IV
MISCELLANEOUS ORIENTAL RUGS
Rugs of the Holy Land
No rugs of importance are woven in Palestine. In several villages a coarse cloth is made which is waterproof because of its firm texture. It is used for cloaks or abas, and these are worn by all the men of the land. In Bethlehem is made the coarse cloth which is used as tent covering. This is produced from the sombre hair of the Palestine goat.
All Syrian rugs are made of pure wool, a home product of an average quality. Looms operated by machinery are unknown. The rugs are made in a primitive fashion by the peasant women and girls, who work at the looms in their own homes when not engaged in field labor or domestic duties. They also do the washing, dyeing, and spinning of the wool. The introduction of rug-weaving into Syria took place about the beginning of the nineteenth century, when a number of families emigrated from Brusa to villages of Syria, where they taught their art. For many years excellent rugs were woven, Haidamur especially taking the lead in superiority of quality, design, and durability. Unfortunately, the original designs and blending of colors introduced from Turkey have entirely disappeared, and only inferior rugs are now made throughout the country. The chief colors in the modern Haidamur rugs are red and black, or sometimes crimson and black, with black or dark brown figures at each end. At Damascus a few rugs are woven, but not of any great value or distinctive beauty.
Chinese Rugs
The Chinese rugs of antiquity are remarkable, and worthy of the closest inspection. Their texture, designs, and symbolism show the greatest patience and thought. Antique wool rugs woven in China are very scarce, and because of this, and for their historical interest as well as their uniqueness and attractiveness, they bring large prices. In fact, they are almost unprocurable. A large and very fine specimen of this kind of rug is in the home of the late Governor Ames of Boston. It measures nineteen by twenty-one feet. The colors are yellow and white, and these are arranged in odd designs over the entire rug. A member of the family owning it writes: "This rug is said to have originally been in the Emperor's Palace in China. As every emperor is obliged to have the palace newly furnished when he succeeds to the throne, owing to some superstition connected with the retaining of any of the former Emperor's possessions, everything is removed and destroyed. Fortunately this rug escaped destruction." A fine example of an antique Chinese rug is represented in one of the illustrations of this book.
The modern Chinese rugs are vastly different from those of antiquity. There is, however, much of interest attached to them. They are sought because of their antique designs, their harmonious coloring, and their durability. The monstrous and fantastic forms that distinguished the antique are not so frequently met with in the modern production. The predominating colors in a modern Chinese rug are yellow, blue, white, and fawn, and these are arranged very effectively. The designs are quaint and odd. A border distinctly separated from the field is almost invariably seen. A most important geometrical motif observed in Chinese rugs is the Meandrian, especially the continuous and that derived from the hooked cross. The hooked cross we find with rounded arms, generally in connection with a cloud band. The rosette from the vegetable motifs is very frequent, especially in borders; also the branch and the continuous creeper. Bats, butterflies, storks, and the goose are in many borders. The lion—symbol of a happy omen—is often represented in those rugs designed especially for wedding ceremonies.