Oriental Rugs, Antique and Modern

by W. A. Hawley

Kashgars and Yarkands.—Among the foothill plains at the western end of the Chinese Empire, are the mud-walled cities of Kashgar and Yarkand, that were ancient even in the days when Marco Polo visited there. Situated in populous and fertile districts, each has been a city of political and industrial importance; but on account of the great divides that separate them from Western Turkestan, Persia, and India, their commerce has been principally with Thibet and China. Thus it has happened that only within recent years have any of their textile fabrics reached Europe and America, where they are still almost unknown. Yet even in the remote past, these cities gained a reputation for the culture of silk and the weaving of carpets. Moreover, at different periods they were centres of luxury, so that it may safely be assumed that many of their woven products were of a high order of excellence.

These rugs, to be sure, come from a district lying within the Chinese Empire; but it is so remote from the centres where the well-known Chinese rugs have been and are woven, and is so much nearer to West Turkestan and Afghanistan, that it seems best to place them in the Central Asiatic group.

As a rule, such pieces as reach this country show crude workmanship entirely lacking in graceful floral patterns or artistic drawing. Octagonal forms, animals, and even mythical creatures are often distributed over the fields so as to give them a decidedly Chinese character. The narrow border stripes ornamented with the swastika and fret forms are often similar to some of the Samarkand stripes. The colours, which lack the subdued richness of Persian pieces, are often light; but they occasionally consist largely of tones of dark blue and red which show Turkoman influences. Most of these rugs are interesting on account of their quaintness and individuality; but few compare in quality of material, weave, or artistic finish with other classes of this group.

Beluches or Beluchistans.—“When creating the world, the Almighty made Beluchistan out of the refuse” are the words of an old proverb, that refers to a land which formerly produced some of the most interesting rugs of the East. In fact, the thought is not surprising when the desolate character of the country is considered; for a sandy, waterless waste stretches over the greater part, and only in a corner to the northeast and in narrow strips, where streams from mountain sides water small valleys, is any cultivation. Across this sparsely settled land and farther westward into the southeastern part of Persia, untamed tribes of Beluches and Brahoes wander with their sheep, goats, and large numbers of camels. Their rugs, woven on crudely made looms, bear little resemblance to the more artistic floral pieces of the Indian weavers to the east or to those of Kirman to the west. Nor are they closely related to the Turkoman rugs with which they are usually grouped. In fact, they possess an individuality that once recognised is never forgotten; an individuality due to the isolated condition of a country that is protected from its nearest neighbours by barriers of deserts and mountain ridges, and is possessed by a still unconquered people. To these circumstances, also, it is due that the rugs are rarely coloured with aniline dyes, though many modern pieces have been chemically washed by dealers.

Plate 56. Yomud Rug

One of the most distinguishing features of Beluchistans are their tones of colour, that rarely depart from traditional usage. They are principally a red of the shade of madder, a blue with purple cast, and a dark brown that has sometimes a slight olive tinge, particularly when appearing in the webs. Frequently, too, dull tones of green are seen. Contrasting with these more subdued ground colours is almost invariably some ivory which appears as small detached figures in part of the border, or as outlines of principal designs. The patterns also show individuality and diversity. Most frequently they are geometric and represent some ill defined octagons suggesting Turkoman rugs. Or they may consist of a field covered with diagonal bands, with large lozenges, or medallions, all of which are decorated profusely with latch-hooks. Still others have some crudely drawn flower design, as the Mina Khani, that tells of Persian influences.

A fair proportion have the prayer pattern, consisting of a large rectangular shaped mihrab, which is as high as, and frequently higher than, wide. The borders, as a rule, consist of three or four stripes. The main stripe is geometric and in the guard stripes are running latch-hooks or the reciprocal trefoil, though occasionally they are replaced by some conventionalised vine or ribbon pattern.

Proportionally to their length few other rugs have such long webs at the end, though they are sometimes entirely worn away while the body of the rug is still serviceable. They are usually coloured in harmony with the colours of the field, and are marked with embroidered lines or simple designs. No other rugs have a surface with more lustrous sheen, due to the soft, fine wool of the pile, which in old pieces is short and closely woven, giving a play of colours, and velvety appearance unsurpassed by any other nomadic rugs. Many of the choicest pieces of Beluchistan weave now on the market are the small saddle bags, that are of rich yet subdued colours, and possess the character and sheen of very old rugs.