants remained among their mountain strongholds, unabsorbed and unassimilating, that they have been regarded as a type sufficiently pure and characteristic to give its name to the great Caucasian race.
Though enjoying greater isolation than surrounding countries, the Caucasus at different times and in different ways has felt their influences. During the Augustan age of Tamara's rule she attracted by her brilliancy, taste, and industry foreign courtiers and artisans.
Hardly was she dead before Genghis Khan's horde of conquering Mongols poured over the land; and rival suitors, enraptured by her daughter's beauty, pressed their claims by invading it with their Mohammedan armies. For long succeeding years Persia struggled with Turkey for the mastery of the country, and was about to take it when Russia grasped the prize, but only after Shamyl with a few brave thousands had defeated vast armies.
Each of these foreign guests or foes left some impression on the native art; so that Caucasian rugs show traces of Turkoman, Turkish, and Persian influences. It is rarely, excepting in a few small geometric figures, that there is any evidence of the Turkoman influence; but it is not unusual to see border stripes and field designs adopted from the Turkish rugs. Some of these stripes represent both geometric and floral patterns, either copied directly or derived with slight modifications from rugs woven three or four centuries ago in Asia Minor or Armenia.
The Persian influence is apparent only in the floral forms. It doubtless inspired the stripe of dainty carnations so common in a large number of Caucasian pieces, the pear design inseparable from Baku rugs, as well as many other figures that first appeared in the rugs of Persia.
Nevertheless, these rugs have their own distinct characteristics, which have a boldness and virility that are to be attributed in a measure to grand and rugged scenery as well as to centuries of struggle for independence, since in art the influence of environment is most apparent. They lack something of the sobriety, artistic drawing, and delicate colouring of those woven in vast deserts, amid the monuments of fallen empires, and in the gardens of the East; they contain on the other hand, both in line and colour, the forceful expression of untrammelled thought. The patterns are largely geometric; the tones of colour, in which clear red, blue, green, and yellow predominate, are strong. On the whole, they possess an individuality of character that is not surpassed by the rugs of any other group.
[Illustration: MAP OF CAUCASIA]
DAGHESTANS.-In no part of Caucasia have better rugs been woven than in Daghestan, "the mountain country." Nor is it surprising that this province should produce distinctive types, when it is considered that it has a length of over two hundred miles; that its topography is diversified by glaciated mountains, barren steppes, and fertile valleys; and that it is occupied by numerous clans, many of whom differ in origin as well as religion. Some of the rugs come from the city of Derbend on the Caspian Sea; some come from Kuba in the southeastern corner; others, called Kabistans, are produced in the country about Kuba; a few are made by the Lesghians who live among the lofty mountains; and in other parts of the province are woven pieces which formerly were sent in large numbers to Europe and America, where they soon became known as Daghestans.
Though their resemblance to the Kabistans is so great that it is often difficult to distinguish between them, the rugs which acquired the trade name of Daghestans are different from almost all other Caucasian pieces.
This is largely because the province is bounded on three sides by a sea and a nearly impassable mountain range, which render communication with surrounding territory difficult, and create a natural isolation, where in the course of many generations a distinct type was developed.
Moreover, these same physical conditions have impeded both the introduction of aniline dyes, so that even among modern pieces spurious colours are not frequently seen; and also the adoption of new designs, so that the patterns of two or three centuries ago are still largely used.
It is among the oldest rugs of the Daghestan weave that are found many of the best examples of Caucasian textile art. The dark, rich reds and blues of the fields, which are brightened by the ivory, light blue, green, and yellow of the small designs, resemble the fine colouring of choice Persian carpets. But the patterns are totally dissimilar; for it is only in a few rare old pieces, in which are copied some designs such as the lotus, or the running vine with leaf and bud, that there is any likeness to the realism of Persian floral ornamentation.
The drawing, however, is never crude, and on account of the short nap and strongly contrasting colours always appears with clear definition.
With the exception of conventionalised pears, the three-leaf sprig, which is commonly seen in the field, and the narrow border stripes of carnations, almost all of the figures are geometric; and are so carefully drawn, so closely clustered, that they represent an appearance frequently compared to mosaic work. Even when the patterns represent large medallions or stars, they contain smaller concentric forms, or are divided and redivided into smaller stars, diamonds, or tessellated figures, so that the effect is the same. In some form or other the latch-hook is seen in almost all these pieces. Of small designs, the octagonal disc is almost invariably found; and animals, human beings, and the pear are not infrequently seen.
As the population of the province is largely Mohammedan, namazliks as well as sedjadehs are made; but with the exception of the unobtrusive arch of the namazlik, which is represented in Plate C, Fig. 9 (Page 61), there is little difference between them. There is never any panel as in Asia Minor rugs; nor is there a noticeable spandrel, since the space above the arch contains designs similar to those on the rest of the field.
As a rule, the borders consist of three or four stripes separated by coloured lines. Only in the secondary stripes are any floral forms employed; and these, with the exception of the carnation design, are rare. The reciprocal trefoil is most characteristic as an outer stripe; the serrated line is also employed; and it is not unusual to find next to the field a broad stripe of diagonal barber-pole bars, on which are small dotted lines.
_Type Characteristics._ _Colours_, principally blue, red, and ivory, with minor quantities of green and yellow. _Knot_, Ghiordes. Knots to inch horizontally seven to twelve; perpendicularly, eight to fifteen. A half knot, as it appears at back, is as long as wide and occasionally longer. The rows of knots are not firmly pressed down, so that their alignment is even and the warp shows at back. _Warp_, wool; each of the two threads encircled by a knot is equally prominent at the back; occasionally in old pieces one thread is slightly depressed below the other. _Weft_, wool of medium diameter. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, clipped short. _Border_, three to five stripes. _Sides_, a selvage of two, three, or four cords, or occasionally a weft-overcasting. _Both ends_, a web, one row of knots or more, and loose warp fringe. Occasionally there is also a narrow braided selvage. _Texture_, moderately firm. _Weave_ at back is of fine grain. _Usual length_, five to ten feet. _Usual width_, one half to two thirds length.
[Illustration: PLATE 44. BAKU RUG]
KABISTANS.-Within recent years most of the rugs shipped from the southern part of Daghestan have become known in Western markets as Kabistans, though the distinction between them and the type that takes the name of the province is so slight that it is determinable only by the strictest analysis. In fact, Kabistans are merely a variety of Daghestans. Both have short nap and occasionally adopt the same colour scheme and patterns, so that many of each class are indistinguishable from one another.