THE IDENTIFICATION OF RUGS |
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. A FEW CHARACTERISTIC FEATURES OF CERTAIN RUGS 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).
TEKKE BOKHARA STRIP. TEKKE BOKHARA STRIP Size 1'2" X 4'11"
PROPERTY OF THE AUTHOR (See page 284)
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. Characteristic Backs of Rugs (1).
Characteristic Backs of Rugs Characteristic Backs of Rugs (2).
Characteristic Backs of Rugs
ILLUSTRATIONS OF THE BACKS OF SOME RUGS
SHOWING THEIR CHARACTERISTIC WEAVES 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).
CHART SHOWING THE DISTINGUISHING FEATURES
OF THE DIFFERENT RUGS (part 1) | 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 | | | KaraDagh | A | | A | | | | | | R | R | | | | | | Or | R | | Kashan | A | | | R | | | O | O | | | R | | | O | O | | | | SoujBulak | 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 | | | | | | | | | | | | | | | | | | | KirShehr | 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 | | | AkHissar | 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 | | | | | | | CHART SHOWING THE DISTINGUISHING FEATURES
OF THE DIFFERENT RUGS (part 2) | Pile | Ends | Sides | | Wool | Cotton | Goat's Hair | Camel's Hair | Silk | Short | Medium | Long | Texture | Narrow Web | Wide Web | Hemmed Web | Parti-colored Strands in Web | Dyed Web | Loose Warp Ends | Braided Warp Ends | Knotted Warp Ends | Overcast | Selvaged | | PERSIAN | | | | | | | | | | | | | | | | | | | | | Bakhshis | A | | | | | F | R | | C | A | | | | | R | | O | R | S | | Gorevan | A | | | | | F | R | | C | A | | | | | R | | O | R | S | | Serapi | A | | | | | F | R | | C | A | | | | | R | | O | R | S | | Kara Dagh | R | | | O | | O | R | | f | R | | R oe | | Rr | R | | | O | R | | Kashan | R | | | | O | A | | | f | A | | | | | A | | | A | | | SoujBulak | A | | | | | O | R | | fl tu | R | | R | | | R oe | | | A | | | Tabriz | A | | | | | A | | | fu | A | | O | O | | A | | | An., R
Mo. O | An. S
Mo. R | | Bijar | R | | | O | | | R | F | tu | A | | R oe | | | R oe | | | A | | | Kermanshah | A | | | | | R | O | | f | A | | | | | A | | | A | | | Senna | A | | | | | A | | | fu | A | | | O | | A | | | A Fs | | | Feraghan | R | | | F | | An. R | Mo. R | | | A | | O | | | A oe | | | A | | | Hamadan | R | | | Fpa | | | R | F | | | | R oe | | | R oe | | F | A | | | Ispahan | A | | | | | A | | | f | A | | | | | A | | | A | | | Joshaghan | A | | | | | O | R | | | A | | | | | A | | | A | | | Saraband | A | | | | | A | | | fu | A | | O | | Rlb | A oe | | | A | | | Saruk | A | | | | | A | | | fu | A | | | O | | A | | | A Fds | | | Sultanabad | A | | | | | O | R | | C | A | | | | | A | | | A | | | Mahal | A | | | | | O | R | | C | A | | | | | A | | | A | | | Muskabad | A | | | | | O | R | | C | A | | | | | A | | | A | | | Niris | A | | | | | R | O | | | O | R | | | | R | | | A | | | Shiraz | A | | | | | R | F | | Rh | | A Em | | | Rr | A | | | A Rpc | | | Herat | A | | | | | O | R | | | A | | | | Rb | A | | | A | | | Khorasan | A | | | | | F | R | | fl | A | | | | | A | | | R | Oad | | Meshed | A | | | | | R | F | | fl | A | | | | | A | | | A | | | Kirman | A | | | | | A | | | fu | A | | | | | A | | | A | | | Kurdistan | R | | O | O | | | O | R | tu | A | | F oe | A | g or b | R oe | | R | A iw | | | TURKISH | | | | | | | | | | | | | | | | | | | | | KirShehr | A | | | | | S | O | R | fl | A | | | | R | R | O | | R | O ad | | Oushak | A | | | | | | R | O | fl | R | | | | Rg or
r | R | | | R | O | | Karaman | A | | | | | | R | O | C | R | O | | | Rr | R | | | R | O | | Konieh | A | | | | | O | An. R | Mo. R | fl | A | | | | | A | | | Mo. R
An. O | An. R
Mo. O | | Mujur | A | | | | | R | | | | | R | | | Rr | R | | | | A | | Ladik | A | | | | | R | O | | fl | | A | | | Rr | R | | | | A
w ad | | Yuruk | R | | Fha | | | | R | O | fl | A | | | | Rb | F | R | | O
Rgh | Rh
Rgh | | AkHissar | Mo. R | | Mo. F
An. A | | | F | R | | fl | A | | | | | A | | | R | O | | Anatolian | R | | O | | | | R | O | fl | O | R | | | Rw | O | R | | | Ah | | Bergama | A | | | | | | O | R | fl | | A | | | Rr | O | R | | | Aw | | Ghiordes | R | O | | | | Mo. A | | An. R | f | A | | | | | An. R
Mo. S | | Mo. R | | A Ad
s | | Kulah | R | | O | | | An. R | O | Mo. R | | A | | | | Ry | A | | | Mo. R | An. A
ad
Mo. O | | Meles | A | | | | | R | O | O | | A | | | | | A | | | | A ad ie | | Makri | A | | | | | | O | R | | O | R | | | | R | | O | O | R | | Smyrna | A | | | | | | R | F | fl | A | | | | | R | | | R | O | | Mosul | R | | F | O | | | R | F | fl | A | | O | R | | A oe | O | O | R | O | | CAUCASIAN | | | | | | | | | | | | | | | | | | | | | Daghestan | A | | | | | O | R | | | A | | | | Rg | R | | R | O | R | | Derbend | A | | | | | O | R | | | R | O | | | Rb | R | | R | R | O | | Kabistan | A | | | | | R | O | | | A | | | | | R ic | | R iw | R | O | | Tchetchen | A | | | | | R | O | | | A | | | | Rb | R | | R | O | R | | Baku | R | | O | Fpa | | F | R | | | A | | | | | R Explanation of Symbols: A = always; R = as a rule; F = frequently; O = occasionally; S = seldom; An. = antiques; Mo. = moderns; em = embroidered; ad = added; c = coarse; f = fine; fl = fluffy; h = heavy; t = thick; w = wide; u = upright; oe = one end; pa = part; p = pileless; pc = parti-colored; g = gray; lb = light blue; y = yellow; r = red; d = dark; b = brown; bl = black; ic = if cotton; iw = if wool; gh = goats' hair; hh = horse hair; s = silk.
From the foregoing table the following facts may be advantageously emphasized, viz: (1) Comparatively few rugs are tied with the Senna knot, and these are mostly of the Persian and Turkoman classes. (2) All Persian and Caucasian rugs are tied with the Ghiordes knot. (3) Most of the finest Persian rugs have cotton warp and woof, and are tied with the Senna knot. (4) The Kurdistan is the only one of the Persian classification which ever has a dyed warp, but many of them have a dyed woof. (6) The Turkish and Caucasian rugs, as a rule, have a wool warp and woof. (7) The Persians nearly all have narrow webs, with the exception of the Niris and the Shiraz, which have wide ones. (8) All Turkish rugs have narrow webs, with the exception of the Karaman, the Ladik and the Bergama, which have wide ones. (9) As a rule the Caucasians have narrow webs, and the Turkoman have wide ones. (10) The knotted warp ends are found especially among the Caucasian rugs. (11) As a rule the Persians are overcast on the sides, and the Turkish and Turkoman are selvaged, while the Caucasians are as much one way as the other. (12) The length of the pile is of very little assistance in classifying.
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