Shirvan Design is composed of a diamond figure, each side of which is formed by a series of steps. Frequently the centre is filled with small geometrical figures. This design is found more or less in the majority of the Caucasian products, but more especially in the Shirvans.
Shou appears in many forms, but the three forms illustrated herewith are the most common, not only in Chinese rugs but also as decoration in old porcelain and as embroidered designs on silk.
Signet of David.—Based upon the equilateral triangle and from it have originated many of the Turkish designs. See Star, six-pointed.
Silibik or Apple.—A Kurdish design which bears very little resemblance to the fruit after which it is named. It is usually arranged in perpendicular rows throughout the field.
Sixteen Lucky Squares, see Knot of Destiny.
Snake, see Serpent.
Solomon's Seal.—Built on the right angle triangle and, like the Signet of David, it is found in many of the Turkish and Caucasian fabrics and to it scores of patterns may be traced.
Sparrow.—In India it indicates bumper crops.
Spider, see Scorpion.
Spiral, see Link.
Square.—Found in the rugs of nearly every class, but more especially in those of the Caucasus. It apparently has no special symbolic significance.
Square Cross, see Cross, Greek.
Squirrel.—In India it is sacred to Rana, the seventh incarnation of Vishnu, because while his monkey army was building a bridge for him to go over to Ceylon this little creature was seen repeatedly rolling into the sand of the beach and washing the grains, which adhered to its bushy coat, into the sea. Rana inquired why it took so much trouble and the reply was that it was taking sand down to the sea to reclaim the land or fill up the gap between Ceylon and India and to facilitate the construction of the bridge. Rana was so pleased that he passed his fingers coaxingly over its body and said that the sacred marks thus produced on its back would protect it. The stripes on the squirrel's back are still believed to be Rana's finger marks and no good Hindu, therefore, will kill a squirrel. Its presence is auspicious, signifying Divine protection.
Star.—An emblem seen the world over in decoration, especially in synagogues. It is common in the Caucasian and Turkoman products, especially in the form of the elongated eight-pointed star. This eight-pointed star in the centre of an octagon is said to have represented the Deity of the ancient Medes. In all probability the six-pointed star was an adaptation of the Shield of David. It is supposed to have been symbolic of divinity. To it may be traced scores of Turkish patterns. (See doubletone at p. 162 and color plate at p. 94.)
Stork.—Chinese, longevity. Indian—the Indian heron has been associated with cunning and deceit. It is said that it stands on one leg like an Indian ascetic as if it had been performing austerities, but as soon as a fish comes within reach it pounces on it and devours it. People who assume the garb of religious men and cheat others are called (bak) storks, herons.
Sunburst, see Palace.
Swan.—In India the swan is the charger of Brahma.
Swastika.—Derived from the Sanscrit word Svasti, which means good pretence. It dates back three or four thousand years B.C. and has been found in nearly all excavations of prehistoric times and among the relics of primitive people all over the world. It has been known alike to Ancient Greeks, Egyptians, Chinese, Japanese, East Indians, Aztecs, mound builders, and the North and South American Indians, with all of whom it has a similar meaning, viz., good luck and happiness. In India it is drawn below the seats intended for bridegrooms, below the plates containing food to be offered to gods and is tattooed on the arms. It is drawn on the scalp at the thread ceremony and on the dorsum of the feet on all auspicious ceremonies, such as marriages, etc. The usual figure consists of four arms with the cross at right angles and the arms pointing in the direction of motion of a clock's hand, although it has been given different forms, as shown by the accompanying illustrations. It is very commonly used as a rug design, especially in the Chinese, Caucasian, Turkish, and Turkoman products. (See color plate at p. 306 and doubletone at p. 290.)
T Forms (a border design) figure largely in the decoration of Samarkand and Chinese rugs. Similar to the Chinese fret.
Tae-kieh or Yang and Yin is a circle separated by two semicircles into comet-shaped halves. Distinctly a Chinese symbol and found in Chinese, Tibetan, and Turkoman textiles. Used as a charm and found in decorations on all sorts of articles.
Tarantula.—A design which has been so modified as to almost obscure the resemblance. It is almost omnipresent in all of the Caucasian fabrics, especially the Kazaks, Kabistans, and Shirvans. (See doubletone at p. 248.)
Tekke Border Designs.—Two forms, one a sort of a double T border, the other a diagonal arrangement of the Indian fish bone. (See doubletones at pp. 280 and 284.)
Tekke Field Design.—A repetition of a Y-shaped design. Found only in the Tekke rugs, especially those of the prayer variety. (See doubletone at p. 284.)
Tomoye owes its origin to some ancient conception of elemental forces. It has been adopted by Korea and Japan as a national and heraldic crest. Frequently used in Mongolian ornament.
Tortoise or Turtle Border Design.—A design in which the figure of the tortoise is arrayed in a manner similar to that of the Herati border design. In China the tortoise stands for longevity and immortality. In India it is also auspicious inasmuch as it represents the second incarnation of Vishnu where it supports the earth on its back. (See doubletones at pp. 178 and 202.)
Tree.—Sometimes called the tree of life. Always associated with religious belief. It symbolizes Divine power and perpetual life. It has furnished more different art motives than any other object and is almost omnipresent in Persian prayer rugs. The palm signifies a blessing or benediction, the weeping willow stands for death, and the cypress, while being an emblem of mourning, in its perennial freshness and the durability of its wood, is also a very practical symbol of the life to come. It is an Oriental custom to plant cypress trees on the graves of the dead, to place its twigs in the coffins of the dead, and to use its branches to indicate the houses of mourning. (See frontispiece and doubletone at p. 99.) In India the cocoanut palm is considered "the tree of desire" or one that fulfils all desires. Its stem serves as a pillar or beam, as a water conduit and as fuel; its leaves supply mats for roofing the houses; its kernel supplies oil; its shell makes water bowls, and the oil of the shell is used as an external application in certain skin affections, etc. It is all useful and supplies all the primitive wants and therefore was much cultivated by the Rishis (Saints) of old, who called it "kalpa taru," literally the tree that supplies all desires. Its presence therefore is auspicious. (See color plate at p. 22; also doubletones at pp. 48, 98, 210, 220, and 222.)
Trefoil, Reciprocal, see Reciprocal Trefoil.
Trellis, see Lattice.
Triangle.—Scores of Turkish patterns may be traced from the triangle. It is frequently found tattooed upon the body of the Turks as a talisman. Frequently appears as a design in the Daghestans. In India it represents mother earth and is very auspicious.
Turkish Coat of Arms, see Coat of Arms, Turkish.
Turtle, see Tortoise.
Twin Fish, see Herati.
Umbrella.—A Buddhist symbol which is occasionally found in Chinese rugs.
Urn, see Vase.
Vase or Urn.—A Buddhist symbol occasionally found in Chinese decoration. (See doubletone at pp. 210 and 212; also color plate at p. 22.)
Vulture.—Indian, death.
Water Crest, see Meander, Greek.
Wheel.—A Buddhist symbol which is sacred to Vishnu, who holds it in his hand. It also symbolizes the "wheel of the law." Found in Chinese ornament.
Wine-Glass Border.—A border which resembles a wine glass and is especially common in the Caucasian textiles, particularly the Kazaks and Shirvans. It appears in various forms, but the most common is the one in combination with the fish-bone design. (See color plate at p. 292.)
Winged Globe or Disc.—An Egyptian design consisting of a small ball, on the sides of which are two asps with extended wings, expressing by these extended wings the power of protection afforded by the Egyptian government. Also an emblem of religious sincerity and appreciation of benefits derived from God.
Wolf.—Chinese, ingratitude, heartlessness. In India it is inauspicious and is never drawn or embroidered on fabrics.
Y Form (a border design).—One of the most famous of the Mongolian patterns and figures largely in the decoration of Chinese rugs. See also Tekke Field Design.
Yang and Yin, see Tae-kieh.
Zigzag, see Meander, Greek.
|
Turkoman border designs.
Turkoman border designs |
Caucasian field designs.
Caucasian field designs |
|
Chinese border designs.
Chinese border designs |
Turkish field designs.
Turkish field designs |
|
A Chinese field design.
A Chinese field design |
Persian field designs.
Persian field designs |
|
Kurdish field designs.
Kurdish field designs |
|
Knot: Ghiordes. Nine to the inch vertically and eight horizontally, making seventy-two to the square inch.
One will seldom see a more beautiful and more glossy piece, especially among the Caucasian fabrics, and neither the material nor dyes can be excelled.
The black in the background is of natural black sheep's wool covered with all sorts of animals, birds and symbols, most of which are in a rich rose color. The main border stripe consists of the crab design in subdued tones of yellow, blue and red with more or less white.
(See page 272)
The one thing desired by those who are just beginning the study of Oriental rugs is the ability to readily identify them. Realizing this, the author has included a chapter on the identification of rugs which contains many features new to rug literature and which, he trusts, will greatly simplify and render easy the process of identification; but it must be borne in mind that certain rugs are much more easily distinguished than others and that at times even the connoisseur is puzzled.
Oriental rugs are identified not alone by their designs and colors, but by their material, texture and finish, therefore, there is given first, a list of those which are distinguishable by their outstanding or prominent characteristics; second, reproductions of the backs of those rugs which are characteristic in their appearance, and third, an exhaustive chart giving complete details as to weave, material, texture and finish of each variety of rug.
The chapter on Design, which precedes this, is the most complete consideration ever given to this detail of rug making, and its numerous descriptions and drawings will enable the reader to identify, with reasonable certainty, rugs by this feature alone.
The numerous pictures of the representative types of rugs will also familiarize the readers with many distinguishing patterns, while the chapters in Part II take up and gather together all of the various features of each kind of rug upon the market, so arranged and described that a clear and comprehensive idea of it will be formed in the mind of the reader.
Named in the order of their importance and given to assist the reader in differentiating, although few are absolute criterions.
Herez.—Characteristic angular ornamentation; shaded background (see doubletone, page 172).
Kara Dagh.—The pile contains considerable natural colored camels' hair.
Tabriz.—Almost invariably a medallion centre (see doubletone, page 182). Very frequently curl on the sides.
Bijar.—Considerable camels' hair in the field.
Kermanshah.—Colors soft and light; sides overcast with dark wool.
Senna.—Characteristic weave (see plate on weaves, page 152); pear design and Herati field and border design very common; pole medallion (see doubletone, page 188).
Feraghan.—Herati border and field design in the great majority (see doubletones, pages 114 and 190).
Hamadan.—Broad outside band of natural colored camels' hair; pole medallion nearly always a prominent feature (see doubletones, pages 110 and 192).
Saraband (Mir).—The characteristic Saraband border stripe; field consisting of the pear design in rows with the stems of alternate rows turned in the opposite direction; light blue web (see doubletone, page 198).
Saruk.—Overcast with silk or dark wool; Herati border designs; intricate floral designs; frequently curled on the sides (see color plate, page 166).
Sultanabad.—Generally large scroll and floral pattern (see doubletone of Mahal, page 202).
Niris.—Madder red predominates; pear pattern common.
Shiraz.—Sides overcast with wool of two colors; pole medallion a prominent feature; little tassels of wool frequently along the sides; strand of colored yarn in web (see color plate, page 52, and doubletones, pages 206 and 208).
Herat.—Herati border and field designs common; pear designs in field with stems all turned in the same direction.
Khorasan (Meshed).—Uneven distribution of woof threads (see plate on weave, page 152). Two small pears resting their stems upon a larger one is one of the common designs. Herati border and field also common. Magenta a prominent color (see color plates, pages 22 and 32).
Kirman.—Bouquets and vases in design most frequent (see doubletone, page 212).
Kurdistan.—One or two strands of colored wool in web of one end; overcast with yarn of different colors; shading of colors.
Kir Shehr.—-Many have several tufts of wool composed of all the different colored yarns which are used in the body of the rug.
Ghiordes.—The fringe on the upper end, as a rule, instead of being a continuation of the warp threads, is a separate piece sewed on. It also usually has two cross panels, one above and one below the prayer field (see color plate, page 66).
Ladik.—Wide red web striped with yellow or blue; figures large in comparison to the size of the rug; magenta freely employed.
Yuruk.—Border narrow in proportion to size of rug.
Bergama.—Designs generally broad and large in proportion to rug (see doubletones, pages 46 and 236); frequently small tassels of wool along the sides of the rug; several woof threads between each row of knots and a wide web which frequently carries a design or rosettes which are woven in.
Kulah.—The Kulah border design nearly always in one or more of the stripes; the ends are generally dyed yellow; a large number of narrow border stripes which are filled with minute designs, usually the "fleck." A filled or partly filled centre field; usually one cross panel (see doubletone, page 240).
Meles.—Field is frequently composed of perpendicular stripes of yellow, red and blue with zigzag lines or peculiar angular designs running through them (see doubletone, page 242).
Mosul.—One or more strands of colored yarn run through the selvage, usually red and blue.
Daghestan.—Diagonal ornamentations of both field and border; all spaces well filled with a small geometrical design (see color plates, pages 84 and 292, also doubletones, pages 254 and 256).
Derbend.—Yellow lavishly used; field likely to consist of a repetition of designs in alternate colors.
Tchetchen.—The characteristic Tchetchen (Chichi) border design is nearly always found (see doubletone, page 260).
Baku.—Small strand of camels' hair crosses one end.
Shemakha.—Pileless; loose shaggy yarn ends on the under side (see plate of weaves at page 153).
Genghis.—-Field often filled with the pear design, each row alternating in color (see design on page 268).
Kazak.—From two to six woof threads between each row of knots; diagonal position of pile (see plate on weaves, page 152). Palace design commonly employed. Bold figures and bright colors (see doubletone, page 272).
Khiva.—Large detached octagon and diamond forms; goats' hair warp (see doubletone, page 278).
Tekke.—Small detached octagon and diamond forms (see doubletone, page 282).
Yomud.—Checker-board effect of selvage on the sides; strands of colored wool in the web (see doubletone, page 286).
Yarkand.—Generally four strands of woof between each row of knots.
Samarkand.—One or more "circles of happiness"; three or four woof threads between each row of knots; lavish use of yellow and Bokhara red; designs mostly Chinese (see doubletone, page 290).
Beluchistan.—Sides frequently finished in horse hair; dark subdued colors. If there is any white it is nearly always in one of the border stripes (see doubletone, page 296).
By carefully consulting these characteristics and the chart of distinguishing features it ought to be a comparatively easy matter to take up almost any rug and name it after a few moments' reflection. To illustrate, try your skill on the following description: Knot—Senna, weave close and rows of knots very uneven; warp and woof both of undyed cotton. Pile of very fine wool, short and upright; ends both have narrow white webs through which runs a strand of parti-colored yarn. There is also a fringe of loose warp ends. The sides are overcast with silk. There is a diamond-shaped pole medallion upon a field which is covered with a minute Herati design; the colors are subdued shades of red, blue, green, yellow and old rose with more or less white.
After consulting the table of distinguishing features you will find that the Senna knot excludes all Caucasian and Turkish fabrics; the cotton warp and woof excludes all Turkoman fabrics excepting the Kashgar and the Yarkand. The overcasting of the sides, as well as the Herati design, excludes these two, therefore it must belong to the Persian class. A great many of this class are tied with the Senna knot; have cotton warp and woof; a short, upright wool pile and narrow webs with loose warp ends, but only two are ever overcast with silk, namely the Senna and the Saruk. Upon referring to the characteristic features mentioned in the first part of this chapter (page 148) you will see that the Herati design is common to both of these rugs, but that the uneven weave, the pole medallion and the strand of colored yarn in the web are all Senna features, therefore you have a Senna.
A thorough knowledge of designs and colors would have enabled you to name the piece at first sight, as would also the character of the weave in this particular instance.
Most of the prayer rugs may be accurately classified by consulting the chart illustrating rug niches (page 322), while the distinguishing characteristics of the different Ghileems may be found in the chapter on Ghileems.
The author has endeavored to include in this group of pictures one of every rug which has a distinct characteristic weave. There are many rugs, the weaves of which differ so minutely that their reproduction on paper would be of no material help.
The details of each picture are of the same size as the rug from which it was taken and each one is presented with the warp threads running up and down. This idea of comparison would be even more valuable were it possible to procure pictures of pieces only which have the same number of knots to the square inch. A magnifying glass will aid materially in bringing out the minute details.
No. 1. Khorasan.—Twelve knots to the inch vertically, and six horizontally. This peculiar weave is due to the fact that several rows of knots are tied with no woof thread to separate them; then two or three strands of the woof are thrown in, one after the other, followed by several more rows of knots. This method of weaving is a Khorasan feature.
No. 2. Senna.—Eighteen Senna knots to the inch vertically, and eighteen horizontally. Notice the closeness and irregularity of the rows of knots. Contrast the appearance of this with that of the Saruk (No. 3) which is tied with the same kind of knot and has very nearly the same number to the square inch.
No. 3. Saruk.—Fifteen Senna knots to the inch vertically, and sixteen horizontally. One of the most closely and most evenly woven of the Oriental fabrics. In this illustration the rows of knots can easily be counted horizontally, but it is almost impossible to count them vertically unless we follow the stripe-like arrangement in the straight oblique outlines of some of the designs.
No. 4. Kazak.—Six Ghiordes knots to the inch vertically, and nine horizontally. Notice the wide spacing between each row. This is due to the great number of woof threads between each row, a characteristic of the Kazak. This cut beautifully illustrates the appearance of the Ghiordes knot on the back. Note that each one has two loops as compared with the one loop in the Senna knot, as illustrated in No. 3.
No. 5. Saraband.—Ten Senna knots to the inch vertically and ten horizontally. The white or light blue woof threads are distinctly seen in each row, even in those which are closely woven. The spaces between the rows vary a little in places, giving it an appearance somewhat similar to the Khorasan weave.
No. 6. Daghestan.—Eight Ghiordes knots to the inch vertically, and eight horizontally. This piece has the same number of knots to the square inch as does the Chinese (No. 7), and, although of a different kind, the appearance of the weave is quite similar.
No. 7. Chinese.—Nine knots to the inch vertically, and nine horizontally. The spiral appearance of the colored rows of knots and the white woof threads give it a look quite similar to that of the Daghestan (No. 6).
No. 8. Merve Ghileem.—Eight stitches to the inch. Compare the difference in weave to that of the Kurdish ghileem (No. 9). The colors of the latter are always at right angles to or with the warp and woof threads, while that of the former is diagonal to the warp and woof threads. This method of weaving gives the Merve fewer and smaller open spaces.
No. 9. Kurdish Ghileem.—Notice the many open spaces, also the loose yarn ends, a characteristic of this class of ghileems.
No. 10. Shemakha (coarse).—Eight stitches to the inch. Showing the front of the rug in order to illustrate the Shemakha weave, which is a flat weave and yet quite different from that of the ghileems. Note its braided appearance.
No. 11. Shemakha (coarse).—Back of the same rug as shown in No. 10. Note the quantity of loose yarn ends.
No. 12. Shemakha (fine).—Ten stitches to the inch. Note the difference in the number of loose yarn ends in this piece compared with those in the coarsely woven fabrics (No. 11).
| Knot | Warp | Woof | ||||||||||||||||
| Ghiordes | Senna | Wool | Cotton | Goat's Hair | Camel's Hair | Silk | Linen | Dyed | Wool | Cotton | Goat's Hair | Camel's Hair | Silk | Linen | Dyed | Extra Thr'ds | ||
| PERSIAN | ||||||||||||||||||
| Bakhshis | O | R | A | A | Ob | |||||||||||||
| Gorevan | O | R | A | A | Ob | |||||||||||||
| Serapi | O | R | A | A | Ob | |||||||||||||
| Kara Dagh | A | A | R | R | Or | R | ||||||||||||
| Kashan | A | R | O | O | R | O | O | |||||||||||
| Souj Bulak | A | R | O | R | O | |||||||||||||
| Tabriz | S | R | R | O | O | O | R | O | ||||||||||
| Bijar | A | Ah | Rh | O | ||||||||||||||
| Kermanshah | S | R | A | A | Ob | |||||||||||||
| Senna | A | R | O | O | O | R | O | O | ||||||||||
| Feraghan | Mo. O | An. A Mo. O | A | S; | R | O | ||||||||||||
| Hamadan | A | A | O | R | O | |||||||||||||
| Ispahan | A | A | A | |||||||||||||||
| Joshaghan | A | A | A | |||||||||||||||
| Saraband | Mo. R | An. A Mo. O | A | A | Flb | |||||||||||||
| Saruk | A | R | O | R | O | |||||||||||||
| Sultanabad | R | O | A | A | ||||||||||||||
| Mahal | R | O | A | A | ||||||||||||||
| Muskabad | R | O | A | A | ||||||||||||||
| Niris | A | A | A | |||||||||||||||
| Shiraz | F | R | An. A Mo. R | Mo. F | A | R | F | |||||||||||
| Herat | R | S | O | R | An. Rs | O | R | Rb | ||||||||||
| Khorasan | A | A | O | R | A | |||||||||||||
| Meshed | S | R | O | R | R | O | ||||||||||||
| Kirman | A | A | R | O | ||||||||||||||
| Kurdistan | A | R | O | Rg | R | O | O | Rborg | ||||||||||
| TURKISH | ||||||||||||||||||
| Kir Shehr | A | A | R | A | R | |||||||||||||
| Oushak | A | A | R | A | R | |||||||||||||
| Karaman | A | Ac | Rr | A | Rr | |||||||||||||
| Konieh | A | A | Rpc | A | ||||||||||||||
| Mujur | A | A | A | Ar | ||||||||||||||
| Ladik | A | A | Rr | A | R | |||||||||||||
| Yuruk | A | R | O | Rb | R | O | Rb | |||||||||||
| Ak Hissar | A | A c | Ac | |||||||||||||||
| Anatolian | A | A | A | R | ||||||||||||||
| Bergama | A | A | Rr | A | Rw | |||||||||||||
| Ghiordes | A | An. R Mo. A | An. O | An. O | O | R | S | |||||||||||
| Kulah | A | A | An. A Mo. R | Mo. O | ||||||||||||||
| Meles | A | A | R | O | R | |||||||||||||
| Makri | A | A | A | |||||||||||||||
| Smyrna | A | Ac | Ac | R | ||||||||||||||
| Mosul | A | R | O | O | Rd | Rc | O | Rgorb | ||||||||||
| CAUCASIAN | ||||||||||||||||||
| Daghestan | A | R | O | Rg | An. R Mo. O | Mo. R An. O | F | |||||||||||
| Derbend | A | R | F | Rb | A | R | ||||||||||||
| Kabistan | A | R | O | O | R | |||||||||||||
| Tchetchen | A | R | O | A | Rb | |||||||||||||
| Baku | A | R | O | F | O | R | ||||||||||||
| Shemakha | A | A | ||||||||||||||||
| Shirvan | A | R | O | O | Mo. b g or pc |
R | O | |||||||||||
| Genghis | A | R | F | b. g or r |
A | Fb, r or g |
R | |||||||||||
| Karabagh | A | A | A | Fr or b |
R | |||||||||||||
| Kazak | A | A | A | Rr or b or b |
R | |||||||||||||
| TURKOMAN | ||||||||||||||||||
| Khiva | A | R | F | Rd | R | F | Rg or | |||||||||||
| Beshir | O | R | R | O | R | O | d | |||||||||||
| Tekke | A | A | A | Rr or b |
||||||||||||||
| Yomud | O | R | R | F | Rb | R | F | Rr | ||||||||||
| Kashgar | A | A | A | |||||||||||||||
| Yarkand | A | O | R | O | R | R | ||||||||||||
| Samarkand | S | R | R | O | O | Rb or y |
R | O | O | Rb or y |
R | |||||||
| Beluchistan | A | R | O | A | Rd | |||||||||||||
| Chinese | O | R | O | R | R | O | Rd | R | ||||||||||