If the floral designs are more beautiful, others are more truly symbolic, and when appearing in rugs of barbaric patterns they are more interesting. Of these the creeping things are represented by the serpent, scorpion, turtle, crab, and tarantula. Among a few races of Asia the serpent, which is found in a few old Persian carpets, has been regarded as emblematic of immortality, but has been more frequently considered as the symbol of knowledge. The scorpion, also, was supposed to represent the idea of knowledge. It does not often appear in woven design, but is sometimes drawn with careful precision in Caucasian fabrics. The turtle or tortoise stands for constancy. What is called the “turtle border” (Plate [E], Fig. 3, opp. Page 156), which was probably derived from interlacing arabesques, occurs most frequently in Feraghans and also in some other Persian rugs, as Muskabads, Sarabends, Serapis, and even the Sehnas. The tarantula and crab designs are found exclusively in borders of Caucasian rugs. As their resemblance to the animals they are supposed to represent is remote, it is most probable that they are simply the conventionalised forms of the star and palmette.
Among the designs seen in Chinese rugs are several not found in any others. Of these the dragon, originally intended as a symbol of the infinite, denotes imperial power; the stork, long life; the duck, conjugal felicity; the bat, happiness; and the butterfly, a spirit. These designs will be noticed in the chapter on Chinese rugs.
With few exceptions the only modern rugs in which birds are represented are the Persian. The drawing as a rule is far from natural; but in the fine old carpets it is often so accurate as to show unmistakably the order to which they belong. Several of them were used symbolically, as the bird of paradise, suggestive of felicity; the peacock, symbol of fire; the eagle, emblem of power. The attitude, to be sure, in which they appear, affects in a measure their symbolic meaning; as an eagle in flight denotes good fortune, but one in the act of descending denotes ill luck.
As the Mohammedan religion interdicts portraying birds and beasts as well as human forms, they are rarely seen in any rug of Western Asia Minor, which is inhabited by the Sunnites, the strict conformists to the law of the Koran; but in Mohammedan countries lying farther to the east, where the Shiites or nonconformists live, animal designs are very common. In modern rugs of Persia and Caucasia, dogs, goats, and camels are the most popular animal subjects, but the drawing is often so poor that the identity is in doubt. In the old carpets, on the other hand, animals and human beings were most realistically drawn, and were intended to represent symbolically the weaver’s thought. In fact, those masterpieces of Persian art known as the “Hunting Carpets” would lose much of their interest if their many forms of animal life were without symbolic meaning. In them the lion is a symbol of victory, power, the sun, and the day; the antelope and unicorn are symbols of restfulness and the moon. The lion destroying an antelope would mean, then, the victory of day over night, or of a powerful over a weak foe. Leopards and hounds likewise symbolise success and fame. There are also mythological creatures, as the phœnix, emblematic of life and resurrection, and the winged djinni or Persian spirits, that often adorn the fields and borders of some of the elaborate antique carpets of Iran.
Not only the forms of vegetable and animal life and their relative attitudes to one another were intended to convey a symbolic meaning, but among almost all ancient races colours had a special significance. To the Moslems no colour was more sacred than the green, which, though difficult to produce in beautiful tones, they have placed in the fields of many of their prayer rugs. To them, also, blue was the emblem of eternity, and in the spandrels above the arches it was the symbol of the sky. Though to the Hindoo it denotes ill luck, it was the chosen colour of the Persians, as well as one of the imperial colours of the Chinese. Among all nations yellow, another imperial colour of China, and red are suggestive of joy and happiness. Such colours, when used in conjunction with other emblems, expressed not only beauty, but also different shades of thought.
Plate 14. Persian Animal Carpet in the Metropolitan Museum Of Art, New York
These are but a few of the many motives that are employed by the weaver. Some of them represent objects intimately associated with his daily life. Some of them reflect his thoughts and emotions. Others are the still unsolved hieroglyphics of his craft. When, then, we examine some old worn rug, we may see only an exquisite pattern resplendent in the deep rich colours of an art now lost; but if to an æsthetic taste be added an interest in a symbolism that expresses something of the thought and life of the weaver, we may find in the study of the various designs another charm that increases with the discovery of any previously hidden meaning.