In many parts of Asia Minor are made kilims that are usually classed as Turkish. They are of large size, and since they are used mostly for portieres or curtains, are divided perpendicularly into equal halves, that at times are united by stitches. The tribes that make them also make large numbers of smaller prayer kilims with pointed arches suggesting the Ghiordes design. Some of them are beautifully woven, yet the finest workmanship is shown in pieces known as "Kis-kilims" or girl's kilims. These are made with the utmost care, since they are intended as a bride's gift to her husband; and a sentiment of romance, and the hope that her skill may weigh favourably in the estimation of her accomplishments, contribute to influence the weaver. Sometimes even a lock of hair is added as a charm, or coloured beads as a talisman.
The Christians who live permanently about Oushak, and are, accordingly, not under the necessity of making such small pieces as can conveniently be carried by wandering tribes, weave some of the largest kilims. Most of them are at least six feet in width and many are much wider.
The best known kilims from the Central Asiatic group are known as "Merv Kilims," since they are woven by Turkoman tribes who inhabit the desert near the old capital of Merv. The brilliant colours found in the products of more Western tribes are entirely wanting, and in their place are the few subdued, rich tones so characteristic of all Turkoman weavings. These pieces are stoutly woven, and since the pattern is represented by diagonal lines, there is no open work. The designs are largely of diamond-shape, and are arranged in parallel horizontal lines on a field that is usually surrounded by a border profusely ornamented with carefully drawn latch-hooks. A heavy embroidered selvage, from which hang loose threads of warp, often occurs at the ends. These kilims are noted for their durability, and are usually of large size.
In the city of Dera Ghazi Khan, four miles from the Indus river, are woven kilims in which warp and weft are of wool, as is not the case with almost all the rugs of India. They are made by the women in their own homes and display an individuality which also is rare in Indian textile fabrics. In a monograph on "Carpet Weaving in the Punjab," Mr. C.
Latimer says: "The Dera Ghazi Khan rug, which belongs really to the kind of fabrics known as kilims, is woven in stripes, with designs between them, and it is interesting to notice that the patterns employed were by local tradition originally copied from the robes of the Pharaohs of Egypt."
Though all such Oriental weavings lack the precision of drawing and the delicacy of minutely varied colour so frequently found in piled rugs; though they never display high, artistic perception or poetic instinct, nevertheless some of the oldest pieces with designs suggestive of the workings of a primitive imagination untrammelled by the conventions of art, and with a chaste simplicity of colour that lends an atmosphere of dignity, possess a subtle charm that awakens an intense interest.
CHAPTER XVI
HOW TO DISTINGUISH RUGS
THE owner of an Oriental rug will find the pleasure to be derived from it will be greater if he knows where and by whom it was made. This is particularly true if it is one of those pieces of which the charm depends more on its individuality than on the masterly handling of line and colour. The study of classification, therefore, will well repay the effort; though unfortunately it is often discouraging, since it involves a consideration of the characteristics of a hundred different classes, almost all of which are found to have exceptions to the best known types. To add to the difficulty, the opinions of dealers in regard to the less known classes are very often erroneous; and detailed descriptions, even at the best, are unsatisfactory. Without a long personal experience in handling rugs, combined with careful study, it is impossible to become expert; but familiarity with one class makes it easier by comparison and a process of elimination to distinguish others.
The beginner should first learn to identify each of the six groups. Of these the Chinese can readily be distinguished by their well-known patterns, which are found in no other part of the Orient except in the rugs known as Samarkands, Yarkands, and Kashgars; and the Indian may generally be recognised by the realism and formal arrangement of their floral patterns. Relatively few of either group are found in the United States; and as about ninety per cent of the rugs belong to the other four groups, they alone will be considered in detail. Leaving out of consideration, then, the Chinese and Indian rugs, it should be remembered:
(_a_) That, as a rule, rugs from Persia have floral patterns; and rugs from Asia Minor, Caucasia, and Central Asia have geometric.
(_b_) That figures with latch-hooks belong principally to rugs of the Caucasian group and, to a limited extent, to the rugs of the Asia Minor group.
[Illustration: PLATE 63. XVIII CENTURY CHINESE RUG]
(_c_) That fields covered with designs of octagonal or diamond shape belong to rugs of the Central Asian group.
(_d_) That about two thirds of the Persian group have cotton warp; and the remaining third, as well as the Asia Minor and almost all the Caucasian and Central Asian group have woollen warp.
(_e_) That about one third of the Persian group have one of the two threads of warp encircled by a knot doubled under the other so as to be hidden at the back; and that this is not the case with the remaining two thirds nor with almost all classes of other groups.
(_f_) That, with few exceptions, the Persian rugs have a side finish of overcasting; and the other groups have both overcasting and selvage.
(_g_) That the rugs from Persia and Central Asia have both light and dark colours which, though rich, are subdued and harmonious; that the rugs of Asia Minor and Caucasia have colours that are often gaudy and inharmonious; and that the rugs of the Central Asian group have dark tones of red, blue, and brown.
(_h_) That all of the rugs of Asia Minor and Caucasia have the Ghiordes knot; that the rugs of Central Asia, with rare exceptions, have the Sehna knot; that the rugs of Persia with woollen warp have the Ghiordes knot; and that those with cotton warp have either the Ghiordes or the Sehna knot.
(_i_) That the few classes of rugs which have very long end-webs belong to the Central Asian group. Of the classes with moderately long end-webs, several belong to the Central Asian and the Asia Minor groups, only two belong to the Persian group, and none belongs to the Caucasian group.
Excluding the Indian and Chinese rugs, it follows from the above statements that:
(1) A rug is from Persia or Central Asia,- If it has a Sehna knot.
(2) A rug is probably Persian,- If the patterns are distinctly floral; If the warp is cotton; If one of the two threads of warp encircled by a knot is doubled under the other.
(3) A rug is probably from Asia Minor, Caucasia, or Central Asia,- If the pattern is geometric; If the sides are selvaged.
(4) A rug is probably from Asia Minor or Caucasia,- If the colours are gaudy or inharmonious.
(5) A rug is probably from Caucasia,- If the designs are largely fringed with latch-hooks.
(6) A rug is probably from Central Asia,- If the field is covered with octagons or diamond-shaped designs, and has dark tones of red, blue or brown; If it has long webs at the ends.
Of these four groups the Persian has the largest number of classes, some of which can only with difficulty be distinguished from one another.
They may, however, conveniently be divided into the following sub-groups, depending on the technical peculiarities of the weaving and the material of the warp, so that the task of learning the class of a particular rug will be greatly facilitated by first determining to which of these sub-groups it belongs, and then eliminating the others from consideration.
{ Kashan { Kermanshah { Khorassan { Sehna Knot (A) { Kirman { One thread of { { Meshed { warp to each knot { { Mir Sarabend { doubled under and { { Sarouk.
{ hidden at back. { { { { Gorevan { { { Herat { { Ghiordes Knot (B) { Herez { { Serapi { { Tabriz { { { Feraghan Cotton { Each thread of { Sehna Knot (C) { Mahal Warp { warp equally prominent { { Muskabad { at back or { { Royal Sarabend { one slightly depressed { { { { Gulistan { { Ghiordes Knot (D) { Iran { { Joshaghan { { Luristan { { Sultanabad { { { Sehna Knot (E) Sehna { Quincunx effect { { of weft at back. { Ghiordes Knot (F) { Hamadan { Ispahan (modern)
It should be remembered, when studying the foregoing table, that all classes of rugs are subject to occasional variations in the technicalities of their weave, as for instance, the Herats may have woollen warp and Sehna knots; the Tabriz very often have linen warp; some of the Feraghans, Mahals, Muskabads, and Sehnas have the Ghiordes knot and some of the Sultanabads have the Sehna knot; the Joshaghans may have woollen warp; and in modern Ispahans the weft sometimes crosses twice between two rows of knots.
{ One thread of warp to each knot doubled (G) { Bijar.
{ under at back { Niris[37]
{ { { Karadagh.
Woolen { { Suj-Bulak Warp, { Each of the two threads of warp to a knot { Kurdistan.
Ghiordes { equally prominent at back, or one slightly (H) { Afshar.
Knot. { depressed { Mosul.
{ { Shiraz.[38]
{ { Quincunx effect of weft at back (I) { Karaje.[39]
With reference to size, these rugs may conveniently be divided as follows:
{ Gorevan.
{ Mahal.
Rugs invariably of carpet size { Muskabad.
{ Serapi.
{ Sultanabad
{ Bijar.
{ Herat.
{ Kermanshah.
Rugs frequently, but not always, of carpet size { Khorassan.
{ Meshed.
{ Sarabend.
{ Tabriz.
{ Hamadan.
Rugs frequently seen as runners { Karaje.