Part 6

_Yarkand_ rugs are very similar to Kashgar rugs, having the same general characteristics.

_Yomud_ rugs are woven by the tribe bearing that name, whose territory seems to include both Astrabad and Khiva. The rugs woven by this tribe are in rich tones of deep red or plum, sometimes mahogany in tone. The design most frequently seen is the diamond, surrounded by the hook. The weaving is very satisfactory, and the coloring in brownish-reds is particularly good. In some odd and rare pieces among the Yomud Turkomans, blue figures conspicuously, as does green also. The border in these rugs is sometimes in stripes, sometimes in a sort of crudely drawn vine.

CAUCASIAN RUGS

_Caucasus_ is a general government belonging to Russia, and including Transcaucasia. The designs of the many rugs woven in this section of country are all parts of a system, and each design bears certain marks whereby its class may be identified.

_Daghestan_ rugs are made in fine wools, and the mosaic designs are generally beautifully and skilfully done. The figures are nearly always geometrical, and in the form of diamonds, long octagons, lozenges, hooks, and small crosses. The colors of the best Daghestans are so well selected, that although there is no shading there is seldom anything aggressive or startling in the effect. Blues, reds, yellows, ivory, and other hues are chiefly used. The rug has a short, close pile, and although the texture is rather thin, the rug is very durable.

_Derbent_ rugs, though woven at Derbent, the chief city of the province of Daghestan, differ somewhat from the Daghestans proper, being much softer and thicker. They are also more loosely woven, and have a longer pile. The designs are geometrical, several star devices often occupying the field; and here again we see the hook, which is a feature of the entire Daghestan province. There is a good lustre in the Derbent rugs, and the coloring is often quiet and inconspicuous in dark blue, red, yellow, and ivory. Sometimes a soft pink is noticed.

_Kabistan_ (Cabistan) rugs are woven at Kuba. They resemble the Daghestans to such an extent that they are often sold under that name. They have, however, more variety of design, although, as in the Daghestans, the diamond is generally a prominent feature, and often three large and many small diamonds are seen. The texture is firm, and the pile cut very close. Soft reds, greens, a delicate fawn, and browns are the usual colors. The borders may be in stripes, or with crude animal or bird devices. The antique Kabistan is very beautiful. Its texture is like velvet. Often one, and sometimes two borders contain the small single pink which is a most decorative floral ornament. The reds, light greens, ivory, and plum colors are arranged artistically, and quaint animal forms are often seen.

_Karabagh_ rugs have characteristics of the other Caucasian rugs, but are more crude in coloring. Red is the chief color used. The rugs are coarse and quite crude in effect. The old-time rugs were vastly superior in workmanship.

_Kazak_ rugs are woven by a nomad tribe dwelling among the Caucasus Mountains. There is a certain strength and vigor about the Kazak rugs that seem to be in harmony with the tribe that weaves them. The word Kazak is a corruption of Cossack; and the durability of these rugs, as well as a certain boldness of effect in their designs and colors, corresponds with the hardihood of the people who weave them. The rugs are thick and soft; their colors are blues, soft reds, and greens. Often the field is a deep rose or a green, sometimes with one or more geometrical figures and several medallions, or with the palm-leaf design in rather large size throughout. When the palm leaf is used, it is generally decorated with a smaller leaf of a different hue. Many varieties of small designs are also seen, including circles, diamonds, squares, and the tau cross, which is almost always present. Some of the antique Kazaks are very fine.

_Shirvan_ rugs are attractive from their quiet, agreeable tints, and fine, even texture. They are made in large quantities, and readily sold. The best are of white wool, but the inferior ones may hold cotton or goat's hair. Often blues and whites are the colors employed, with markings of red or yellow. Sometimes there are stripes in the border, one wide stripe followed by a series of narrow ones. The hook is a frequent design, and may be found in the field, incasing some geometrical figure. Sometimes a conventionalized floral design is observed in the border.

_Soumak_ rugs ought really to be called Shemakha, for that is the name of the town in the government of Baku from which they are exported. But the contraction of the word into Soumak is now universal. Erroneously too, these rugs are known as "Kashmir," for the sole reason that they are woven with a flat stitch and the loose ends left hanging at the back, just as they are in the old Kashmir shawls. The designs bear a resemblance to those of the Daghestans, and the hook is omnipresent. The best are durable, and sometimes a rarely beautiful Soumak is discovered, distinguished from the ordinary specimens by its soft hues and fine texture. One that I have in mind is of a rich blue field, with geometrical figures in terra cotta shades, and a rare bit of green in the way of ornamentation; the field of another is rose, and the geometrical forms are in deep blues, old blues, and ivory.

_Tchechen_ (Chichi or Tzitzi) rugs are made by the Chichi nomads living among the mountains of Daghestan. The rugs have a strong resemblance to the Shirvans, and are often sold under that name. They are of about the same color and quality, but are wider. In the border there are frequently geometrical designs arranged between two or more stripes, and the tau cross is sometimes seen.

IV

MISCELLANEOUS ORIENTAL RUGS

RUGS OF THE HOLY LAND

No rugs of importance are woven in Palestine. In several villages a coarse cloth is made which is waterproof because of its firm texture. It is used for cloaks or abas, and these are worn by all the men of the land. In Bethlehem is made the coarse cloth which is used as tent covering. This is produced from the sombre hair of the Palestine goat.

All Syrian rugs are made of pure wool, a home product of an average quality. Looms operated by machinery are unknown. The rugs are made in a primitive fashion by the peasant women and girls, who work at the looms in their own homes when not engaged in field labor or domestic duties. They also do the washing, dyeing, and spinning of the wool. The introduction of rug-weaving into Syria took place about the beginning of the nineteenth century, when a number of families emigrated from Brusa to villages of Syria, where they taught their art. For many years excellent rugs were woven, Haidamur especially taking the lead in superiority of quality, design, and durability. Unfortunately, the original designs and blending of colors introduced from Turkey have entirely disappeared, and only inferior rugs are now made throughout the country. The chief colors in the modern Haidamur rugs are red and black, or sometimes crimson and black, with black or dark brown figures at each end. At Damascus a few rugs are woven, but not of any great value or distinctive beauty.

CHINESE RUGS

The Chinese rugs of antiquity are remarkable, and worthy of the closest inspection. Their texture, designs, and symbolism show the greatest patience and thought. Antique wool rugs woven in China are very scarce, and because of this, and for their historical interest as well as their uniqueness and attractiveness, they bring large prices. In fact, they are almost unprocurable. A large and very fine specimen of this kind of rug is in the home of the late Governor Ames of Boston. It measures nineteen by twenty-one feet. The colors are yellow and white, and these are arranged in odd designs over the entire rug. A member of the family owning it writes: "This rug is said to have originally been in the Emperor's Palace in China. As every emperor is obliged to have the palace newly furnished when he succeeds to the throne, owing to some superstition connected with the retaining of any of the former Emperor's possessions, everything is removed and destroyed. Fortunately this rug escaped destruction." A fine example of an antique Chinese rug is represented in one of the illustrations of this book.

The modern Chinese rugs are vastly different from those of antiquity. There is, however, much of interest attached to them. They are sought because of their antique designs, their harmonious coloring, and their durability. The monstrous and fantastic forms that distinguished the antique are not so frequently met with in the modern production. The predominating colors in a modern Chinese rug are yellow, blue, white, and fawn, and these are arranged very effectively. The designs are quaint and odd. A border distinctly separated from the field is almost invariably seen. A most important geometrical motif observed in Chinese rugs is the Meandrian, especially the continuous and that derived from the hooked cross. The hooked cross we find with rounded arms, generally in connection with a cloud band. The rosette from the vegetable motifs is very frequent, especially in borders; also the branch and the continuous creeper. Bats, butterflies, storks, and the goose are in many borders. The lion--symbol of a happy omen--is often represented in those rugs designed especially for wedding ceremonies.

In the northern part of China rugs are decorated with colored threads in crude imitation of figures; they are woven in sections, and then sewed together. Camel's hair of a coarse quality is used extensively by the Chinese for their rugs, and the laboring class use felts in their houses. These are cheap and durable, and are placed on the tiled floors so common in the colder parts of China. The skins of the doe, deer, and fox are much used in China as rugs. These skins are sewed together in sections, according to various designs, and resemble mosaic work.

There are more circular rugs found in China than in any other country, and some are exported. But they are seldom called for in this country, and clerks in the large establishments which import them express surprise when inquiries are made for them. The warp of the ordinary Chinese rug is mostly of cotton, and the woof and pile are of wool or camel's hair.

Tsun-hua rugs are made of silk and camel's hair in the province of Chi-Li.

JAPANESE RUGS

In olden times woven rugs were not known in Japan. The wealthy classes of Japan covered their floors with grass, over which they spread the skins of animals. The poorer classes had not even skins, but only reeds or straw. About four hundred years ago silk and wool rugs were introduced into Japan from Persia, China, and India. For a time the Japanese imitated these rugs, but later the industry ceased. Since the opening up of the country, however, rug-weaving has prospered, and the introduction of fine cotton yarns of uniform quality has increased greatly the growth of all textile industries. The modern Japanese rugs are made of cotton or jute, and are used extensively in the United States in summer homes. In the towns which produce these rugs little children may be seen busily engaged in weaving, their small fingers being very deft at this work. The chief colors employed by the Japanese in their rug-weaving are blue, white, and sometimes a beautiful pink. In weaving, designing, and coloring, as in everything else the natives do, their exactness of finish and thoroughness in detail are noticeable. The Persian designs which were once reproduced in Japan are now supplanted by designs purely Japanese. The dragon is a favorite design in some of the older rugs.

KHILIM RUGS

WRITTEN ALSO GHILEEM, KELIM, KILIM

The largest number of Khilims are woven in Turkish Kurdistan, although many are made in the adjoining territory, and at Sinna and Shirvan. They are also woven by the nomads of Anatolia and Merv, and Turkey in Europe now produces many Khilims, especially in the vicinity of Servia.

Khilims are made in different sizes, and are alike on both sides, with a smooth surface. Perhaps the Khilims most familiar to us are those which are long and narrow. But there are also smaller sizes, the smallest of all being called mats. All are without nap, and are woven with the flat stitch by the means of shuttles.

Karamanian is another name given to this decorative piece of tapestry. The Karamanian is woven in the tents of the nomad Yuruks and other Turkoman tribes. Occasionally this weave and the Kurdish have a mihrab at one end, showing it to be a prayer rug. The Sinna Khilims have a Herati design, and colors of green, yellow, and rose are frequent. The webbing at the end often contains a narrow stripe.

A bit of romantic sentiment is woven into the Kis Khilims, as those made by the Turks in Anatolia are often called. It is asserted that the word means "Bride's rug," and that the name is derived from the fact that these rugs are woven by young girls, each of whom endeavors to finish her rug in time to win a husband. A lock of hair is often found in the Kis Khilim, said to have been woven in by the girl who made it.

In Oriental countries the Khilim is used as a floor covering, and also as a curtain to divide the dwelling portion of the tent from that in which the cattle are sheltered from the storm. It is also used by the natives on their journeys, and for general wear on the floors.

In the United States this fabric is exceedingly popular as a hanging, and for the cover of a divan it is equally effective, whether used in the home or in the studio.

POLISH RUGS

There are few of the so-called Polish rugs in existence, and these are priceless and cannot be bought. They are mostly seven feet long by four wide. The name takes its origin from the fact that a Pole (by name Mersherski), after travelling in Persia and India, established a rug factory in Warsaw.

Polish rugs are of silk, with gold and silver thread interwoven. Their texture is looser than that of the usual Oriental rug, and for this reason they cannot stand hard wear; but they are exceedingly handsome with their gold lustre and silky sheen. In these rugs a number of warp threads are crossed by the metal threads and overspread, so that the lines or ribs are brought out more prominently. This in part accounts for the softness and looseness of the texture.

Some time ago Dr. Wilhelm Bode, the eminent German scholar and authority on antique Oriental rugs, decided that these unusual rugs were of Persian origin, because of their general style and design. Since then Mr. R. Martin has proved this by documentary evidence.

PRAYER RUGS

The prayer rug is so distinctly _sui generis_ that it requires a little explanation. It is to be found wherever dwell the followers of Mohammed, and the design usually includes a representation of a mosque, or place of public worship, showing the mihrab, which is the niche in the wall of the mosque, so located that when the worshipper prostrates himself before it he will be prostrating himself toward Mecca.[A]

[Footnote A: Some prayer rugs have a representation of the hands of Mohammed, and on them the suppliant places his own as he throws himself prostrate. In the corners of some of these rugs pulpits are represented, and occasionally trees.]

The Mohammedan, if he build a mosque, locates it so that its axis extends in the direction of Mecca; in such buildings the mihrab is not necessary, as the natural position of the worshipper places him so that his face is toward the sacred city. Where Christian buildings, such as the great Basilica of St. Sophia at Constantinople have been appropriated for Moslem worship, the niche or mihrab may be located well toward one corner of the building.

The prayer rug was evidently invented for the purpose of providing the worshippers with one absolutely clean place on which to offer prayers. It is not lawful for a Moslem to pray on any place not perfectly clean, and unless each one has his own special rug he is not certain that the spot has not been polluted. With regard to the purity of the place of prayer Mohammedans are especially careful when making their pilgrimages, the rugs which they take with them having been preserved from pollution by being rolled up until the journey is begun, or until the hour of prayer arrives. It does not matter to these followers of Mohammed how unclean a rug that is on the floor may be, because over it they place the prayer rug when their devotions begin.

About two hundred years ago small embroidered rugs were largely made in Persia, chiefly at Ispahan. These were prayer rugs, and on each of them, near one end, was a small embroidered mark to show where the bit of sacred earth from Mecca was to be placed. In obedience to a law in the Koran that the head must be bowed to the ground in prayer, this was touched by the forehead when the prostrations were made, and so the letter of the law was carried out. The custom still prevails. The Persian women who make the finest prayer rugs seldom weave any other kind of rug. But the encroachments of civilization and commerce have changed the original purpose of the prayer rug. Once it was sacred, and the masterpieces of workmanship in the products of Asia Minor were devotional in character. Upon these rugs many a soul prostrated himself before Allah in reverence; but now in the further interior only is the prayer rug made for aught but commerce.

As a class the modern Anatolian prayer rugs are quite inferior, being woven irregularly, and without regard to details or finishing; yet there are among them some fine specimens of Anatolian weaving. The famous prayer rugs of Asia Minor (Anatolian) made at Ghiordes, Kulah, Laodicea, and Meles are described in preceding pages. They are the joy of the collector and the artist. The antique Ghiordes rugs are really fine in colors, generally with much pale green, red, or blue. The design most frequently seen is the Tree of Life. One special kind is distinguished by a yellow vine on a dark blue field.

SILK RUGS