ORI ENTAL RUGS

By ARTHUR URBANE " I LLE "

" LL A . U . I E" CO . , I N C . " ealers in Orient al Rugs 5 PARK STREET B OSTON

H OW TO SELECT ORIENTAL RUGS

AN" purchasers of oriental rugs are un aware t hat the methods of manufacture M in the East have changed greatly in the t las thirty years , and that the change has an important bearin upon the character , u ff condition , and quality of t e r gs now o ered for B 1875 1890 sale . etween and it was a compar at ively easy matter to purchase a good rug for the price Which many dealers ask for a poor one - N ff . ot to day all the rugs o ered for sale were good , n even then , but the majority of them were ho est , ch ea art l individual , and p , p y because most of them were home rugs that is , rugs made in East

. f ern homes , for use in the East Rugs o fered for

- sale to day are , in most cases , not home pro

- ducts , made for Eastern use , but hand woven faet o ry products made to sell in the West and to sell quickly . Some of them are very good , some ordinary , some very bad . It is this condition Which makes it important to the purchaser of ru s who desires to buy i h t elligent ly that he shou (1 learn how to examine a r rug and estimate its value . The u o se of this book is to present some facts w iefi will help lovers of good rugs to select them discrimi nat inglv . The fi rst question Which the rug buyer sh o uid ? ask himself is , What is the material of the rug

If it is wool , is it all wool , or is there jute and other i fi ber t . , cotton , hair , or silk used with The second question concerns the quality or grade of the material , and the third question its disposition h and relative stren t . The bearing 0 the fi rst question lies in the fact that jute and some other fi bers which may be m ixed with wool are brittle and rot , and that jute and cotton are cheap materials . "ute breaks o ff Page F i ve and sweeps out When the rugs are cleaned , and rots wet x When , thereby loosening the te ture of the whole rug , to its great detriment . Cotton warp and weft , though cheaper than wool , is harder and f sti fer than a wool foundation , and rugs Which con tain it ordinarily lie better . Cotton occurring in s the pile , as it often does in certain rugs in part of the design in Ghiordes rugs , for example wears well and by remaining white and sharp , gives snap and freshness even after the rug has attained great age . Silk and hair in the pile gives pleasing color and variety . t The second question , concerning the quali y of material , is also important . Rug material varies in cost all the way from two cents to thirty -fi ve cents a pound , and in character from the softest and most tender to the strongest and most rigid . The best is both strong and rigid . Pile material that packs down is lifeless and unattractive . It is important that a purchaser should know Whether he is paying for the pick of the fleece or for What is essentially waste product . n The third question , co cerning the disposition ex and relative strength of the material , involves amination of the weight of warp , weft , and pile . The warp should be heaviest , strongest , and thick x est , the pile ne t , and the weft lightest , though not

. war too light If the is lighter than the ile , and i le hreak the is com act , t e warp is likely to in han ling . If t e warp is light , and the weaving loose , the rug will pucker and creep on the floor t and no amoun of stretching will keep it in shape . The weft should be stron enou h to hold the fab ric together , despite roug hand ing . If the ile is l be ru W1 1 ighter or shorter than it should , the not give good service . In a few years it Wi be worn to the warp and worthless . P age Si x Certain other inquiries are h ardl less important Some ot her t han the three questions which have just been how n . amed as fundamental One is , well is the material woven ? The essential matter here is not only the number of knots to the square inch fi neness that is , the of the weaving but also the tightness of the individual knots . As most modern ru s oriental , especially in carpet sizes , are made fi ve i ff im ort ant in three to d erent grades , it is very t o the: buyer whether he is considering the Eest or A fi ft wo the poorest . margin of y to t hundred or more dollars betweenthe quality represented and the quality offered is not uncommon . It is ve impor t ant to the buyer that the knots be fi rmly tie Knots poorly tied pull out easily at the back and loosen fi i n . F n service inally , the weaving should be so i shed at the ends that the last rows of knots will not work away . Another matter for the buyer to consider is the Condit ion condition of the material and the weavin Is it worn ? Is it motheaten ? Is it dry an dead ? Is it cut ? Is it pieced ? Is it crooked ? Is it loose ? If any of these conditions exist the rug has lost n value . Old rugs that are worn to the foundatio in spots are much less desirable for service than l those With pi e of fair depth that is worn evenly . m othh oles if ‘ The repair of , they are numerous , is e s A - ex n w e and unsatisfactory . few bale hook ho s e need give no concern . As rugs are handled they are inevitable . Rugs that are dry and rotten from age and there are such are worthless . They usually break in seams along the line of the war in other words , the weft threads , Which are li fi r st . the ghtest threads in the rug , give way Rugs that have been cut to eliminate worn sec tions or to fi t rooms have been weakened . E u s that have been pieced are ordinaril spoiled in esign as well as weakened . These eep and serious defects Page Seven li ht of a rug are easily detected by holding it to the , i e and by examining carefully the bac k . Groo d weaving shows carelessness on the part of the

. a earances maker It detracts from p and does not ,

. oseness re therefore , enhance value of weave , sult ing from long service and innumerable beatings and washings , is a condition of dissolution . The prospective urchaser will do well to remember althou that as is commonly said , a rug may Wit improve age , meaning in appearance , it never grows fi rmer and stronger . There is also the question of the kind of dye . Three kinds are used in oriental rugs vegetable . dye , animal dye , and modern aniline dye . They vary in cost from sixty cents to ten dollars a pound . It is important to the purchaser , therefore , to know f t wo whether he is buying good dye or poor . O Kazak rugs belonging to the writer , absolutely inex similar in design , size , and intent , and to the erienced ru p buyer apparently of similar value , one 1s worth at east ten t l mes as much as the other sim ly because of the difference in dye . fi nal u Treat ment he q estion before the rug buyer is whether the dye has been treated in other words , whether “ ” ” ru the has been doctored , pickled , washed , o M or b fied . uch has been written concerning treatment processes . Reduced to its simplest terms , treatment means the application of x chloride of lime , pero ide of hydrogen , or oxalic and sulphuric acid , either in a bath or with a brush . The purpose of this treatment is , by reducing the harsh colors of a new fabric , to obtain the har mony of color characteristic of age . The results may be satisfactory if the object is attained without detriment to the durability of the fabric . They r f a e very unsatisfactory i the rug is injured . The practitioners of treatment maintain that t h their processes simply pu a fi nis on the rug . Page Ei ght L overs of antique rugs , wedded to the old dyes and o ld i methods , mainta n , on the other hand , that the treatment processes are a fraud . Whether rocesses these are to be a proved or not , they are ro a l e b y here to stay . T y will be practised as Fong as the vast majority of ru buyers demand old c olor effects in new rugs . A fiarge portion of the o riental ru s on the market to -day are acid t . be reated any of them are sold as anti ues , cause genuine antique rugs are exceeding y scarce a nd very costly . Purchasers need not hesitate to buy treated ru s res on , if they have a proper guarantee from a p sib e source that the rugs have not been injured that is , that they ill ear out through ser ice nd w w v ” a not disintegrate as a result of the treatment . The creation f an art ifi cial sheen is also part o o”f the treatment process . The rug is panned , l much as velvet is , under hot cy inders , ordinarily after an application of glycerine or p aratfi n wax . The sheen i s not permanent "it disappears With wear and with washing " but in the course of time it will be replaced by a natural sheen , if the pile of the rug oo is d . 5‘ Treatment covers also the changes that are made in individual colors . Reds , yellows , reens , and blues are easily converted into other co"ors by expert dyers . Ink is frequently employed as a last roeess to color the exposed warp when the acid E - as over bitten certain portions of the pile . These facts in regard to the treatment of rugs l are u y and unpleasant . It will be seen at once how e i t y compl cate the problem of rug buying , and What a source of perplexity and disappointment N the ma be to the i nexperienced buyer . ever t heless t ey do not prevent the attainment of full value in rug purchasing , if the buyer will inform himself of the new conditions or resort to the advice Page N i ne of those who understand them and can be trusted h to treat him honestly . It ou t not to be necessary to say that if a dealer selfs treated rugs he should state the fact frankly and without reserve

c . to his ustomers There are , however , many dealers Who do not do this . As there is none too much confi dence t e osed in rug dealers by rug buyers , it is a common t ing for a collector of rugs to be asked by friends to furnish i them a list of or ental rug values . The idea back of the request is that the various kinds of rugs of a ?iven size have something like a uniform value " or example , that Afghan rugs about seven b ten feet are worth a proximately one hundred do lars . Those Who ma e the re( uest contemplate going into t he market with their list and buying such rugs as please them and are priced according to their schedule . The idea is so revalent among rug buyers that a service may he rendered them by Showing why generalizations concerning rug values are impossible . There are three possible values in every orien tal c ol rug the utility value , the art value , and the ’ lector s value . The utility value depends entirely u on the durability of the fabric as a floor covering . fi e art value depends on the color and design of x fi nen ess the rug rather than on its te ture , though ’ o f texture is desirable . The collector s value de pends on the rarity of the art value . The utility value has already been described . Art values in oriental rugs are like art values in

. e l pictures The rugs , inde d , bear the same re ation t o the floor that the pictures bear to the wall " and it would be just as absurd to speak of Raphaels being worth a hundred thousand dollars a square M foot , or illets ten thousand dollars , as to attempt to measure the value of oriental rugs by name and Si ze co - Met hods These three values , if they exist in a rug , °f 83“ cannot be disassociated . Certain dealers advertise that they disregard the art and collector’ s values f of the oriental rugs which they o fer for sale , and price their goods m cold blood on utility value alone . The argument may be plausible enough to i t sell goods , but has no foundation in fact , for the reason that no dealer can buy ru s on utility value u s alone . This is true Whether he y by the piece or by the bale . When good and bad rugs , artistic and inartistic , rare and common , are sold as a lot , the Wholesaler frequent ly places the valuable rugs in the bale for the sole puri ose of disposing of the r mu h i poor ones . If the rugs a e i g t by the p ece the manufacturer pays for art value in the quality of the material and the skill of master weavers " the importer pays for art value to the manufacturer or to the eastern middleman " and the retailer pays for art value to the importer . These values persist whether the dealer im orts his own goods or buys from a wholesaler . he business of im orting oriental rugs has been so perfected that 0 y With the largest amounts of capital can these goods be b ou ht abroad to advantage . The tourist who thi ni s to save money b buying his rugs in the East ordinarily pays the long price . The existence of these three possible values in every oriental rug makes a fair comparison of prices ve diffi cul r t for the u chaser . Rugs Which appear uall to t e buyer quite ali e and e y valuable , may in

- fact be as far apart , in qua ity and worth , as the M work of ichael Angelo and that of Gustave " oré . It follows that oriental rugs are valued and priced according to their individual worth , and that an honest dealer cannot ask fi ve hundred dollars for a t two hundred dollar rug , or confess a tempted ex t ort ion by reducing a rug from fi ve hundred to two hundred dollars . Page Eleven Warning may fairl be given the rug buyer against dealers Who fai to mark their oods in plain fi ures g , against the auction room , an against sen sat ional advert isin At the ordinary rug auction ext rava fa ant and se statement is at its height , and general y the bids are as fi ct it ious as the merits of - the rugs are over estimated . The rugs are con signed largely by wholesalers who wish to di po se - ortion sarm s of the left over of a shi ment , or by which Practise t e purchase 0 cheap rugs with s p ssibili ti s . These r gs nderg e ery roces o e u u o v p ” i of conversion , become the rarest of ant ques , and are sold only when the bids advance to a satis r factory fi gu e . ru s The advertising of oriental , as frequently M i . uc practised , is discred table may be con but ceded to the hyperbole of commercial language , da to one who knows rugs , the advertisements y after day are as grotesque as if a picture dealer ad vert ised two thousand museum Raphaels at thirteen -ei ht r dollars and ninet cents each , or a book deale advertised : \Xfe ave just sent our buyer t o London and purchased seven hundred thousand ’ fi rs dollars worth of the t folios of Shakespeare . an These are going like hot cakes . Scholars d book collectors say we have sold more good fi rst editions of Shakespeare at ridiculously low prices ” h than ever before in the history of poetry . T e public would laugh at this " the most zealous ad vert ising agent would not render his house ridicu

s it . " et s lous by di playing , many advertisement of rugs are no less ridiculous .

Page Twel ve HOW TO I" ENTIF " ORI ENTAL RUGS

There are three kinds of weavin in oriental rugs The t hree weavmg’" and the Khilim , the Soumak , and t e ru With pile . j g “ The fi rst of these a ings and the earli est t pe of E we v rm I ? ’ oriental rug is that known as the Kh ilim . t is a rug of t wo members only warp and weft and consequently has a smooth surface . The weft , which is dyed , is carried over and under the warp r threads by means of a needle . As the designs a e ff O n made by using weft thread of di erent colors , pe s aces appear between the warp threads Where the changes of color are made . Since the weft ends are cut off close to the fabric the back and face appear absolutely alike . The numerous 0 en spaces be tween the warp threads and the similarity of the two fi sides are the sure signs of a Khilim . Although ne e Khilims are exceedingly light in weight , and coars d ones much lighter than rugs With ile , they are use in the East as floor coverings . hese are probably the same kind of rugs that were made by the early B Egyptians , the Assyrians , and abylonians . ru Each of the great districts Persia , Kurd a M éau casu s ist n , Asia inor , the and Turkestan

rodu ces h . n a K ilim In general , the Persia ?i hilims or Sehnas can be ident ifi ed by their close ness of texture in comparison With Which all other Khilim textures are coarse " the Kurdistan Khilims by the particolored thread woven through the mat at the end " the Turkish or Ki s Kh ilims by the prayer design a niche at one end and the seam in the center j oining the two sections of the large Khilims of this variety " the Shirvan Khilim s of the Caucasus by their numerous horizontal h o f stripes , about a foot Wide " and the K ilims IWerv defi nin , in Turkestan , by their diagonal g

lm es . The coarse Khilims are very serviceable for t he Page Thi rteen SEHNA KHI LI M (Persian) Herati " esign

Page F o urteen floors fi nest of bedrooms , and the make decorative

. N wall pieces , table and settle covers o rugs are in more demand by discerning collectors than really choice Kh ilim antiques . Their lightness and simplicity give to them es ecially to the Sehnas a refi nement which can e found only in the

fi nest rugs of the other weavings . r i The second fo m of weav ng , a development of h the K ilim , is that commonly known as Cashmere , though the proper name is Soumak , an abbrevia tion of Shemakha , which is the name of the town in the Caucasus Where this weaving is done . It is

a rug of three members warp , weft , and stitch .

The stitch is flat woven With a needle on the warp , making a second oriental rug weaving With a smooth surface . The distinguishing feature of this st l t ch weaving is the long , loose ends of yarn at the

back of the rug , as at the back of Cashmere shawls . n the The desig s follow the order of Caucasian rugs ,

medallions and numerous geometrical patterns . The best of these rugs are far more serviceable

than is usually supposed . Their surfaces are com pact with rows of stitches , sometimes twenty to the l nch , perpendicular , and the numerous long threads at the back serve as a buffer between the back and

the floor . The poorer grades , on the other hand , are too loosely woven have too few rows of s titches to make satisfactory floor coverings . Alth ou h the antiques are among the most beauti o Soum aks ful of a l the oriental pr ductions , the new generally contain too much gaudy dye to be attrae

tive . The third and last form of weaving the rug The t hi rd w ith a pile is a rug of three members warp , wit h p ile Weft , and knot . The knots are tied by hand , one

- a t on . a time , usually in rows , the war threads lfnot s The weft is merely a binder , drawing the close

together . Page F if teen SOUMAK O R CASHMEREI RUG (Ca ucasi a n)

Page S ixtee n i The t wo The knots are of two k nds , the Sehna or Persian , h r h and the G i ordes or Tu kis . When the Sehna knot is used the pile threads come to the surface of k m“ the rug between each t wo strands of warp . The ru h fi ne t l result is a wit tex ure , short pi e , and fi h hior s sharply de neddesign . When t e G de knot }_

SE H N A o n P E RS I A N KN O ’ I ‘ G m o no s s o n TU RKI S H n n o r is used the pile threads come to the surface only between each two pairs of warp threads . The arat ivel result is , com y , a coarse rug with long pile and less det ailbd design . The wearing quality of rugs made in the Ghi ff ordes and Sehna knots di er very little , if at all , by reason of the knot , but rather by reason of the f di ference in the amount and angle of the pile .

Pile that is long and lies flat , as in most of the rugs of Ghiordes weaving , has substance and give enou h to resist hard wear . Pile that is short and u ri t p g , as in most of the rugs of Sehna weaving , is compact , but light and resistant . The Sehna weaving produces , as a rule , the greater art merit . The unconditioned statement that either of these ” weavin or s will last forever even for a lifetime ,

i eel s . under , is absurd The lasting quality of even the poorest oriental rugs is remarkable , but it depends on the way the rugs are used and cleaned . Heavy and even moderate beating eventually ruins them . Very light heating with a Wicker beater is allowable . Sweeping , washing , Page Seventeen KARABAG H RUG (Caucasi an)

Page Ei ghteen from an inability to recognize unusual materials and colors . " esigns to have exceptional merit must be clearly fi r0 ort ion M de ned and properly p ed . odels of refi nement , answering t ese requirements , are to be found among the antique rugs of Ispahan , " t Ghiordes , Sehna , and Kirman models of streng h B amon the antique rugs of Kurdistan , ergamo ,

Konie and Kazak . Excellence of color is just as desirable as excellence of design , and for many purposes of decora tion much more important .

Page Tu 'enty PERSIAN (I ran) RUGS

Page Twenig -one ISPAHAN RUG

(Persian)

SI X TE E NTH C E N TU R"

PROP E RT" or TH E BOSTON MU S E U M or FI N E ARTS

a Although this is a photograph of a fragment , the corner of et th e h s large Is ahan car , the type of design used by Ispa an weaver acto ril slibwn e is satis y . It is a realistic design of high decorativ v order . The minutely drawn flowers and ines of the center are not independent designs " they are the dependent , connected parts of an

n . elaborate patter The border is made up of three stripes , one very broad and two narrow . h As a class , the Ispahan rugs of the sixteent and seventeenth E - centuries are the great rugs of the ast , rivaled for pre eminence only M x by the prayer rugs of Ghiordes . ade by e pert weavers in the k employ of the nobility at Isi ahan , Teheran , and Saru , during the ’ hi hest art I ersia m g , period of the ‘ in they are examples of the ost erfect k m re weaving s ill . Frag ents have sold in recent years for th e E e undred to one thousand dollars , and carpet size pieces for eight en -fi ve to twenty thousand .

P age Twenty-two I S P AHAN RUG (Persia n)

T - Page wenty three KASHAN SILK RUG

(P ersia n)

Buyers of oriental rugs to-day in this country show very little s r interest in silk rugs . Collector generall y pass them with a shrug o " et k nd e . a comment adversely on th m the sil rug , in the eye heart e fi nest h k of the ori ntal , is the rug of t em all , the wor of the most exp r of weavers and the exclusive possession of royalty and men of weaett1 k k can Our lac of interest in sil rugs be attributed to three causes , k —in First , good sil rugs are expensive and impractical , other words, he y . t they are a luxur in rugs Second , neither the museums nor market contain antique silk rugs to stimulate the interest of the col k k flo ded . o lector Third , the cheap sil rugs with which the mar et is are the most intolerable of travesties on the good ones and bring the w n hole class into co tempt . The rug shown in the illustration is a fi ne example of Kashan k sil . The design is harmonious , the large ornate medallion which P k fi nest ff a the ersians thin necessary to the decorative e ects , has i y t . setting unusuall in accord with The drawing is clear and crisp , and the color rich . The warp , weft , and pile are all the most expensive k - - sil , and the weaving contains four hundred and eighty four hand tied k nots to the square inch . l Wost P k k of the ersian sil rugs , nown either as Kashan or Herez , d k are goo . The Tur ish silk rugs made at H ereké are frequently k K i i l . are a sar eh excel ent The sil rugs to be avoided made at , Asia ino r P a k . L k , in imitation of the ersi n sil s i e most rug copies they g U a t he and e woven pside down to establish e rly the crown of design , u consequently have pile which inclines pwards . Still more to be k avoided are the m ercerized cotton rugs which frequently pass for sil . u are b W Such r gs uilt for the estern m arket to supply the demand n for an excess of decoration at a mi imum cost .

Page Twenty-four KASHAN SILK RUG (Persia n)

Page Twe nty- F i ve KI RMAN RUG

(Southeastern P ersi a) This piece exhibits in a general way the principal design used by m s P s the a terly weavers of southeastern ersia . In its purity it con ists h of large red roses arranged in clusters , or in vases set in rows , wit a fi ve ru border of strips similarly decorated . In this particular g the s e multiplicity of details obscures the rose forms , which are sugge t d w a s rather than actually dra n , and the emphasis is placed on the v es w flo e rs . with their elaborate decoration , attendant birds , and numerous

The border is not Kirman in the least , but a nomad arrangement of minute Chinese and Persian forms in splendid keeping with the de tail u n r a of the general design . Gen i e Ki man rugs are exceedingly sc rce because of the remoteness of the district from the avenues of trad e . They are not to be confused with the Kermanshah rugs or with t he k - m u ab . so Tur ey Kirmans These called Kir ans are modern r gs , desir le r y a for certain pu poses , but strictl commercial products , made by h nd under the direction of men emploved by Western capitalists .

Page Twenty-si x

OL" HERE" RUG

(N orthern P ersi a)

n P of The type of desig used in northern ersia , in the manufacture r k Sera i Bakh shis in the ugs nown as Gorevan , p , and , is shown this v e Herez illustration . It can be instantly recognized by its hea y , som floral M what conventional design . ost of the rugs from this district have larger medallions , set corner designs , and more plain , solid areas .

But the character of the design remains the same . A conclusive proof that this rug is an untrammeled native product and not a modern factory weaving is the faulty but possibly intentional curtailment of E not four of the six large rosettes of the border . ither the weaver was suffi cient he i y , master of his art to turn the corner p”ro erl or else y fi ures fdrever s purposel wove half g to avert the evil eye , covetou s of things made perfect . The Herez district is one of the few district from which are obtained new rugs that are a decided improvement G orevans e on the old . The best and Serapis are exceedingly servic able .

Page Twenty-ei ght OL" HERE" RUG (N orthern Pers ia)

Page Twenty-ni ne LARI STAN RUG

(S o uth western P ers ia)

The so -called palm - leaf design shown in this rug is one of t h e ff most common and e ective designs used in rug manufacture . Its numerous sources of origin as numerous as the cities which gave b irth to Homer account for and localize its many guises . It ap - con m e or . pears most often as a simple palm leaf , , pear But someti es one cannot help feeling that it represents the composite crown j ew el P C of the rulers of ancient ersia , the loop in the ashmere River , the fl o " bott ah i . e . ame worshipped by the roastrians , or the , , the money - P bag , worshipped by the every day ersian . The treatment accorded L arist an the design in the rugs of suggests the composite crown j ewel . It is an assemblage of points rather than of lines , and is much more minutely worked out than are the smaller forms found in the rugs of

i n . Saraband . This is characteristic Lar st a drawing Individual taste has made all the leaves to face one way , has created some special ' ff fi eld v unefi ect ive art e ects at the edges of the , and in ented an plant f and parasol o r the border .

Page Thi rty LARI ST AN RUG (Southweste rn Persia)

Page Thirty-one KURDISTAN RUG

(Western P ers ia)

The design shown in this rug is a prime favorite with rug c o l l W P s . M lectors It is ca led the ina Khani , after an early est er ian fi flowe rs C . Ou eld ount a deep blue , red , yellow , and particolored , T connected by green vines , alternate in diamond arrangement . his cc design belongs to the Kurd weavers of western Persia . It is o a sionall r e y found in other weavings , but with treatment so little alte d that the adaptation is apparent .

Page Thi rty -two W r KUR" ISTAN ( este n Persia)

Page Thi rty - three SARUK RUG

(Western P ersi a)

’ The modern oriental rugs made at Saruk are the I spahansl of the present day . Although not to be compared with the fi nest n t antique weavi gs of his district , they are tightly woven , gracefully m " designed , co mon with center medallion , and harmoniously "col a k Th livin ut . e who k o ored with d r , ric dyes people ma e them , gt a F era han have held well of the p ths of trade u in the g mountains , l ‘ 0 art to the old traditions their .

Page Tki rig-f our

HAMA" AN RUG

(P ers ia n)

H E W E amadan or cbatana , associated in biblical history ith sther M and ordecai , was the weaving place of the best of the camel hair M rugs . ade up largely of undyed camel hair of many shades often W k sorted and oven to strea the rug as shown in the plate , the old - fi eld n Hamadan with simple pole medallion on a plain , and plai , out

side color band is a rug of unusual individuality and attractiveness . Unhappily , no good word can be said for the modern rug product of this city . The weaving of recent years is loose , and the dyes , m aterials and character cheap .

Page Thi rty-six RAMA " A N RUG (Pe rsia n)

Page Thirty - se ve n SHIRA" RUG

(P ers ia n)

The rug selected for illustration here is an excellent cho iceIfro m which to point the diversity of appropriated design used by the weavers

y P H afi z . Th e of the garden cit of ersia , the city of the poets Sadi and - k center is pole medallion , not unli e the Hamadan rug on the preced The k . ing page , from the weavers of which it was probably ta en r cente is also Herati , that is , decorated with two leaves surrounding 4 k n 1 . a rosette , as in the Sehna Khilim on page This pattern is ta e ‘ er n t h cau from the weavings of F agha . The center might consist of q s o fi eld m casian hawl stripe , here used in the c rners of the , or the pal leaves and cypress trees of the border .

The sure signs of the Shiraz are not these appropriated patterns . o t he They are the overcasting of the sides of the rug in several c lors , t h the d li tle tassels of wool proj ecting from t is overcasting , and broa mats at t he ends of t he rug as in the weavings of Afghanistan .

Page Thirty-eight SHI RA" RUG (Pers ia n)

Page Thi rty-ni ne

BI"AR EU G

(P ersi an)

The diffi culty of designating orient al rugs by design and design treatment is amply enforced by the composite pattern of this re

k . r mar able Kurdish weaving The rug , howeve , is a sampler, and k e therefore not of a ind frequently met with . All Asia seems to hav to h contributed its composition . The eavy border on the left contains the Chinese cloud band and tarantula . The other borders are either

P C . flowers s ersian or aucasian The detached , combs , va es , and d other curious fi ures an . : g , are simply nomad , unrelated unplanned

ru identifi ed bv it s fi n ish . This g must be material , texture , and

Page F arty

TURKOMAN RUGS

Bokhara

Page F orty-three TEKKE OR BOKHARA MAT

Turkoman)

A great many eople have began their purchases of Oriental r W okhara ugs ith one of the weavings , attracted by the combination n of rich color and effective geo metrical desig . That the design is popular is evidenced by the numerous copies of it made in rugs of kk American manufacture . The Te e mat here presented is typical of its class . It has the elongated octagon arranged in rows alter r kk nating with ows of diamond forms . In the Te e rugs , as dis t in uished the g from mats , straight lines connect the centers of octagons " and in the " omud Bokhara the diamond forms are elaborated to the exclusion of the octagons . But this is the common t he kk Khivas " un design of Te es , the , and the Afghans and it is not lu ist ns - common in the Be ch a . The eight pointed star in the center of the octagons and about the sides of t he diamonds is said to have r r s n M ep e ented t he Deity to the ancie t edes .

Page F orty -four TEKKE OB BOKHARA MAT (Turkoman) AF GHAN OR KH NA BOKHARA

Turkoma n)

the n In Afghan rugs , made by the Kirgiz tribes living betwee k r Bo hara and Afghanistan , the octagonal design is quartered by alte Th . e nating colors , either yellow , orange , or white with blue or green fi nished h illustration shows , further , that they are at the ends wit broad mats in which there are colored stripes . However great the diversity of Opinion concerning a thousand and d one matters pertaining to oriental rugs , dealers and buyers are agree k that an Afghan rug is one of the best inexpensive rugs on the mar et . C are must be exercised in the selection , however , as the buried wash or lime steaming to which many of them are subj ected has a ff particularly vicious e ect on their material .

Page F orty-six AF G HAN OB KHIVA BOKHARA (Turko man)

PEKI N RUG

(Chi nese)

Present day interest in Chinese rugs is to be at tributed to their int erest in and r wonderful richness of color , their simple , designs , thei h - v li and scarcity . In general t ey are coarse wo en , g t in weight , h k . o f lac ing in rigidity In ot er words , they are wonderful pieces decoration and comparatively poor carpeting . C t he The border of this rug contains the hinese seal or crest , k u r coin , the svasti a , and numero s symbolical bats . The cente n butt erflies re re co sists of the invariable circles of happiness , two p u a senting c pids , a branch from a pomegranate tree with its fruit , h flowers s tea plant , an apple boug , and numerous , such as the lotu , t he fl lily, and the everlasting ower . PEKIN RUG (Chi nese)

Page F iffy-one SAMARKAN" RUG

(Chi nese)

kh t he Although ordinarily grouped with the Bo ara weavings , k C Samar and rugs are hinese by reason of their texture , material , C design , and color . The design consists of the hinese circle of happi k C butt erflies a nd ness rather than of the Bo hara octagon , of hinese

k . r plant forms , and of the svasti a The wave pattern or barbe t he pole design of the border , although common among the rugs of

C M . aucasus , is a ongolian conceit

Page F ifty-two (Chi nese)

Page F if ty -th ree

TURKISH (A sia Mi nor) RUGS

Karaman Kir-Shehr Konieh Kulah Kurd

Page F if ty-fi ve GHIORDES PRA" ER RUG

Turki sh IVestern A si a Mi nor ( . )

The prayer rugs of the town made famous as Ghiordium by th e k W ru not which Alexander severed , and hich in simpler form the g w u th e eavers have been tying ever since , are among the choicest r gs

roduced . n o r Orient has The design is architectural , as the iche mihrab in w ich the worshipper places his head represents an arch ue y k e way into a mos . The decoration consequently is utterl unli u the decoration 0? an ordinary rug . It suggests the modelling abo t P floral n e the doorway itself . ersian design appears only in the vi border . The design as a whole can be confused only with the design M n of the prayer rugs made in the neighboring district of Kulah . oder s Ghiordes rugs are among the poorest , if not actually the poorest rug are E - fi n u that made in the ast to day . They are so bad that e antiq e Ghiordes pieces have been offered for sale under other names to avoid k a mista en condemnation .

Page F if ty-si x

KULAH PRA" ER RUG

(Turki sh)

u The Kulah prayer rugs , rivals of the Ghiordes prayer r gs in popular esteem , seldom show the mastery of design , color , and texture to be found in the Ghiordes weavings . They differ in design

t . from the Ghiordes in two important ar iculars First , the centers h e fi lled of Kulahs are commonly wit pattern , whereas most of the

Ghiordes centers are solid color . Second , the borders of the Kulahs consist of numerous stripes , alternating in color and carrying minute designs , whereas the Ghiordes border consists properly of three

n . stripes , one large and two subordinate , with fairly large desi The Kulah and Ghiordes ru 8 shown in the illustrations differ urt her in h r d . I( ula a ser at e niche and panel The has instead of a plain niche , o ne and only cross panel instead of two .

Page F if ty-eight KULAH PRA" ER RUG (Turkish) Page F iffy-ui ne KI R-SHEHR PRA" ER RUG

(Turki sh)

Kir-Shehr rugs are ordinarily grouped with numerous other k - r inds under the general name of Anatolian . The Kir Sheh rugs f v di fer from the run of Anatolians , howe er , in that theirweavers attempt v detailed Persian design . The outside border stripe is ine and leaf " t he main stripe is divided into squares by the cypress tree " the center design is an inverted tree of life . All of these are Persian elements . The thr ee inner border stripes are copied directly from the Kulah K . one weavings As in the ulah rug there is only cross panel , but this panel appears at the bottom of the rug instead of at the top . The weft of the Kir- Shehr rugs is dy ed wool as in the Bergamo T he sides have an added selvage colored like the mats at the ends . The color in general is rose , green , and light blue .

Page S i xty KIR- SHEHR PRA" ER RUG (Turkish)

Page S ixty -one BERGAMO HEARTH RUG

s Wester n (Turki h . n A si a Mi or)

The desi ns found in Bergamo rugs are unusually individual " in other words , ergamo weavers are inventors and adopters of pattern rather than copyists . In this instance , the weaver has made a novel ff - k ks and e ective use of the Daghestan latch hoo . Arranged on bloc and rods it has the appearance of a tendril . The design as a whole , with niche at each end , is that of a hearth rug . The craftsmanship here shown is representative of the best drawing of As ia Minor .

Page Sixty -t 'wo BE W rn A i M i or RGAMO HEARTH RUG (Turkish . este s a n )

Page Si xty-three BERGAMO RUG

Turki sh Western A si a Mi nn'r ( . ) The design of this rug is another attempt on the part of a Tur k floral The ish weaver to give a appearance to a geometrical form . ’

P n . r drawing is not ersia , as a moment s comparison will show Fou - w k large axe he n leaves with stems and edges barbed with hoo s , - form a setting for an ornate medallion , based on an eight pointed

. At fi eld n star , two octagons , and a square each end of the betwee s the leaves is a rectilinear tree or lant . Rosettes and Rhodian lilie ibu h is k . rt s ma e up the border Three of the design , therefore , - P pseudo ersian . P as Bergamo is the ancient town of ergamos , famous the location of one of the early Christian churches .

Page Si xty -four

CAUCASI AN (Ru ssi an) RUGS

Page Si xty -se ven DAGHESTAN RUG

(Ca ucasi a n)

Comparison of thi s illustration the fi rst of the Caucasian series P with the ersian rug illustrations , wi ll emphasize the geometrical k C n . character of aucasian desig Geometrical medallions , hoo s , stars , k fl w octagons , barber poles , and serrated lines ta e the place of o ers , leaves , and vines . The Daghestan rugs are the mosaics of rug weaving , the rugs of t s s . inlay and sharp contrast . The de ign i geometrical The impor ant i ho k single motive s the latch o , which here appears in the main border and which is frequently attached to the larger designs for addit ional ornament . These rugs come often with the prayer pattern . They t t fi ve are usually small in size , averaging three to f—our fee in wid h by . w , , . to six feet in length The material is ool warp_ weft and pile - w The fringe is fret woven and the sides are selvaged in colored ool .

Page Si xty-eight " AGHESTAN RUG (Caucasi an) Page Sixty-m ue KABISTAN RUG

(Caucasi an)

I S The Kabistan rug a Daghest an from the district of Kuba . It is given a separate classifi cat io n b ecause it differs from the Daghesta n - . , t s k t h e in four important particulars First i ‘i not an all wool rug li e

. . d Daghestan The weft and sometimes the warp is cotton Secon , fi ner it n n . it is woven tha the Daghestan Third , is decidedly oblo g e r in shape , and larger than the average Daghestan . Fourth , it is nev woven in the prayer design and is frequent lv strewn with conventiona l flowe s r .

Page Seventy KABISTAN RUG (Ca ucasia n) Page Se ve nty- One SHIRVAN RUG

(Caucasian)

Shirvan and Daghestan rugs are very similar . To the novice k . a are at a they seem identical De lers , too . frequently loss to mar a f : distinction . The chief points of di ference are these First , the Shir van is the coarser rug . Second , moved by the s irit of greatest gain , the Shirvan weavers have cheapened their pr uct in material and influen P h . ced a dye Third , by the we vers of ersia , with whom t ey a and a have close relation , they frequently use cotton for weft selv ge , and are inclined to imitate Persian design .

Page Seventg -two

BAKU RUG

(Caucasi an)

- P Lari t All palm leaf designs are not ersian . Those in the s an k 31 floral . rug on page are or crown j ewel devices These of Ba u , r on the other hand , are rectilinea , and each contains a small rectilinear

u . leaf , enclosed as seed within fr it Other geometrical features of this P n - k t he rug , foreign to ersian design , are the excelle t latch hoo border,

serrated center medallion , and the serrated corners . Designs made up of large palm leaves are used at the extreme north and south of the great rug weaving district , either in the C P c aucasus or in southern ersia . Small palm leaves are characteristi of the weaves of Saraband and Kurdistan , in central and western P ersia .

Page Seve nig -four BAK U RUG (Caucasi a n)

Page Se venig-fi ve KARABAGH RUG

(Ca ucaszan)

Th at numerous Persian floral forms should be used in the Kara h ru not a bag s is surprising in view of the fact th t , until recent P times Karabagh was a ersian province . In this rug the design is P - ersian , except the saw tooth leaves of the outside border , the ribbon a lines separating the borders , and the j ewel boxes lternating with - t he the rose bush pattern in the center stripe . Such a design gives v ffi no ice his greatest di culties .

P age Seventg-six KARABAGH RUG (Caucasi an)

Page Seventy-eeven KA" AK RUG

(Caucasi an)

k C k a The Kaza rugs are made by the ossac nom ds , shepherds C k and bandits , related to the Russian ossac s , living about Ararat . They are easily ident ifi ed among the Caucasian weavings b fi rm their bold designs , their strong colors , their , heavy texture 0 y long pile , and their square or nearly square shape . The peculiarity of their construction is the use of four lines of weft between each ro w of knots . The pile reclines as a result of this padding and scintillates from side exposure . The tarantula device shown in the border is as common to the Kazak design as the latch hook is to the designs of - Daghestan . The break in the design at the upper left hand corner of this rug is the result of cutting and piecing .

Page Seve nty-eight KA" AK RUG (Ca ucasia n)

Page S er entg- N i ne MAP OF TH E ORIE NT

S H OWI NG TH E

PRI N CI P A L RU G PRO" U CI NG

" I S TRI CTS

P age Eighty