Oriental Rugs, Antique and Modern

by W. A. Hawley

Loaned by Mr. Nathan Bentz

Whatever may be their character, the methods employed to give softened effects to the colours are known as “washing.” Most of those in vogue in the Orient, such as washing with lime water, do little real injury. In this country to artificially mellow the colours has become a regular business of firms, who guard the secret of their different methods. Some use ammonia, borax, and soap, which also do very little injury to the rug. Others use chloride of lime, boracic acid, vinegar, or oxalic acid, that remove some of the natural oils of the wool and accordingly impair its qualities for wear. In fact, pieces are occasionally injured to the extent that the wool has become brittle and may readily be plucked out. Nevertheless, it does not necessarily follow that all rugs washed with an acid solution have been seriously injured; but the colours never have the same richness as those which have been softened by natural processes operating for a long period of years. To be sure, rugs that have been washed are often more attractive than they were in their raw colours; but the older, more beautiful rugs with genuine tones mellowed by time are always to be preferred. Over ninety per cent of the Kermanshahs, Sarouks, Kashans, Tabriz, Muskabads, Mahals, and Gorevans, and a large percentage of all other modern rugs sold in this country, have been treated by some artificial process to soften their colours or give them the appearance of age. It is generally necessary, when selecting a large rug for a floor covering, to accept a washed piece; but when a smaller rug or a runner will meet the requirements, it is preferable to choose the older unwashed piece, which, as a rule, is more beautiful and costs but little more. In the case of most pieces, the tones of colour are sufficient to enable one who is experienced to distinguish between those that are artificially aged and those that are not. In the case of others, a simple test is to rub them thoroughly with a wet rag; when, if acid or chloride of lime has been used, it can generally be detected by the odour.

The artistic beauty of a rug also depends somewhat on the fineness of the nap; as the soft, floccy fibres of some wools acquire a velvety appearance, or give to the colours a sheen and a lustre compared with which other rugs look harsh and coarse. For instance, the rugs of Shiraz and Meshed, the Beluchistans, and many Bokharas are noted for the lustre of their colours; but on the other hand many of the rugs of Asia Minor and Caucasia have colours that are without lustre, and the rugs of India which are made of dead or “Chunam” wool, seem lifeless.

When selecting any rug, then, the purchaser should carefully observe if the patterns are well drawn and their different parts show a proper balance. He should observe if the colour tones are harmonious with one another, if each colour in itself is good, and if they have been softened by natural processes acting for a long time. And he should notice if the wool is coarse, dead, and lustreless, or if it has a sheen and glint in the light of day; for these are the qualities that make up the artistic beauty of a rug.

The utility to be derived from rugs that properly belong to museums and collectors receives small consideration, though even with them the more perfect their condition the more valuable they are. But in case of the great majority of rugs, which are intended for use as well as for ornament, their utility is an important consideration to the purchaser. Rugs that have warp and weft of strong yarn and a close firm texture, will wear better than others. Also, such rugs as Bijars, in which one thread of warp to each knot is doubled under the other, will be found to wear better than such rugs as Mosuls which have each thread of warp equally prominent at the back. For durability, long nap is also to be preferred to short, since it protects the foundations of the knots from wearing and becoming loose.

Before purchasing an old rug, it should be spread on the floor to see if it lies flat and if its shape is regular. It should be examined by daylight and not by electric light, which gives a false impression of colour and sheen. It should be held up with the back turned to the purchaser, and carefully examined for weak spots through which the light may pass; since, when so held, many pieces which seem in good condition when lying on the floor, resemble a sieve. The foundation threads should also be carefully inspected, as sometimes they rot and will tear with slight tension. Moreover, as the selvage or overcasting of the sides and the webs of the ends are intended primarily not for ornament but for protection, it should be noted if they are in good condition. Sometimes the webs of the ends are entirely gone, so that continual fraying of the nap is prevented with difficulty. Sometimes the selvage or overcasting of the sides is broken and some of the threads of warp are injured. Or the sides may be well protected by a stout overcasting; but on examination it will be seen that it is not the original finishing, and that some of the border has disappeared. Again, it may have been overcast too tightly, so that the sides curl and turn under, and thus expose the border to injury when trodden on. Careful examination will often reveal surprises. In many old rugs the field is full of rents, that have been sewn together; in others entire pieces have been removed, so that they are no longer of their original length; or parts of the border are gone, or even the whole of it has been replaced by the border of another rug; yet all so deftly done that the changes are scarcely noticeable.

Nevertheless, old pieces, if otherwise meritorious, are not to be discarded on account of a few imperfections, since what can be accomplished in the hands of a careful repairer is remarkable. Broken threads of warp and weft can be mended; missing knots can be replaced with others of similar yarn; crooked pieces can be straightened by loosening here and stretching there; borders that curl can be flattened by removing the yarn and overcasting again more carefully. In fact, if the nap be not so worn that the foundation of warp and weft is exposed, it is far better to choose an old rug with some rents than a new one with garish aniline dyes. Nor should a piece be slighted, because the brownish black areas of wool dyed with iron pyrites are worn low; since often the most beautiful effects are obtained by a surface of brighter colours standing out in relief, on account of the worn blackish nap that surrounds it. Now and then a bargain can be had by buying a rug which, because of some imperfection that is not serious, has been passed by; and now and then a piece reeking with dirt has proved, when properly cleansed, to be a gem.

The foundation, consisting of the warp and weft, receives but little consideration from purchasers; yet it is one of the most important indices of the quality of a rug, and its strength is one of the most necessary conditions for utility. The warp is best observed at the ends. In most Chinese and Indian rugs and in some of the Persian, it is of cotton; in others it is of wool or goat’s hair. In the Chinese rugs the diameter of the threads of warp is much smaller than the diameter of the threads of the weft, and has little strength, but in almost all other rugs it is at least as large and as stout. The weft may readily be observed at the back. In very many of the best rugs, it consists of fine spun wool; but in many modern ones, it is of coarse wool or cotton. The number of knots to the square inch does not of itself demonstrate the quality of texture, since a rug may have only a few knots of coarse diameter and be firmly woven, or it may have many knots of fine diameter and be loosely woven; but in the same class the better rug has generally more knots than a poorer one. When selecting a rug, then, the back should be most carefully observed; for here may be seen if the yarn that forms the knots is well spun, if the knots themselves are drawn tight and well pressed down, and if the threads of weft are carefully inserted and have a texture that indicates fine workmanship. Almost invariably it will be found that if the back of a rug shows good material, and has an appearance of firmness and skilful, painstaking weaving, the front will correspond with good colours and careful drawing.