Property of the Author
One of the most common designs is what has been called the “latch-hook.” When there is a long succession of latch-hooks with the straight ends resting on a line and the hooked ends inclined in the same direction, as in Plate [K], Fig. 20 (opp. Page 230), they are called “running latch-hooks.” Since they appear in the Dragon and Phœnix rug (opp. Page 88), that was probably woven about the end of the XIV Century, they are evidently a very old design, which not improbably was derived from the Chinese fret. The hook is of different shapes, and is sometimes perpendicular, sometimes inclined. Its particular function is to shade or subdue the harsh effect of a sudden transition from one colour to another that is entirely different. As such a device is unnecessary in artistic rugs of intricate designs, it is rarely seen in any Indian or Persian piece, excepting the modern Shiraz that frequently adopts geometric patterns; but it is found in all the rugs of Caucasia, Central Asia, and in most of those of Asia Minor. It is in fact as universal as the reciprocal trefoil.
In rugs of geometric patterns are occasionally found both Greek and Roman crosses. The latter are represented in most of the Soumak rugs, and appear profusely in old Asia Minor or Armenian rugs, in which they were probably woven with the intent to convey a religious significance; but in many instances crosses are not used symbolically.
The design of a comb (Plate [O], Fig. 11, Page 291) is a Mohammedan emblem suggestive of cleanliness, yet it is not improbable that it is sometimes intended to represent the instrument employed in pressing the threads of weft closely against the knots. It is found mostly in Caucasian rugs, and rarely in those of other groups.
In a large number of the finest carpets woven in Persia three or four centuries ago was represented what is known as the Chinese cloud-band (Plate [O], Fig. 7). It appeared in Persia about the middle of the XV Century, and was conspicuous in the carpets of Herat, Tabriz, and Gilan, as well as in many of the “Polish Carpets.” Later it was introduced into Asia Minor, but was never represented in any of the strictly nomadic weavings. It appears in only a very few of the modern rugs, and these are mostly Persian. Nor is it recognised in its usual form in any of the Chinese rugs that now exist; though without a doubt it originated with the Chinese, since their early mythology placed the abode of the Supreme Ruler in the Constellation of Ursa Major, of which the stars of the Big Dipper were represented in early art as enveloped in a band of clouds; but in more conventionalised ornamentation the stars are omitted and the band remains. As a motive, then, it is symbolic of heaven and the deity.
In almost all rugs are found expressions of vegetable life, as a twig, vine, flower, or tree. Sometimes they are most naturalistic, again they are partly conventionalised, or so disguised, as in nomadic rugs of geometric designs, that only by study and comparison of many forms in a series can their origin be established. This universal adoption of floral form was due to something more than an aesthetic love for the beautiful, since in every country of the East some part of the tree or plant was emblematic. Moreover, a tree form known as the Tree of Life had a religious significance among many races. The Jews were told that in the Garden of Eden grew the “Tree of Knowledge of Good and Evil;” and in the Book of Revelation the Apostle John speaks of “The Tree of Life which bore twelve manner of fruits and yielded her fruit every month, and the leaves of the tree were for the healing of the nations.” From this passage may have been borrowed the belief of the Mohammedans in the Tree of Life which grew in Paradise, and spread its branches that true believers might rest beneath them and enjoy its fruits and the companionship of beautiful houri. In the ancient lore of China is the Taoist tradition of the Tree of Life, growing by the Sea of Jade, that confers immortality on the fortunate who may gather and eat its fruits; also the tradition of the mountain top where grows the sacred tree on which the elect may climb and mount to heaven. Even among the ancient Chaldees was a story of a tree that grew to heaven and sheltered the earth. In different countries the Tree of Life is represented by different kinds; in Yarkand of Eastern Turkestan it takes the form of a cedar; in Persia it is generally the cypress. Wherever employed it is symbolic of knowledge, resurrection, immortality.
