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.