CHAPTER XV
KILIMS
ILIMS have a special interest apart from their beauty and utility, as some of them undoubtedly resemble the early fabrics of the Egyptians and Babylonians from which were evolved the more durable pile carpets. The different links in this evolution can only be conjectured. Yet it is not unlikely that such pieces as the nomadic kilims, which occasionally have little tufts of wool attached for ornament or loose threads of weft hanging from one side, first suggested the greater durability and warmth that would be derived from a woven fabric completely covered with tufts of yarn.
It is also certain that the most delicately woven kilims have likewise been evolved from cruder forms. In fact, the different steps in this evolution correspond to three separate styles of weaving still in vogue. The earliest products which were made subsequent to the primitive weaving of uncoloured warp and weft were doubtless similar to the simple fabrics now used to line the under side of saddle bags, and consisted of a warp and weft of uniformly coloured threads. A much more advanced style, induced by a desire for ornamentation, was the representation of patterns which required the use of different coloured threads of weft. As these threads were never carried beyond the edges of each pattern, their loose ends were at first allowed to hang at the back, giving an appearance somewhat similar to what is seen in Soumaks. The third and most finished style, representing much higher workmanship, was produced by deftly disposing of the ends of threads of weft so that they should be concealed and thus permit each surface of the kilim to be exactly the same.
Each of these kinds of weaving is constantly seen in the East. The first not only is used as a lining for saddle bags, but is frequently substituted for them. It is also sometimes used as the only floor covering, or again is laid as a protection beneath valuable carpets. It often replaces the heavier felt for tents, and indeed is utilised for all purposes requiring a strong material like canvas. The second is found among nomadic weavers, especially those of Asia Minor; who naturally waste no unnecessary labour in weaving kilims with a delicate finish, which would be quickly marred by the rough usage that they receive. The third, which is the more elegant product, is invariably not only of excellent finish but of carefully drawn patterns. In this country, the last two are used principally for portieres and couch coverings; but in the Orient they still serve, as they have from the remotest times, for floor coverings; and because of the custom of removing the shoes when entering a house, last for a great many years.
Though these three styles represent the principal variations in kilim weaving, there are a few pieces with embroidered pattern; and embroidered stitches are sometimes added to represent some simple design, or as is frequently the case in Shirvans, to make more prominent the separate horizontal compartments.
When weaving a kilim, the threads of warp are strung as in piled rugs, and number from six to eighteen to the inch according to the texture. There are generally about twenty threads of weft to the inch, measured at the front or back; but in pieces of the finest workmanship, there may be as many as fifty, and in the crudest only eight or nine. At the sides of the kilim, the threads of weft encircle the last thread of warp as at the sides of any pattern; but at the ends, the threads of warp are braided about a heavier added cord, or else are tied in knots, from which their loose ends are permitted to hang like tassels.
The patterns are usually geometric; and even when an attempt is made to copy floral figures, the drawing inclines to the rectilinear. If a straight line representing the side of a figure is horizontal, or in the direction of the weft, it will often be several inches in length; but a straight perpendicular line never exceeds an inch in length. This is because the threads of weft are never carried from one pattern to another or to the adjoining field, but are turned back at its defining edges, so that an opening is left, which would impair the strength of the fabric if it were of much length. Accordingly, if it is desired to represent a pattern with perpendicular sides, it is necessary that the edges be slightly uneven. But here necessity is turned to advantage, as this unevenness or fringing softens lines that otherwise would be harsh. Defining the outlines of many figures is yarn of different colours, which either may be woven like other threads of weft, or when it serves the purpose of closing the space between adjacent threads of warp, may be attached by stitches. Borders find slight favour with kilim weavers, and in most pieces they are entirely wanting or only present at one end. Even when they completely surround the field, there is generally some difference in design or colour between the stripes of side and end. Prayer arches are found in some of the kilims, but their outlines rarely correspond closely with those of piled rugs.
The colours, by which alone the patterns are distinguished, are largely responsible for the character of the kilim. Threads of weft of every hue that is seen in piled rugs are employed in these pieces; yet the colouring never appears the same, since there are lacking the lustre and deep wealth of tones due to the length of pile, in which appears an almost imperceptible gradation from the ends that are exposed to the light and have incurred the mellowing influence of the elements to the part which retains more of the original colours and seems darker, because it is more concealed. Indeed, on account of the lack of pile, the colours and patterns would seem harsh were it not for the irregularities of perpendicular and diagonal lines, the devices of latch-hooks, and other peculiarities that convey to the eye an impression of blending. Moreover when the designs are large, the effect of the colour is always severe; but when the field is covered with innumerable small figures, it is greatly softened.
As kilims are much less durable than rugs that have a pile to protect the warp and weft, it is not surprising that few of great age remain. The oldest piece of which we have any knowledge is a fragment obtained by Dr. M. A. Stein, the archæological explorer, from the ruins near Khotan, in Eastern Turkestan, of an ancient settlement, which was buried by sand drifts about the fourth or fifth century anno domini. The weave is almost identical with that of modern kilims, and has about fourteen threads of warp and sixteen threads of weft to the inch. The pattern consists of narrow stripes of blue, green, brownish yellow, and red, containing very small geometric designs. With this one exception, so peculiarly preserved, there are probably very few over a century old.
Plate 62. Srinagar Rug
Though kilims are now made in most of the districts where piled carpets are woven, very few classes are recognised. This is because it is difficult to distinguish between most of them, and such differences as exist are with few exceptions unimportant. The best known classes are the Sehna, Shirvan, Karaman, Kurdish, Turkish, and Merv.
The Sehna kilims are usually of small size, and rarely exceed a breadth of four and a half feet and a length of seven. They are far superior to all others in the delicacy of colour, daintiness of design, quality of material, and character of workmanship. Their patterns, including border, are identical with those of the piled rugs; and the colours, to which at a short distance the small figures of the Herati design give the effect of blending, are the same. As is not the case with other kilims, the warp is of cotton or linen and there are generally from fourteen to sixteen threads to the inch. The weft is of wool, and to an inch there are often nearly fifty threads encircling a thread of warp as they cross and recross. The old pieces, like the rugs of which they are true copies, are rapidly becoming scarce. They resemble tapestries and are unfit for hard usage.
A large percentage of the kilims now sold in this country are Shirvans. Their fields are divided into a number of parallel horizontal compartments or bands a foot or more in width separated by narrower bands. Not infrequently the principal figures of the wide bands are hexagons surrounding smaller geometric figures; and through the more narrow bands runs a waving line or a parti-coloured cord. Another peculiarity, occasionally seen, are the ray-like projections of uniform colour fringing the edges of the sides. As a rule, there are no borders, but at each end are two or more narrow bands that give the effect of a border. In some pieces webs of plain colour extend beyond the bands; and the ends are fringed with loose threads of warp. The colours are always pronounced, because of lack of shading, and consist mostly of red, blue, and ivory. Yellow and green are also used. These kilims are much heavier than the Sehnas, and also larger, as the average size is about five by nine feet; and some are even seven by twelve feet.
From the district of Karaman in Southern Asia Minor, such a large number of kilims were formerly imported into Europe that the general name of Karamani was applied to all kilims. They are still made there by many of the tribes of Turkish or Turkoman origin, who wander over the Taurus mountains, and like all their fabrics are stoutly woven. Their average size is about four and a half by eight feet. In colours and patterns, they resemble many of the Kurdish kilims from the districts farther to the east.
A distinction similar to what exists in the piled rugs of the Kurds, and dependent on the district in which they are made, is observable in their kilims, as those which come from the Persian border have carefully drawn designs, that are generally lacking in others woven in the mountainous watershed of the Tigris and the Euphrates. Many of these are coarsely woven, and from the back hang the loose ends of threads of weft, that in more artistic pieces, are removed. Moreover, in modern pieces the colours are often crude or even garish. Some of the kilims have large diamond-shaped figures containing small designs; others have horizontal bands in which are woven embroidered devices suggestive of the so-called Bagdad portieres; in many are wide spaces without designs; but whatever the pattern, there is usually a parti-coloured cord running through the web at the end.
In many parts of Asia Minor are made kilims that are usually classed as Turkish. They are of large size, and since they are used mostly for portieres or curtains, are divided perpendicularly into equal halves, that at times are united by stitches. The tribes that make them also make large numbers of smaller prayer kilims with pointed arches suggesting the Ghiordes design. Some of them are beautifully woven, yet the finest workmanship is shown in pieces known as “Kis-kilims” or girl’s kilims. These are made with the utmost care, since they are intended as a bride’s gift to her husband; and a sentiment of romance, and the hope that her skill may weigh favourably in the estimation of her accomplishments, contribute to influence the weaver. Sometimes even a lock of hair is added as a charm, or coloured beads as a talisman.
The Christians who live permanently about Oushak, and are, accordingly, not under the necessity of making such small pieces as can conveniently be carried by wandering tribes, weave some of the largest kilims. Most of them are at least six feet in width and many are much wider.
The best known kilims from the Central Asiatic group are known as “Merv Kilims,” since they are woven by Turkoman tribes who inhabit the desert near the old capital of Merv. The brilliant colours found in the products of more Western tribes are entirely wanting, and in their place are the few subdued, rich tones so characteristic of all Turkoman weavings. These pieces are stoutly woven, and since the pattern is represented by diagonal lines, there is no open work. The designs are largely of diamond-shape, and are arranged in parallel horizontal lines on a field that is usually surrounded by a border profusely ornamented with carefully drawn latch-hooks. A heavy embroidered selvage, from which hang loose threads of warp, often occurs at the ends. These kilims are noted for their durability, and are usually of large size.
In the city of Dera Ghazi Khan, four miles from the Indus river, are woven kilims in which warp and weft are of wool, as is not the case with almost all the rugs of India. They are made by the women in their own homes and display an individuality which also is rare in Indian textile fabrics. In a monograph on “Carpet Weaving in the Punjab,” Mr. C. Latimer says: “The Dera Ghazi Khan rug, which belongs really to the kind of fabrics known as kilims, is woven in stripes, with designs between them, and it is interesting to notice that the patterns employed were by local tradition originally copied from the robes of the Pharaohs of Egypt.”
Though all such Oriental weavings lack the precision of drawing and the delicacy of minutely varied colour so frequently found in piled rugs; though they never display high, artistic perception or poetic instinct, nevertheless some of the oldest pieces with designs suggestive of the workings of a primitive imagination untrammelled by the conventions of art, and with a chaste simplicity of colour that lends an atmosphere of dignity, possess a subtle charm that awakens an intense interest.