The Practical Book of Oriental Rugs

CHINESE RUGS.

It is practically within the last decade or so that the artistic merits of the Chinese rugs have been fully appreciated. Previous to that time they were promptly laid aside to make place for the other Oriental weaves. A few wise connoisseurs were in the meantime securing all the choice pieces available and some have made themselves independently wealthy by their sagacious forethought. At the present time Chinese rugs are eagerly sought and treasured more than those of any other class, good ones bringing fabulous prices.

To illustrate the rapid advance in the value of choice pieces the writer will relate one incident out of many similar ones which to his knowledge have occurred.

About eighteen years ago a wealthy horseman of Central New York died leaving a stable which, together with its furnishings, was worth many thousands of dollars. Sometime after his death the furnishings were sold at public auction. Among the articles thus disposed of was a Chinese rug 10 × 12 which was bid in by a New York man for $150.00. Two years ago it was resold for $25,000.

Excluding those of recent make, Chinese rugs are of good workmanship and honest dyes, the weavers being little influenced by modern ideas, consequently they are durable and, on account of their original Mongolian designs, can easily be distinguished from the other Oriental products. Unfortunately, on account of the growing scarcity of wool in China and on account of foreign invasion, the rug industry seems to be dying out.

The classification of Chinese rugs is a difficult matter, in fact anything like an accurate classification is impossible even for a connoisseur for they cannot be assigned to the different provinces by the finish of their sides and ends as are the other Oriental weaves, but the classification must depend mostly upon the colors, materials and workmanship, which were in vogue at certain periods, as well as the effect of time upon these colors and materials.

Those which reach our own shores are generally divided into three classes according to the districts from which they came, namely, Pekin, Tientsin and Thibet, the latter being practically Chinese although not geographically so. The above are named in order of their excellence, the finest pieces, as a rule, coming from northern China.

Unlike other Oriental textiles those of China may be interestingly classified according to the symbolism of their designs, thus we may have the longevity rug in which are depicted the crane, the stork, the deer, or the tortoise, all of which are symbols of longevity. The literary rug is decorated with books, ink stands, pencils, brushes, scrolls, and sceptres. The bat, the gourd, the circle of happiness, and the shou denote happiness; the dragon, the lion, the phœnix, and the sword authority and power; the swastika, the knot of destiny, the swallow, and the magpie are symbols of good luck, while in the religious rugs are found the rosary, the incense burner and various altar implements.

The Chinese weaver is fond of filling every available space with objects with which he comes in daily contact, thus among the animate things may be mentioned butterflies, dogs, doves, ducks and swans. Among the inanimate things are vases, chess boards, jars, stands, baskets, wheels, ribbons, shells, pots and plates, while among the flowers are the peony, the primrose, the peach, the magnolia and tea blossom, the lotus, the orchid, the chrysanthemum, the sun flower and the aster.

There are seven designs, which on account of the great frequency with which they are used, are worthy of special mention. Named in order of their employment, they are the circle of happiness, the Chinese fret, the swastika, the butterfly, the bat, the shou, and the dragon.

The circle of happiness which is found in nearly all classes of Chinese rugs is a circle or ovoid within which are worked various Mongolian designs. The Chinese, or Greek fret, as it is sometimes called, is a border design suggested by the overlapping of the sea waves and is found in fully two-thirds of the Chinese products. The swastika needs little explanation other than the statement that for centuries it has symbolized good luck to many tribes in distant parts of the world. Butterflies, symbols of vanity, are frequently found intermingled with flowers or bats, the latter being symbolic of happiness. The shou, which stands for prosperity, has nearly a hundred different forms, many of which are similar in shape to the Egyptian scarab. The dragon, the Chinese symbol for sovereignty, always has five claws, unlike the Japanese dragon, which has but three. It is frequently represented as holding or looking towards a round object, the so-called "chin" or jewel.

The materials from which the Chinese make their rugs are practically the same as are used in the other rug making countries with perhaps the exception that the wool varies more in quality, being on an average considerably coarser than that of Persia or Anatolia. The Chinese also employ considerable hair, which in appearance very much resembles that of a cow. Rugs made of this hair are known as Yak rugs.

Chinese weaving differs little from that of other parts of the Orient. Both the Senna and the Ghiordes knots are employed, most frequently the former, but the appearance is different on account of the size and looseness of the warp and pile yarn, which, in many instances, makes it impossible for the weaver to tie over eight to ten knots to the square inch. During the early part of the eighteenth century, designs were frequently made to stand out in relief by cutting somewhat shorter the wool around them.

Chinese designs are characteristic and interesting, being similar to those found in the old Chinese porcelains. As a rule they are simple, with little detail and are outlined with a contrasting color. No family or tribal designs are employed as in the other rug making countries. Each rug being usually the work of one weaver, both in design and execution, it is frequently symbolic of his creed.

During the 16th and 17th centuries the majority of Chinese rugs had a field of solid color or were covered with the trellis design. They also had but few narrow border stripes, either in plain colors or carrying simple geometric designs, but about the middle of the 18th century, they began to show Persian influence, floral patterns being adopted especially for the borders.

Like the designs, the colors employed by the weavers are quite similar to those used in the old porcelains. As a rule, they are dull, warm and harmonious, but few shades being used in the same piece.

The colors and shades most frequently used in Chinese rugs, named in order of their employment, are dark blue, yellow, light blue, apricot, ivory white, dark brown, cream, old red, tan, fawn, robin's egg blue, green, fruit red, persimmon red, ash white, sapphire blue, peach blow, salmon pink, brownish red, brick red, greenish yellow, turquoise blue, copper pink, and black.

The different shades are of considerable assistance to the connoisseur in estimating the age of a rug, for instance, robin's egg blue, golden brown, and tan were mostly in vogue during the 17th century, and during that period, green and lemon citron, greenish and reddish yellows were never employed.

THE EXAMPLES ILLUSTRATED

Three color plates of these attractive rugs are given, with accompanying descriptions (see pages 300, 306 and 318).

GHILEEMS, SILKS, AND FELTS

GHILEEMS

Also spelled Gileem, Gilim, Khilim, Kilim, Killim. A pileless rug which is made by binding a dyed weft thread around the warp threads by means of a shuttle or needle, making the fabric alike on both sides and leaving open spaces between the warp threads where the changes of color are made. This is the primitive mode of weaving and requires much more skill than does the pile method. Ghileems are woven at the present day more than ever all over the Caucasus, Anatolia, Kurdistan, Persia, and in some parts of Turkestan. Those which are found in the Western markets come mostly from Cæsarea, Senna, Shirvan, Kurdistan, and Merve.

As a rule each variety adopts the designs and colors which are in vogue in the particular locality from which they come, but frequently the border stripes do not extend around the whole fabric as is almost invariably the rule with the pile carpets. By the Oriental the Ghileems have been used as floor coverings from the earliest times; by the Occidental they are used almost exclusively as portières, couch covers, and table spreads. As a rule, they are sold in the Orient by weight, and, like most of the other textiles, have of late years not been extremely free from outside influences.

SENNA GHILEEM

Senna Ghileem is the finest quality of Ghileem produced, being much finer in texture than any of the other Ghileems. As a rule they have small intricate patterns, with an opening at each change of color, in fact they are exact duplicates of the Senna pile rugs in design and have the same finish on the sides and ends. The Herati design is commonly used in the field but seldom in the border. In sizes they vary from three and one-half to four and one-half by five and one-half to seven feet, seldom larger or smaller.

THE EXAMPLE ILLUSTRATED

The main border stripe carries a meandering vine with a pear-shaped leaf at each turn and on either side of it is a narrow stripe consisting of floral forms which are connected by leaves arranged in the form of a meander.

ANATOLIAN GHILEEM

Anatolian Ghileems are, as a rule, light in weight and coarse in texture, with many open spaces and with bold geometrical Turkish designs and bright colors. They are made of good wool and are finished with a fringe at each end. As a rule they can be distinguished by their prayer niche or by a seam through the centre, the larger sizes, which do not come in the prayer design, usually being made by sewing two long, narrow pieces together.

KIS GHILEEM

Kis Ghileem, which means "girl rug," are Turkish Ghileems made by the Mohammedan girls for their suitors, it being a Turkish custom for a girl, as soon as she becomes engaged, to weave one of these rugs to present to her future husband in order to show the quality of her handiwork; therefore, being judged to a certain extent by the grade of her weaving, she naturally does her best. For this reason many of the so-called Kis Ghileems are of excellent workmanship. They carry typical Turkish designs and are finished with a fringe at each end. In size they vary from two and one-half to seven by four to fifteen feet, the smaller sizes usually being of the prayer style, while the larger ones are made of two parts sewed together, little care being taken to make the patterns of the two pieces match well. Frequently we will find small tufts of wool, beads or a lock of the weaver's hair attached to the warp threads as a talisman.

SHIRVAN GHILEEM

Shirvan Ghileems are always recognized by their designs, which are like those of no other Ghileem, being composed of numerous stripes running across the whole width of the rug and covered with geometrical devices similar to those of the Daghestan. These stripes are from eight to twelve inches wide with narrow plain blue, green, or red stripes between. They are nearly always woven in one piece and of good wool, but are heavy and coarse, with large openwork spaces. In size they vary from three to eight by six to twelve feet, the average being five by nine feet.

KURDISH GHILEEM

Kurdish Ghileems, like other Kurdish rugs, rank among the best of their class, being made of the finest of wool and closely woven. They usually consist of two or more pieces sewed together or joined by embroidered geometrical designs and many yarn ends are left loose on the under side, giving a shaggy appearance like the under side of the Shemakha rugs. In this respect they are unlike any of the other Ghileems. The colors are as a rule subdued, dark shades of crimson, blue, yellow, and green, with more or less black and white. The prayer design is frequent, with a niche like that of the Ghiordes. The ends are finished with a web upon which an attractive design is woven or through which runs a parti-colored thread similar to that in other Kurdish rugs. The antiques are very scarce. In sizes they vary from four to six by seven to twelve feet.

THE EXAMPLE ILLUSTRATED

This is one of two strips which were originally sewed together like many of the Ghileems of this class. The predominating colors are green, red, dark brown and white. Each end is finished with a short web and braided warp threads. It also has many loose yarn ends on the back side, which is a characteristic feature of the Kurdish Ghileems.

MERVE GHILEEM

Merve Ghileems are made in the vicinity of Merve, in the Turkoman district. They differ from all other Ghileems in that the colors are divided diagonally instead of vertically or horizontally with the warp or woof threads. For this reason no open spaces are left. The colors are few and subdued, white especially being seldom used, and in design they are most modest, the field as a rule being divided transversely into three or four parts by ornate line patterns resembling in some respects the Kurdish Ghileems. They frequently come in prayer form with designs less striking than those of the Kurdish Ghileems and strongly resembling those of the Beluchistan. Some are of great size.

THE EXAMPLE ILLUSTRATED

One of two strips which were originally sewed together. Like many of its class the field of this piece is divided transversely into a number of stripes, each about a foot wide. Each stripe is of a different color, being tan, green, white and brown, and the whole field is covered with a trellis of serrated latch hook designs in red, the divisions of which contain diamond forms in different colors. There is a short web at each end, one with loose warp threads and the other knotted.

SILK RUGS

Silk rugs were first made in China and afterwards in Anatolia and Northern Persia, where silk is produced in great quantities. They were formerly made for mosques, for royalty, or for very rich people, expert weavers being hired for the occasion and the material being furnished by the one who ordered the work done.

Fine silk rugs are unsurpassed in beauty, rich, exquisite coloring, and rare sheen, but they have never been practical as floor coverings; first, because they require such luxurious surroundings, and second, because the wearing quality of silk does not compare with that of wool.

The genuine Persian silk rugs are getting scarce and almost priceless. Strange as it may seem, few of these pieces have been sought by either the museums or collectors of America.

Those made at Kashan in Northern Persia are the best of the present day products. As a rule they are made entirely of silk having a narrow web and a fringe of loose warp threads at each end and with beautiful shades of red, rose, turquoise, old ivory, and green.

In Persia they sell for from $10.00 to $15.00 per square foot and in the United States for from $15.00 to several hundred dollars a square foot.

A much cheaper and a purely commercial product comes from Kaisarieh or Cæsarea, in Asia Minor. These, as a rule, have a cotton warp and weft and are copied after the old Persian and Ghiordes designs, especially the so-called "Mosque design" with the hanging lamp. These rugs are undesirable in color, dyes and workmanship and are invariably worth much less than the prices asked for them. The great majority of them can be detected by the direction in which the pile runs, it being inclined towards the top instead of towards the bottom.

It is easy to go astray in the purchase of silk rugs on account of the numerous mercerized and wool silk imitations, many of them not even being hand-tied but machine made.

FELT RUGS

Felt rugs are made to a certain extent in nearly every part of Persia, but chiefly at Ispahan, Astrabad, and Yezd. They are made of wool, goats' hair or camels' hair or of a combination of two or all of these substances, according to the color desired. As no dyes are employed and the finished product is the same in color as that of the materials used, they are usually gray, white or buff, most frequently the latter. The material is matted together by being pounded, occasionally sprinkled with water in which rapeseed-oil cakes have been soaked for a long time, and then pounded more until it becomes compact and solid. The finished product varies in thickness from three-quarters of an inch to three inches and is as soft and pliable as cloth, but too heavy for exportation, consequently few come to Western markets. In the Orient they are used as floor coverings on top of which ordinary pile carpets are placed. In this country they have been used in bedrooms, also as a covering for dining tables, and as silence cloths, but they will not stand the wear of chairs and are an easy mark for moths. They can be purchased for from $7.00 to $10.00 per yard.

CLASSIFICATION ACCORDING TO THEIR INTENDED USE

PRAYER RUGS (NAMAZLIK)

In all ages fine rugs have been used for religious purposes by the faithful followers of the prophet. Every Mohammedan has his prayer rug, more or less valuable according to his means, which he always carries with him and upon which he prostrates himself five times a day when the appointed hour for prayer arrives.

By means of a small compass he spreads his rug so that the mihrab or niche points towards Mecca, where Mohammed's body lies. Then after removing all jewelry and money from his person, in order to appear before God in the most abject humility, he combs his beard, produces a rosary of ninety-nine beads and a dried cake of earth which came from Mecca. These he places just under the niche and then, resting his head on the earth with his hands outstretched on either side, he performs his devotions.

The mihrab or niche on which the worshipper places his head represents the door of a mosque and reminds those who use it of the sacred mosque at Mecca.

Occasionally prayer rugs will be found with three or more niches, especially among the Caucasian products. These are intended for children or for family worship. Others may have instead of a prayer niche, three small medallions, one each for the hands and one to receive the forehead.

For convenience the prayer rug is of small size, usually from two and one-half to four by four to six feet. Those intended for personal use frequently have the name of the owner on and are of the very best workmanship. Combs and other objects used in the act of worship are frequently depicted in or near the prayer niche.

The prayer niche takes various forms in different kinds of rugs, seldom more than one class having the same form. As a rule that of the Persians is formed by curved lines, while all others are formed by straight lines, those of both the Persian and Turkish classes being pointed, while those of the Caucasian and Turkoman classes may either be pointed or flat at the top, usually the latter.

In differentiating between these different classes we are assisted not only by the shape of the mihrab, but also by the various field designs, such for instance as the panels above and below the prayer field, the lanterns or pendants which hang from the centre of the niche, etc.

Single Panels.—When only one panel is used it is invariably above the prayer field. The Kulah nearly always has but one, the Anatolian generally, and the Ghiordes seldom.

Double Panels.—The Ghiordes nearly always has two, the Bergama generally, and the Kulah seldom.

Hanging pendants are always present in the Kaisarieh, frequently in the Ghiordes, and seldom in the Kulah.

Pillars are always present in the Kaisarieh, frequently in the Kulah, and only occasionally in the Ghiordes.

Plain prayer fields (excepting the lamp) are most frequent in the Turkish rugs.

Filled prayer fields are invariably present in the Caucasian and Turkoman rugs and generally in the Persians.

HEARTH RUGS (ODJAKLIK)

Hearth rugs may be distinguished by the shape of their field, each end of which resembles the niche of the prayer rugs belonging to the same class. They are usually from three and one-half to four by five to seven feet and are very precious to the family, who always spread them before the fire upon the arrival of a guest, and once a fugitive, fleeing from his enemies, enters a tent and sets his foot upon the hearth rug, the owner and his people were bound to defend him.

GRAVE RUGS (TURBEHLIK)

Grave rugs are usually the combined handiwork of all the members of the household and, in accordance with an ancient custom, are used to cover the dead before interment and the grave after interment, having practically the same import as flowers do with us. They are usually woven in sombre tints to express grief and in light colors to denote resurrection. The cypress tree, which is symbolic of sorrow, is usually the leading feature of the design and there are generally some inscriptions from the Koran.

DOWRY OR WEDDING RUGS (KIS GHILEEM)

Dowry or wedding rugs are woven by the Eastern maiden for her dowry. They are usually small in size and are seldom seen in America, as they are always greatly prized by the Oriental. A more definite description of them will be found under the heading of Ghileems.

MOSQUE OR MECCA RUGS

Mosque or Mecca rugs are sometimes called Tribute rugs. The wealthy Mohammedan rulers vied with each other in taking with them on their pilgrimage to Mecca rugs of the finest materials and choicest designs for presentation to the mosque, the whole interior of which was usually hung with carpets, beautiful and costly beyond description. Many of these so-called mosque rugs were of the Shiraz class. It is still the custom in some parts of the Orient to give rugs to the mosque as thank offerings for special blessings received and frequently the Mohammedan bequeaths a rug when he dies to the mosque where he worshipped.