CHAPTER VI
DESIGNS AND SYMBOLS
OWEVER well woven, however resplendent in rich modulations of colour, Oriental rugs would quickly lose their fascination if in patterns and designs there were not at least some partial expression of the simple lives of the people, of their religious feelings, and of that veiled mysticism which pervades the thought of every Eastern race.
In all nomadic rugs as well as in many others are innumerable reminders of common life. It may be only crude outlines of the goat or camel, or realistically drawn rose and lily; but even these are suggestive of associations.
Religion, too, exercised on the character of rugs an important influence, which is expressed in the symbolism of both designs and colour. Without a doubt, some of these well-known designs have been transmitted from the earliest times, and were once associated with different forms of idolatry. Thus, among the old Babylonians the sun and moon, which are sometimes seen in the old pieces, represented particular deities; and very many of the oldest Chinese rugs that remain also contain symbols of their deities. In the early religion of Iran, which over 1000 years b.c. was reduced to a system by Zoroaster, the elements were worshipped, so that designs representing these elements would likewise represent the divine forces they personified. This ancient fire worship of the Parsees, which even to-day has a few devotees in parts of Persia, and the kindred sun worship have added much to the symbolism of Oriental rugs. Buddhism also has contributed its share; and with the spread of Mohammedanism appeared a Saracenic influence that is frequently recognised. Even the two great sects of Mohammedan followers, the Shiites and Sunnites, have had distinct effects in the use of designs, as the former employed animal figures and the latter prohibited them.
Plate 10. Sarabend Rug
There was, moreover, a symbolism that in a manner expressed the vague philosophic teachings of the ancient races. It was but natural that the early weaver engaged in tedious sedentary work, often requiring many months of constant application to complete, should endeavour to express therein not only artistic taste, but also the spirit of his innermost thoughts. So as he wove he sometimes left the result, though poorly defined and little understood to-day, of that struggle to interpret the great mysteries of the visible and unseen universe, from which arose the crude beginnings of philosophy.[10]
The patterns, however, of many Oriental rugs are chiefly decorative. Even a casual examination shows that in all of them the coloured knots of the surface represent a border surrounding a central field. The former serves much the same function to the latter as a frame to a picture; yet its office is in no wise subordinate. Nor is there any part of the pattern more useful in determining the place of its origin. For this reason it is well to clearly define the special names which in this work are applied to its different parts. The lineal divisions are designated “Stripes,” though they are frequently spoken of as separate borders. At or near the centre of the border is the main stripe, which is generally accompanied by a much narrower pair, one on each side, known as “Guard stripes.” Very narrow stripes are sometimes called “Ribbon stripes,” and those of only one or two knots in width are called “Lines.” The latter are of solid colour or have the simplest geometric device. The decoration of the ribbon stripes is also necessarily simple; but in the main stripe of artistic rugs the patterns are often exceedingly elaborate, of exquisite colours, and co-ordinate in character with those of the field.
The fields display even greater diversity of pattern than the borders. Frequently they are covered with a heterogeneous mass of detached and unrelated figures, as in many of the nomadic rugs; or, on the other hand, are entirely covered with repetitive patterns, as in the Turkomans; or with intricate and correlated designs, as in the diaper and floral patterns of so many of the Persian and Indian rugs. Others consist of a background of solid colour on which appear isolated formal designs, as in some of the Khorassans, or medallions on which are represented smaller figures, as in some of the old Sehnas and Feraghans. Occasionally the medallions are so large as to extend to the sides and ends of the fields, and thus separate the corners into nearly triangular shaped sections, such as are characteristic of a number of Persian and one or two Caucasian rugs. In a few of the latter, also, the fields are covered with large geometric figures suggesting the medallions. It is only within comparatively modern times that weavers have used solid colours for large portions of the fields. The intent no doubt was a saving in labour and pains, but the effect is frequently most gratifying; as when, for instance, the space beneath the arch of Asia Minor prayer rugs is of a uniform red, blue, or cream, relieved only by a gracefully suspended lamp, the tree of life, or some other emblem of immortality.
Plate C.—Prayer Arches of Persian, Caucasian, and Central Asiatic Rugs
No. 1, Antique silk. No. 2, Kermanshah. No. 3, Khorassan. No. 4, Sarouk. No. 5, Persian, XVI Century. No. 6, Kashan. No. 7, Feraghan. No. 8, Shiraz. No. 9, Daghestan, Kabistan, Shirvan, Chichi, Kazak, Karabagh. No. 10, Kazak. No. 11, Shirvan. No. 12, Karabagh (not usual). No. 13, Beluchistan. No. 14, Bokhara, Tekke. No. 15, Khiva. No. 16, Beshire.
The patterns of prayer rugs are not only pleasing, but have a peculiar importance, as weavers of certain sections of the country adhere so strictly to time-honoured traditions that the shape of the arch, or mihrab, which is the principal feature, often denotes the class, as well as the group, to which they belong. Some of these arches are illustrated in Plates [C] and [D] (Pages 61 and 63), from which it will be seen that in Persian rugs they are formed by gracefully curving lines, but that in rugs of other groups, with the exception of a very few old Ghiordes pieces, they are geometric. The peculiarities of the arches of the several classes, also, are observable; as those of the Beluchistans, which are rectilinear and relatively high, and those of the Bokharas, which are tent-shaped, flat, and small. In the Caucasian group they have a marked resemblance to one another and also to those of the Turkoman rugs, but are larger than the latter. Again, the arch of almost all Asia Minor rugs rises higher than those of any others, excepting the Persian, and extends from one side of the field to the other. In many of them a panel is placed above the spandrel, and occasionally a second panel is placed beneath the field. Above the niche of some Asia Minor and Caucasian prayer rugs is woven a small rhomboidal figure, where the suppliant plants the pebble or bit of earth that he has brought from Mecca; and at the sides of a few arches are crude figures, where are placed the hands during the act of worship. More than one arch is the exception; but now and then are seen two and even four, one above the other, or several parallel to one another. These and other special features associated with prayer rugs will be considered more fully in subsequent chapters.
The smaller designs that appear in rugs and compose the general pattern are distinguished as geometric and floral ornamentation. The former is adopted in those countries where the population is principally nomadic; and the latter is the accepted style in countries where exist numerous towns and cities in which the arts have been cultivated and where a large percentage of the population have enjoyed an advanced state of society. Thus in Caucasia, Turkestan, Afghanistan, and Beluchistan geometric designs are characteristic of the rugs; but in China, India, Persia, and part of Asia Minor floral designs prevail. Sir George Birdwood, an eminent authority on Oriental rugs, has made the statement that the geometric designs are found among the lower Turanian and the floral among the higher Aryan. But it seems most probable that the adoption of the geometric or floral style of ornamentation is due not so much to racial distinctions as to the state to which the textile art had advanced among the different peoples and to the waves of influence that at times spread over the countries. Thus the early rugs of Asia Minor had patterns that were more geometric than those of later times, and during the period when the Mongols ruled in Persia geometric patterns were more frequently employed in the rugs of that country than subsequently.
Plate D.—Prayer Arches of Asia Minor Rugs
Nos. 1, 2, 3, 4, Ghiordes. Nos. 5, 6, 7, Kulah. No. 8, Ladik. Nos. 9, 10, Bergamo. Nos. 11, 12, Melez. No. 13, Kir-shehr, Mudjar. Nos. 14, 15, Konieh. No. 16, Anatolian.
In all rugs, however, some trace of the floral design appears. Even in the Turkoman weavings, the pattern of which is strictly geometric, some vestige of the tree of life is manifest. In the fields of Caucasian rugs, in which are represented squares, octagons, triangles, diagonals, lozenges, stars, etc., the weavers have depicted designs that are almost as geometric as those of the Turkoman rugs by which they have been influenced; but, on the other hand, large numbers of the border designs are distinctly floral. In the rugs of China and Asia Minor are found both geometric and floral ornamentation, the latter predominating in pieces woven during the last two centuries, and the former in those of earlier date. Among > the woven fabrics of India and Persia, however, few traces of the geometric pattern remain; but vines, leaves, and flowers form the favourite theme for decoration.
The floral patterns are the result of many centuries of growth, that reached its highest development in the Persian carpets of the XVI and XVII Centuries; and since then till the present time they have continued as the most characteristic features of the rugs of that country and India. They represent the highest technique of the weaver. In the borders are generally represented vines from which are pendant rosettes, palmettes, or flowers; and in the fields, particularly those of the fine antique rugs, are a profusion of floral forms realistically portrayed. On long, gracefully twining and intertwining stems is often the rose, pink, violet, lotus, crocus, narcissus, or daisy. But if the rug is more modern, in its field of uniform colour may be represented a central medallion covered with delicate tracings enriched by bright-coloured conventionalised flowers.
In the general pattern of all rugs are interwoven particular designs or motives that give them a distinctive character and render the greatest assistance in distinguishing the groups and classes. Thus the serrated leaf and wine cup (Plate [I], Fig. 1, opp. Page 226) is found only in Caucasian and old Armenian rugs; and the design represented in Plate [H], Fig. 10 (opp. Page 194), suggestive of some Chinese character, is found almost exclusively in Kulahs. Not only are all designs important as aids in classification, but they have a special interest, as it is maintained by writers of the highest authority that when employed by the earliest weavers each had a symbolic meaning. To be sure, the origin of many has been lost in the remote past and is unknown even to those who now employ them; but others still represent definite ideas, as they did centuries ago, and portray to some extent the thought of the weaver. They therefore deserve the most careful study.
Plate 11. Carpet from Northwestern Persia
Loaned by C. F. Williams, Esq., to the Metropolitan Museum of Art, New York
Few of these designs have been transmitted from a more remote past or have been more universally employed than has been the figure
or
. It appears in each of the groups of Oriental rugs excepting the Chinese; and two of the forms it assumes are exceedingly like the arms of the swastika and parts of the fret as occasionally seen in Chinese designs. In Indian rugs it is rarely found except in the borders, which may have been copied from those of other countries. It is very commonly seen in the Beluchistans, Tekkes, and Beshires, of the Central Asiatic group; and in the rugs of the Persian group that show nomadic influences. There is probably not a single class of the Caucasian group, nor any of the Asia Minor group, with the exception of the old Ghiordes, in which it is not sometimes represented. It may be seen near the corner of the Asia Minor “Dragon and Phœnix” carpet of the XIV Century, illustrated in Plate [20] (opp. Page 88); and appears in some of the old Armenian carpets, which are believed to be even older. That it was associated with sun worship and regarded as an emblem of light and the deity is the accepted belief. It is possible, however, that it was intended by some weavers to represent the serpent, which among many different races is emblematic of superhuman knowledge.
Probably no other design has been more universally employed than the swastika, which appears in the textile fabrics of North American Indians, on the Maya ruins of Yucatan, among the monuments of the Nile, and on the temples of India. Widely as is its distribution, its most usual form of intersecting right angles is found in each of these countries. It is not improbable that it originated in China, where it is a most common decorative motive, and was almost invariably represented in the borders and in many of the medallions of rugs woven before the beginning of the XVIII Century. It is also very frequently seen in the rugs of Samarkand, and occasionally in those of Caucasia. It seldom appears in the rugs of Persia, Asia Minor, or Turkestan. The universality of the design indicates its great antiquity, yet its primitive symbolic meaning of abundance, fertility, and prosperity has never been lost. Some of its different forms are shown in Plate [O], Figs. 5a, 5b, 5c, 5d, 5e, and 5f (Page 291).
The reciprocal trefoil (Plate [F], Fig. 17, opp. Page 158) is a very usual design in Caucasian and Persian rugs; it is often found in some of the rugs of India and in Beluchistans, but is very rarely seen in other classes of the Central Asiatic or in the Chinese and Asia Minor groups. Its origin is uncertain, but since it appears in the “Polish Carpets” and other antique Persian carpets of strictly floral pattern, where its drawing is more elaborate than in modern rugs, it is not improbable that it is the conventionalised form of the lily or a spray bearing three leaves, and that it has the emblematic significance of the tree form.
Among all primitive races the sun, moon, and stars have been associated with their religion, so that it is surprising that so few emblems of them are recognised in rugs. In the theology of the Chaldees, from which the earliest weavers must have received inspiration, the sun was regarded as one of their principal deities and the moon as another. The sun is generally represented by a plain circle, a circle with diameters intersecting at right angles, or a circle with small ovals intersecting at right angles; the moon is represented by the crescent. Of much more frequent occurrence is the eight-pointed star, another inheritance of those ancient times when all primitive races worshipped the heavenly bodies. It represented the female principle of the Chaldean sun god; and it is believed, too, that it represented the deity to the Medes, ancestors of many of the present Persians. There is a tradition among some Eastern races that King Solomon wore a ring of diamonds arranged in the form of an eight-pointed star, and also a crown containing a large star of which the eight points and centre were composed of precious stones of different colour. A star now and then seen in rugs with colours so arranged is known as “Mohammedan’s jewel design.” The six-pointed star, a Jewish symbol for the “shield of David,” was adopted as a talisman by some of the Moslems. All of these stars are chiefly nomadic symbols, they rarely if ever are seen in the rugs of China or India, they are only occasionally found in those of Persia, and are of most frequent occurrence in the Caucasian pieces.
Another design is an octagonal-shaped disc (Plate [O], Fig. 10, Page 291), usually about two and a half inches in diameter, on the face of which and extending the full width are figures somewhat like hour-glasses placed at right angles to one another. It seems not improbable that it is of the same origin as the large designs that appear in the field of the Holbein rug of the XV Century, illustrated in Plate [21] (opp. Page 92). It is a very old motive, and is sometimes regarded as a dial symbolising the diurnal motion of the earth. It is of very frequent occurrence in nomadic rugs; and is found in Beluchistans, in nearly all Caucasians, in some rugs from Asia Minor, and in only a very few from Persia.
The zigzag line, known as the water motive, is found in many of the rugs of China, India, Persia, Caucasia, and Asia Minor, as well as in the Beluchistans and Beshires of the Central Asiatic group, though in some instances it appears as little more than a serrated line. It is represented in the narrow guard-stripes of some of the Western Asia Minor carpets of the XV Century. According to Mr. John Mumford, “even in the oldest Egyptian symbolism a zigzag line stood for water and by implication for eternity; and a succession of these arranged to represent the sea has long been a recognised carpet design in India, China, and Persia.”
COLOUR PLATE III—MOSUL RUG
Long before the commercial instinct had been felt among the weavers of the Orient, one or more of them dwelling in the Mesopotamian valley tied the knots of this old Mosul. The central field is of camel’s hair that shades from a rich dark chestnut at one end to lighter tones at the other, and is enlivened by bright flowers representing those found on the river’s banks. This variation of ground colour, the small geometric designs at the extreme ends of the fields, the eight-pointed stars of the main stripe of the border, and some of the drawing are nomadic characteristics. The dainty vine and flower of the narrow guard stripes, on the other hand, show Persian influence. This piece represents a type of which few now remain.
Property of the Author
One of the most common designs is what has been called the “latch-hook.” When there is a long succession of latch-hooks with the straight ends resting on a line and the hooked ends inclined in the same direction, as in Plate [K], Fig. 20 (opp. Page 230), they are called “running latch-hooks.” Since they appear in the Dragon and Phœnix rug (opp. Page 88), that was probably woven about the end of the XIV Century, they are evidently a very old design, which not improbably was derived from the Chinese fret. The hook is of different shapes, and is sometimes perpendicular, sometimes inclined. Its particular function is to shade or subdue the harsh effect of a sudden transition from one colour to another that is entirely different. As such a device is unnecessary in artistic rugs of intricate designs, it is rarely seen in any Indian or Persian piece, excepting the modern Shiraz that frequently adopts geometric patterns; but it is found in all the rugs of Caucasia, Central Asia, and in most of those of Asia Minor. It is in fact as universal as the reciprocal trefoil.
In rugs of geometric patterns are occasionally found both Greek and Roman crosses. The latter are represented in most of the Soumak rugs, and appear profusely in old Asia Minor or Armenian rugs, in which they were probably woven with the intent to convey a religious significance; but in many instances crosses are not used symbolically.
The design of a comb (Plate [O], Fig. 11, Page 291) is a Mohammedan emblem suggestive of cleanliness, yet it is not improbable that it is sometimes intended to represent the instrument employed in pressing the threads of weft closely against the knots. It is found mostly in Caucasian rugs, and rarely in those of other groups.
In a large number of the finest carpets woven in Persia three or four centuries ago was represented what is known as the Chinese cloud-band (Plate [O], Fig. 7). It appeared in Persia about the middle of the XV Century, and was conspicuous in the carpets of Herat, Tabriz, and Gilan, as well as in many of the “Polish Carpets.” Later it was introduced into Asia Minor, but was never represented in any of the strictly nomadic weavings. It appears in only a very few of the modern rugs, and these are mostly Persian. Nor is it recognised in its usual form in any of the Chinese rugs that now exist; though without a doubt it originated with the Chinese, since their early mythology placed the abode of the Supreme Ruler in the Constellation of Ursa Major, of which the stars of the Big Dipper were represented in early art as enveloped in a band of clouds; but in more conventionalised ornamentation the stars are omitted and the band remains. As a motive, then, it is symbolic of heaven and the deity.
In almost all rugs are found expressions of vegetable life, as a twig, vine, flower, or tree. Sometimes they are most naturalistic, again they are partly conventionalised, or so disguised, as in nomadic rugs of geometric designs, that only by study and comparison of many forms in a series can their origin be established. This universal adoption of floral form was due to something more than an aesthetic love for the beautiful, since in every country of the East some part of the tree or plant was emblematic. Moreover, a tree form known as the Tree of Life had a religious significance among many races. The Jews were told that in the Garden of Eden grew the “Tree of Knowledge of Good and Evil;” and in the Book of Revelation the Apostle John speaks of “The Tree of Life which bore twelve manner of fruits and yielded her fruit every month, and the leaves of the tree were for the healing of the nations.” From this passage may have been borrowed the belief of the Mohammedans in the Tree of Life which grew in Paradise, and spread its branches that true believers might rest beneath them and enjoy its fruits and the companionship of beautiful houri. In the ancient lore of China is the Taoist tradition of the Tree of Life, growing by the Sea of Jade, that confers immortality on the fortunate who may gather and eat its fruits; also the tradition of the mountain top where grows the sacred tree on which the elect may climb and mount to heaven. Even among the ancient Chaldees was a story of a tree that grew to heaven and sheltered the earth. In different countries the Tree of Life is represented by different kinds; in Yarkand of Eastern Turkestan it takes the form of a cedar; in Persia it is generally the cypress. Wherever employed it is symbolic of knowledge, resurrection, immortality.
Plate 12. Carpet from Northwestern Persia
Loaned by C. F. Williams, Esq., to the Metropolitan Museum of Art, New York
No other form of vegetable life was so universally employed in Oriental symbolism as the lotus flower (Plate [O], Figs. 16a, b, and c), since the Egyptian, Assyrian, Indian, Chinese, and Persian alike did it reverence. It was, perhaps, first employed emblematically in the valley of the Nile, but later it was held in high esteem by the inhabitants of India where the floating blossom is regarded as an emblem of the world. It was inseparately associated with Buddha, and its religious significance must have extended with the spread of Buddhism. Professor Goodyear regards a large number of designs that apparently are not related in form as derived from it through a long series of evolutions. During the highest development of the textile art in Persia it appears most realistically drawn in a large number of the carpets, especially the so-called Ispahans, or Herats, and the so-called Polish. It is also most artistically represented in the fabrics of India, and is a favourite design for Chinese weavers. But in other modern rugs it is seldom used as a motive, and is so conventionalised as often to escape notice.
If the lotus was the first flower to be represented in early woven fabrics, as seems not improbable, several others have met with greater favour among modern weavers. Of these the rose, which is cultivated extensively in the gardens of the East, appears in a large number of the rugs of Persia and Asia Minor. Moreover, a pattern frequently seen in many old Persian rugs is an all-over pattern of small bushes with flowering roses. Almost equally popular is the lily, which is characteristic of many of the rugs of India and of a few of Western Asia Minor. The “Euphrates flower,” which grows by the river banks of the Mesopotamian valley, is also occasionally found as an all-over pattern in some of the rugs of Western Iran and Southern Caucasia. Less frequently seen and still less frequently recognised, as they are generally woven in small figures, are the daisy, anemone, crocus, narcissus, pink, and violet. All are depicted chiefly on account of their associations and beauty, and whatever emblematic meaning they are intended to convey is generally no more than that of their colours. There are, however, in a few old Persian carpets designs of sunflowers, which were accepted by the Zoroastrians and the earlier sun and fire worshippers as symbols of the sun and emblems of light.
Of the fruits of the earth none is more highly esteemed than the pomegranate, which was sculptured in temples of Mesopotamia and embroidered on the robes of Assyrian and Jewish priests. In the days of King Solomon it was cultivated in Palestine, where the Israelites, like modern Persians, made a sherbet by mixing its juice with sugar and spices. At the time of Homer it was cultivated in Phrygia. Now it grows wild over vast tracts of Syria, Persia, and Asia Minor. Yet it rarely appears conspicuously in any woven fabrics excepting the Ladik prayer rugs, in which it is invariably seen. Since the weavers of these, whether Christian or Moslem, would probably be familiar with many of the old Jewish and Assyrian rites, it is not unlikely that it refers emblematically to its religious associations rather than symbolises, as has been suggested, the idea of fruitfulness as expressed in the Turkish wedding custom where the bride throws a pomegranate at her feet that the scattered seed may fore-tell the number of her children.
In almost every rug of Persia, India, and Asia Minor there is in some part of the border a vine with pendant leaves, flowers, rosettes, or palmettes; and even in many Caucasian rugs of geometric pattern the vine with its appendages is seen in conventionalised form. In a few of the more sumptuous carpets, where the drawing is elaborate, delicate tendrils bearing flowers or the more formal designs of the Herati border take the place of the vine, from which they were evolved. In such borders the designs generally convey no symbolic meaning, but the simpler vine encircling the field without beginning or end represents symbolically the continuity of purpose and permanency.
One of the most interesting designs (Plate [O], Fig. 6, Page 291) is known as the Cone, Palm, Mango, Almond, River Loop, and Pear. By some it is believed to represent no more than the closed palm of the hand, since there is an old tradition in Persia that a weaver once asked his little son to devise for him a new design, whereupon the boy thrust his hand into a pot of dye, then placed it sidewise upon a piece of white linen, on which became impressed the “palm” design formed by the hand and incurving small finger. By some it is regarded as a cluster of old Iranian crown jewels. To others, who point to the well-known pattern of the Kashmir weaving, it denotes the bend of the river Jhelum above Srinagar in the valley of Kashmir; and to Sir George Birdwood it symbolises the flame sacred to ancient fire worshippers. In this work it will be called the Pear, the name now generally applied to it. In the course of the many centuries that have elapsed since its origin, and in its migration through India, Persia, Turkestan, Caucasia, and Asia Minor, it has adopted more strange shapes than any other device. In the rugs of Sarabend it is represented in its best-known form of simple curving lines, in the Bakus its identity is almost lost on account of its geometric appearance, and in the fabrics of India it is often very ornate. Though its origin is hidden in the mists of the past, when its antiquity is considered, and also the devotion of the early races to the glowing orb of the sun and to terrestrial fires, it is not surprising that it has been regarded as a relic of the Zoroastrian faith of old Iran, symbolising the eternal flames before which the Parsees worshipped.
Plate 13. Compartment Carpet in the Metropolitan Museum of Art, New York
If the floral designs are more beautiful, others are more truly symbolic, and when appearing in rugs of barbaric patterns they are more interesting. Of these the creeping things are represented by the serpent, scorpion, turtle, crab, and tarantula. Among a few races of Asia the serpent, which is found in a few old Persian carpets, has been regarded as emblematic of immortality, but has been more frequently considered as the symbol of knowledge. The scorpion, also, was supposed to represent the idea of knowledge. It does not often appear in woven design, but is sometimes drawn with careful precision in Caucasian fabrics. The turtle or tortoise stands for constancy. What is called the “turtle border” (Plate [E], Fig. 3, opp. Page 156), which was probably derived from interlacing arabesques, occurs most frequently in Feraghans and also in some other Persian rugs, as Muskabads, Sarabends, Serapis, and even the Sehnas. The tarantula and crab designs are found exclusively in borders of Caucasian rugs. As their resemblance to the animals they are supposed to represent is remote, it is most probable that they are simply the conventionalised forms of the star and palmette.
Among the designs seen in Chinese rugs are several not found in any others. Of these the dragon, originally intended as a symbol of the infinite, denotes imperial power; the stork, long life; the duck, conjugal felicity; the bat, happiness; and the butterfly, a spirit. These designs will be noticed in the chapter on Chinese rugs.
With few exceptions the only modern rugs in which birds are represented are the Persian. The drawing as a rule is far from natural; but in the fine old carpets it is often so accurate as to show unmistakably the order to which they belong. Several of them were used symbolically, as the bird of paradise, suggestive of felicity; the peacock, symbol of fire; the eagle, emblem of power. The attitude, to be sure, in which they appear, affects in a measure their symbolic meaning; as an eagle in flight denotes good fortune, but one in the act of descending denotes ill luck.
As the Mohammedan religion interdicts portraying birds and beasts as well as human forms, they are rarely seen in any rug of Western Asia Minor, which is inhabited by the Sunnites, the strict conformists to the law of the Koran; but in Mohammedan countries lying farther to the east, where the Shiites or nonconformists live, animal designs are very common. In modern rugs of Persia and Caucasia, dogs, goats, and camels are the most popular animal subjects, but the drawing is often so poor that the identity is in doubt. In the old carpets, on the other hand, animals and human beings were most realistically drawn, and were intended to represent symbolically the weaver’s thought. In fact, those masterpieces of Persian art known as the “Hunting Carpets” would lose much of their interest if their many forms of animal life were without symbolic meaning. In them the lion is a symbol of victory, power, the sun, and the day; the antelope and unicorn are symbols of restfulness and the moon. The lion destroying an antelope would mean, then, the victory of day over night, or of a powerful over a weak foe. Leopards and hounds likewise symbolise success and fame. There are also mythological creatures, as the phœnix, emblematic of life and resurrection, and the winged djinni or Persian spirits, that often adorn the fields and borders of some of the elaborate antique carpets of Iran.
Not only the forms of vegetable and animal life and their relative attitudes to one another were intended to convey a symbolic meaning, but among almost all ancient races colours had a special significance. To the Moslems no colour was more sacred than the green, which, though difficult to produce in beautiful tones, they have placed in the fields of many of their prayer rugs. To them, also, blue was the emblem of eternity, and in the spandrels above the arches it was the symbol of the sky. Though to the Hindoo it denotes ill luck, it was the chosen colour of the Persians, as well as one of the imperial colours of the Chinese. Among all nations yellow, another imperial colour of China, and red are suggestive of joy and happiness. Such colours, when used in conjunction with other emblems, expressed not only beauty, but also different shades of thought.
Plate 14. Persian Animal Carpet in the Metropolitan Museum Of Art, New York
These are but a few of the many motives that are employed by the weaver. Some of them represent objects intimately associated with his daily life. Some of them reflect his thoughts and emotions. Others are the still unsolved hieroglyphics of his craft. When, then, we examine some old worn rug, we may see only an exquisite pattern resplendent in the deep rich colours of an art now lost; but if to an æsthetic taste be added an interest in a symbolism that expresses something of the thought and life of the weaver, we may find in the study of the various designs another charm that increases with the discovery of any previously hidden meaning.