Chapter 3

Kermes, red in color, is one of the oldest of all dyes. It was known in Syria, 1200 B.C. It is not so brilliant as cochineal, but it is much more durable. Plutarch is authority for the statement that after one hundred and ninety years stuffs dyed with kermes retained their original color. The dye is the product of the bodies of females of the species of coccus which infest certain trees along the Mediterranean coasts. When the Romans conquered Spain, a part of the tribute demanded was paid with these little bodies.

Greens are obtained from various sources. The Chinese green is a dye obtained from _Rhamnus chlorophorus_ and _Rhamnus utilis_, a genus of shrubs. The fruit of several buckthorns, or the Persian berries, as they are generally called by dyers, also give greens and brilliant yellows. Most of the greens, however, are produced by the combination of indigo with yellow.

Indigo, mentioned by Pliny as Indicum, yields the deep blue dye so much prized by the Romans. Arrian speaks of indigo, and says that it was exported from Barbarike, on the Indus, into Egypt. This plant is grown in India, China, North and South America, Mexico, Central America, Africa, Japan, Madagascar, and Jamaica. When the Indian indigo plant, _Indigofera tinctoria_, is in flower, it contains the largest quantity of coloring matter. The beautiful vegetable and animal dyes which were compounded with consummate skill are now largely supplanted by the chemical dyes which are easily obtained. But in years to come the commercialism of the present will probably give way to the restoration of the splendid dyeing of the past.

ORIENTAL COLORS

Among Orientals a good deal of significance has attached, from the earliest days, to color. In Babylon scarlet was the symbol of fire, blue of air, and purple of water. Tyrian purple was an exquisite and rare shade of crimson. Many allusions are made to it by classical writers. The principal colors of the ancient Egyptians were red, yellow, and blue. Black was the symbol of error. White signified a holy life, purity, innocence of soul. The priests of Zeus and of Osiris were robed in white. Red was the symbol of zeal for the faith. Yellow was supposed to bring evil and sorrow. Blue was the symbol of truth. Black and white were often used to outline other colors.

The Persians, unlike most other Orientals, are not fond of bright colors. They are apt to avoid the light shades of red and green as being too showy, and further, as being liable to fade. Greens and yellows in dark shades they treat with more favor. They consider black and indigo as the symbols of sorrow; rose is the symbol of Divine Wisdom; green represents initiation into the knowledge of the Most High.

Among the Chinese, yellow is the symbol of royalty. The Emperor of China and his sons may wear yellow robes; their descendants wear yellow sashes and have yellow bridles for their horses. Red is the symbol of truth, virtue, and sincerity. It is the color of the highest degree of official rank. White is the symbol of mourning; black represents vice and depravity.

In Turkey, green is the most sacred color; and for that reason a true follower of Mahomet will not permit it to be used in his rugs, for fear it may be profaned by being stepped upon. Thirty-five or forty years ago no Christian was allowed to wear even a vestige of green anywhere upon him, while in Turkey; but this law is not now so rigidly enforced. If the Prophet or any of his family wear this color, no objection is raised, as he and they are considered holy, and thus exempt from the penalty. White is the color permitted to a student or a teacher of the law. To the Mohammedans of India and Persia, as to the Chinese, white is the emblem of mourning. In India, orange signifies devotion or pious resignation, and blue means ill-luck to the Hindoo.

Red was the favorite color of the Gauls, purple of the Romans, and saffron of the Greeks.

II

RUG-WEAVING IN EGYPT, PERSIA, AND TURKEY

RUG-WEAVING IN EGYPT

The supply of skins having been found inadequate to the gratification of their desire for comfort, the ancient Egyptians gradually developed the art of making mats from papyrus, a plant as important to them as any of our trees, fibrous grasses, or hemp are to us. While at work on the manufacture of these mats, the weavers used to squat on the ground. They became skilful, both in constructing the fabric and arranging the colors; the latter were quite bright and effective, being chiefly red, blue, yellow, and green, with black and white to define.

Egyptians used rugs in the decoration of their rooms, hanging them on walls and also suspending them between the pillars. But as the glory of Egypt departed, her skill in rug-making also declined; and the Egyptian rugs of the present day are of a coarse quality, being made in private houses under the primitive conditions that existed thousands of years ago. The last manufactory in working order was at Boulak, a suburb of Cairo, but it has been closed for several years. A great many rugs, however, are imported into Egypt, the majority being from Persia, Turkey, and India. Cairo is still one of the leading emporiums for the sale to tourists of rugs of Eastern make.

PERSIAN RUGS

In Persia the art of rug-making has attained a very high degree of excellence, having been practised there during many centuries; indeed, the exact period when this industry was introduced into that country is not known. Tradition has it that long before the days of Alexander the Great, rugs were woven at Shuster, then the capital; and being a luxury, they were woven solely for kings' palaces, and on the finest gold warp.

The Persians having been an industrious and civilized people for many centuries, and a large proportion of them having been accustomed to the nomadic and pastoral life, it is a natural inference that love of gain and the demand from the growing towns for articles of beauty and luxury gave the wandering tribes the opportunity to utilize their wool by supplying the demand for rugs. Encouraged as it was under the reign of Shah Abbas, the industry prospered. Various kings of Persia cultivated certain branches of art and industry, but Shah Abbas especially gave a decided impetus to rug-weaving. He had a particular fondness for the beautiful creations of this industrial art, and the rugs made during his reign bring fabulous prices. After his death a reaction followed. Rugs fell into comparative disuse, and the manufacture deteriorated until about 1850, when, thanks to the demand in Europe, the industry revived. To-day it is in a flourishing condition and the most important source of Persia's income.

Persians, from the Shah to the peasant, sit upon rugs when eating, with cushions placed behind them. It is only the lowest beggar who has no rug. The rugs used by the Persians themselves are rather small, the larger ones being exported to foreign countries. Usually the rooms of Persian homes are small, and narrow in proportion to their length; consequently only small rugs are required. But even when the rooms are large, the Persians prefer several small rugs to one large rug, as a floor covering. They often first cover the hard-beaten ground with a matting of split reeds, and then lay over this so many small rugs that the matting cannot be seen. This custom is becoming more and more common in Persia. With their taste in design and color, they produce beautiful effects.

The finest rugs are closely woven, with a pile like velvet, and with stitches on the back that resemble needlework. A rug has scarcely reached its prime until it has been down ten years; and it should last for centuries, if carefully used. As a partial explanation of this wonderful durability, it should be remembered that in their own homes the Persians use their finest rugs for hangings, and also that they take off their shoes before entering the house.

In ancient days rug-weaving in Persia was generally restricted to Ispahan, Khorassan, and Shuster, but in modern times the most noted districts are those of Sultanabad, Fars, Hamadan, Feraghan, Bijar, Kurdistan, Khorassan, and Kirman. But the industry is so widely spread over Persia that there is not a class of women who do not live by it, and very often really fine pieces of work are produced in districts where the art receives no encouragement. The districts mentioned above are more noted for the quality of the rugs they produce than for anything else. The rug of each district has a peculiar character of its own, both as to the quality of the wool and the design. The peculiarities characterizing each district are so noticeable that an expert can generally tell at a glance where a rug was made.

It is very difficult, if not impossible, to discover the exact value of the export and import trade of Persia. The source of this information is naturally the Customs Administration, which in Persia exists but in name. The duties of the ports and principal towns are farmed out to various persons, whose interest it is to send the inquirer away as ignorant upon the subject as he was before the interview began. But it is possible, after a great deal of labor in collecting statistics from the dealers of a particular article, to form an estimate probably not very far from the truth. By this method we judge that the average yearly export value of rugs in Aaragh (the Sultanabad district) is three hundred thousand dollars; Hamadan one hundred thousand; Bijar one hundred and ten thousand; Malair one hundred thousand dollars; Kurdistan fifty thousand; Fars seventy-five thousand; Kirman and Khorassan one hundred thousand; and in the less known districts collectively, fifty thousand dollars. The total of these figures classes the rug export in the very first order of exports. It is plain that this amount does not represent the full value of the manufacture, inasmuch as a great quantity of the goods does not leave the country. This quantity is perhaps small in comparison with that exported, but it is large enough to make the value nearly a million dollars.

It may be of interest to mention here that the export duty on rugs on the average is two and a half cents per square foot, and carriage to the seaports ten cents per square foot, while the import duty to the United States is forty per cent _ad valorem_ and the specific duty ten cents per square foot.

In Persia several firms have done a great deal in the way of encouraging the industry of rug-weaving in that country. To supply the demand for Persian rugs in Europe and America, these firms have erected buildings in Sultanabad, where they keep the weavers under control and steadily employed. These firms, having been long established, are conversant with the Persians and their character; and to prevent any deception they pay the weavers by the piece instead of by the day.

The rugs produced by these firms are of the medium quality. The wool is bought in the rough and manipulated for use. Every day a quantity of it is given out to the laborers, who must reproduce the design placed before them, and each laborer is paid from two to four dollars per square yard, according to the quality of her work. In the service of these firms, the weaver is obliged to put aside her individual taste and follow closely the designs, which are prepared in accordance with the prevailing fashions abroad. The independent native weaver does not pay any attention to the taste of the buyer. She places her work in the local market, and the native merchant purchases it for exportation.

CHARACTERISTICS OF CERTAIN PERSIAN RUGS

_Bakhshis_ rugs are made in a small village in the district of Azerbijan, and in the neighborhood of Herez. Those of thirty years ago were excellent, but now the materials of which they are made are poor, the rugs badly woven and of indifferent coloring. They come in large sizes, usually having a medallion in the centre.

_Bibikabad_ rugs are quite modern, and are supplied to the market at Hamadan. Aniline dyes prevail, and the rugs are of inferior design and texture.

_Bijar_ rugs of olden time were artistic; of those of to-day this statement cannot be truthfully made. The wool is still fine and silky, but there is an element of crudeness of design and a defiance of the laws governing color. A pronounced medallion in the centre is usually seen. This is set in a solid field of a strong contrasting color. Sometimes the field is of a bright red or blue, with the medallion omitted. The borders are generally in the same color as the field, or in camel's hair, sometimes covered with crude figures of human beings or animals, or decorated with flowers in vivid red, yellow, or green. The rugs are heavy, and in the American markets are known as _Sarakhs_.

_Birjand_ rugs (so called) are woven almost exclusively in the village of Daraksh, about fifty miles northeast of Birjand. The weavers of these rugs came originally from Herat. The rugs are generally satisfactory, the weaving being fine, although the pile is often uneven.

_Burujird_ rugs are made sixty miles from Sultanabad, and south of Hamadan. They resemble in their field and in the firm texture the Saraband rug, the palm-leaf design being arranged throughout the field. The border is mainly white, with minute variations of the palm design.

_Djushaghan_ rugs are woven in a district south of Feraghan. They are durable and attractive. The Shah Abbas design is a favorite one in antique rugs of this kind. The field is generally of a rich red, and occasionally a rare sage green. Often there is a lighter shade in the border than in the field. Crosses with angular ends are a feature, and between these are floral designs.

_Feraghan_ rugs of olden time are as satisfactory as any rugs handed down to us. They are so harmonious in coloring and design as to be most restful to the eye. They have a richness and sheen that make them most desirable, and when to the usual soft colors a deep violet is added the attractiveness increases. A distinguishing feature is the Herati design, covering a field usually of a rich deep blue. Sometimes the Guli Hinnai design is observed, with its more elaborate treatment. The border is often a light ground covered with a design in the form of rosettes and palmettes connected by a running vine. The main border stripe is frequently in a rich green and sometimes of a deep rose. When there are corner areas and a centre medallion they are arranged so symmetrically that the harmony is complete. The colors in these areas and the medallion are often in cream, light green, or red. At the present time Feraghan exports annually a large number of rugs rather loosely woven, but soft and durable. These are made by the Bactrian tribes. The entire centre is often filled with rather small irregular figures on a dark blue field. Yellow is often employed in a modern Feraghan, both in the border and in the field. Quite an important feature of Feraghan and other places of high altitude is the rug-woven saddlebag. When stuffed, such bags make comfortable sofa-pillows, or they can be placed as seats on chairs. Throughout Asia, saddlebags are used for the transportation of household and personal effects and other goods, and by children for their schoolbooks.

_Görevan_ rugs are woven in the neighborhood of Herez. They are exported in large sizes, and are generally rather showy and elaborate. Quite firm and durable, they are popular for dining-rooms. As they are in great demand in the trade, they are turned out too rapidly, but careful selection brings happy results, for sometimes a truly beautiful rug, with rich warm coloring and a medallion not too pronounced, is found.

_Hamadan_ rugs are generally of camel's hair, although sometimes goat's hair is added. The field is in the natural shade, as is the surrounding border. An elongated medallion appears in the centre; this is ornamented with floral designs in red, blue, and yellow, as are also the corner areas. Antique Hamadans are very beautiful. Soft and silky, yet with firmness of texture, and in subdued coloring, they seem appropriate for any room. Some of them, with fine, delicate tracery, in soft shades, remind one of beautiful stained glass seen in the old cathedrals of Europe.

_Herat_ rugs are now woven in Persia by tribes originally from Afghanistan. The old city of Herat was under Persian influence, which accounts for the fine character of its rugs. The modern Herat rug is of excellent quality and durable. The leading design is naturally the Herati, and again one sees the palm leaf with its apexes all pointing in the same direction. The field is generally a deep blue, although sometimes a rich red, and even ivory. Green is apt to be the main color in the border, and occasionally the butterfly motif is noticed. Some of the modern rugs have medallion centres, in which the wool is generally red or blue, and sometimes green or yellow.

_Herez_ rugs are attractive, the chief color often being a fine blue, upon which rests a pronounced medallion. The corners are defined by serrated lines, and are in shades of the red in autumn leaves. Often these corners are decorated with small designs. The main border stripe is light in color--often cream--with good-sized markings. Herez rugs are made in the province of Azerbaijan.

_Iran_ is the official name for Persia, and when a rug is called by this name, the meaning is simply that it is a Persian rug.

_Ispahan_ rugs are antiques. During the sixteenth century and the reign of the great Shah Abbas, and even earlier, these magnificent fabrics were woven. Superb in coloring, with beautiful designs and of superior workmanship, the examples still in existence are indeed precious. In these old rugs one finds a field of red that is rich and rare. It looks like carmine, and then again it seems as if one were looking into a goblet containing the choicest wine of past centuries. Once seen, the shade is not forgotten. So also with the wonderful moss-like green that occupies the main border and the running vines of the Ispahan rug. Black--the most corrosive of all dyes--although used, has disappeared, leaving only the foundation. A medallion, star-form in effect, often occupies the centre. Over the field are scattered palmettes and lotus forms, all connected by running vines. A wide middle border between two narrow stripes holds the rosette and palmette, and also the lancet leaf, in tiny form. When cloud bands are seen they show Chinese influence, as do the lotus forms.

_Kara Dagh_ rugs are made by nomads who are called Aylauts, and who live in the mountainous region north of Tabriz. In appearance, as well as in texture and size, they resemble those produced in the Caucasian province of Karabagh on the other side of the boundary. The natural color of the camel's hair, and rose color too, are much used. Sometimes the camel's hair is mixed with goat's hair. The designs are floral and rather striking in effect.

_Kermanshah_ rugs of modern make have usually a medallion with a lotus motif in the centre of the field. This is generally of ivory, ornamented in soft tones of blue, green, or rose. The usual light effect of the rug makes it rather more suitable for a reception room or a bedroom than for other places. There are, however, deeper tones in these rugs, and sometimes there are no medallions. Perhaps the rug is most pleasing with the palm-leaf design and that of the tree, or with many birds and various floral conceptions. The borders blend harmoniously with the rest of the rug. The finest rugs of Kermanshah were formerly made in the palace of the Governor, and many were presented to leading rulers.

_Khorassan_ rugs are woven in the province of that name and are characterized by various forms. A long palm effect or floral design is apt to be in the borders of antique Khorassans; and a prominent color in these rugs is magenta, which, though sometimes rather harsh in the modern rugs, is soft and beautiful in the antiques. Blue is also a leading color, and animals, including the lion and the gazelle; birds of several varieties; flowers symmetrically arranged, and geometrical forms, are all often seen. The Herati design is a usual one. When stripes occur in the field they are beautifully decorated with small floral designs or with the palm, and occasionally with that migratory insect, the locust. The rugs are unevenly clipped, which gives a soft, lustrous effect. Meshhed, the capital city of Khorassan, weaves rugs of fine colors; the palm leaf when represented on this rug is very large and impressive, often on a deep blue field. Animals and birds are frequently seen on the Meshhed rug.