Oriental Rugs, Antique and Modern

by W. A. Hawley

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.