Ispahan rugs are antiques. During the sixteenth century and the reign of the great Shah Abbas, and even earlier, these magnificent fabrics were woven. Superb in coloring, with beautiful designs and of superior workmanship, the examples still in existence are indeed precious. In these old rugs one finds a field of red that is rich and rare. It looks like carmine, and then again it seems as if one were looking into a goblet containing the choicest wine of past centuries. Once seen, the shade is not forgotten. So also with the wonderful moss-like green that occupies the main border and the running vines of the Ispahan rug. Black—the most corrosive of all dyes—although used, has disappeared, leaving only the foundation. A medallion, star-form in effect, often occupies the centre. Over the field are scattered palmettes and lotus forms, all connected by running vines. A wide middle border between two narrow stripes holds the rosette and palmette, and also the lancet leaf, in tiny form. When cloud bands are seen they show Chinese influence, as do the lotus forms.
Kara Dagh rugs are made by nomads who are called Aylauts, and who live in the mountainous region north of Tabriz. In appearance, as well as in texture and size, they resemble those produced in the Caucasian province of Karabagh on the other side of the boundary. The natural color of the camel's hair, and rose color too, are much used. Sometimes the camel's hair is mixed with goat's hair. The designs are floral and rather striking in effect.
Kermanshah rugs of modern make have usually a medallion with a lotus motif in the centre of the field. This is generally of ivory, ornamented in soft tones of blue, green, or rose. The usual light effect of the rug makes it rather more suitable for a reception room or a bedroom than for other places. There are, however, deeper tones in these rugs, and sometimes there are no medallions. Perhaps the rug is most pleasing with the palm-leaf design and that of the tree, or with many birds and various floral conceptions. The borders blend harmoniously with the rest of the rug. The finest rugs of Kermanshah were formerly made in the palace of the Governor, and many were presented to leading rulers.
Khorassan rugs are woven in the province of that name and are characterized by various forms. A long palm effect or floral design is apt to be in the borders of antique Khorassans; and a prominent color in these rugs is magenta, which, though sometimes rather harsh in the modern rugs, is soft and beautiful in the antiques. Blue is also a leading color, and animals, including the lion and the gazelle; birds of several varieties; flowers symmetrically arranged, and geometrical forms, are all often seen. The Herati design is a usual one. When stripes occur in the field they are beautifully decorated with small floral designs or with the palm, and occasionally with that migratory insect, the locust. The rugs are unevenly clipped, which gives a soft, lustrous effect. Meshhed, the capital city of Khorassan, weaves rugs of fine colors; the palm leaf when represented on this rug is very large and impressive, often on a deep blue field. Animals and birds are frequently seen on the Meshhed rug.
Kirman rugs, made in the province of Irak-Ajemi, frequently have a medallion in the centre, entwined with flowers. Sometimes the Tree of Life is represented, its branches bearing different fruits, and often there are symbolical little birds in the border. Sometimes a vase of flowers is the principal ornament, or several small trees either with or without foliage. Silk has often been introduced into the old rugs with charming effect. The Kirman rug is one of the most easily recognizable. It is of very fine quality, and is highly decorative. Antique rugs of this kind have the finest of wool, and, with the artistic arrangement of beautiful flowers, cypress trees, and palm effects, are most pleasing. One of the finest in this country is reproduced in this volume with a description accompanying it.
Kurdistan (the Persian portion) is a large region inhabited by the nomadic tribes called Kurds; and the sheep and goats belonging to these tribes furnish the fine wool that is woven into Kurdish rugs. The color effects are generally good. Often dark blues and reds form the groundwork, in the centre of which is a lozenge or large diamond form ornamented with small designs of the palm leaf. Then, again, a repeated design is laid out over the field. Designs of the tree, palm, and rosette, and various floral forms appear. By examining the web at one end, a design in colored wool is generally found. In one of these rugs in my own collection the centre contains twelve different symbolical designs, including the turtle, comb, star, and cross, while the corner areas and borders hold at least thirty-five others. All of them are so carefully woven that much thought must have been bestowed upon this very strong, splendid rug.
Laristan (see Niris) rugs.
Meshhed (see Khorassan) rugs.
Mir-Saraband (see Saraband) rugs.
Muskabad (see Sultanabad) rugs.