As early as the time of the Caliphs this district produced large numbers of carpets; though few, if any, remain that were woven before the XV Century. As is the case with modern pieces, all of them were distinguished for their soft and beautiful wool, which is to be attributed to the climate and pasture of the surrounding mountains and valleys. One of the oldest existing rugs of this district which displays the characteristic wool is referred to by Dr. F. R. Martin in the following words:[22] “As soon as I had touched it, I was certain that we had to deal with a very rare kind of carpets which were made at Shiraz, or at least with the brilliant Shiraz wool. Most of the carpets made of that wool are lost, because the material was such a soft one that it was easily worn out. I know of very few which are older than the eighteenth century. No wool in all Persia takes such rich and deep colour as the Shiraz wool. The deep blue and the dark ruby red are equally extraordinary, and that is due to the brilliancy of the wool, which is firmer and, so to say, more transparent than silk, and makes one think of translucent enamel. As a piece of colour this carpet is certainly one of the finest, and there are very few carpets that have greater charm, which even the best reproduction could not give. In its colours there is something of an early Gothic stained-glass window, where the dust of ages has so covered the design that it has become obscured and the imagination of the spectator must complete it. Certainly the Persians for whom this carpet was made used to sit and dream for hours over the beauty of its colours, beautiful as the wonderful landscape surrounding Shiraz.”
On account of the design and workmanship of this remarkable piece it is referred by Dr. Martin to the XV Century. During the two following centuries the carpets of Shiraz attained the high standard of excellence prevalent in the principal cities of Persia; but most of those pieces are now extremely rare, as they were woven chiefly for imperial use or for exchange with foreign rulers. This city experienced the art decadence that began with the XVIII Century, yet under the patronage of Kerim Khan imperial factories for weaving were again established there.
Though some of the rugs made eighty or even sixty years ago are certainly beautiful, these modern pieces, as a rule, lack the excellent qualities of early rugs, and those more recently woven are still poorer. On a few of them are depicted designs that are strictly Persian; but they generally depart widely from the early traditions, and floral forms are very much conventionalised. In a large number of this class the field is covered with pear designs which are described by straight lines and angles. Sometimes they are as small as in the Sarabends, occupying the whole field as the principal motive; or they may be placed less prominently within diagonal or perpendicular stripes. Again, they may be as large as in Khorassans and grouped with other designs. Another very common pattern, known as the “pole-medallion,” consists of a narrow perpendicular bar connecting two or more large diamond-shaped figures on which are grouped conventionalised floral forms and geometric designs. In other pieces the pattern is as geometric as that of any Caucasian rug, and it is not unusual to see both field and border profusely adorned with latch-hooks enclosed within and surrounding geometric figures. Nor is it unusual to see small figures of men and animals scattered through the field. Indeed, there is no other Persian rug in which the pattern is so heterogeneous. The borders usually consist of a number of narrow stripes, or a wide one with narrow guard stripes. One of them, at least, almost invariably contains some form of vine and leaves, and not infrequently the row of small X figures that also appear in Shirvans. In fact, the rugs are sometimes mistaken for Shirvans on account of the resemblance in geometric designs.
Though there is such variety in the patterns, these rugs are not difficult to recognise. There is something distinctive about the dark blues and reds contrasted with smaller areas of ivory and yellow. They are, as a rule, loosely woven, and many of them have a trait of lying unevenly on the floor. Not infrequently an extra band of pile is woven between the border and the broad embroidered webs of the ends, from which hang a loose fringe. The sides are overcast with heavy strands of wool varied like a barber-pole at regular intervals; and, as is not the case with any other class, they are often ornamented at intervals with coloured tassels.
There are also large numbers of Shiraz saddle-bags, which are superior to any others made. They resemble the Caucasian, as the patterns are geometric; but they may be distinguished from them by the finer wool and a slightly different colour scheme.
Not infrequently the term “Mecca” is applied to Shiraz rugs, and the impression is conveyed that they were made there. Nor is the statement always entirely devoid of truth; for each year caravans aggregating some two hundred thousand souls enter that city to make their devotions to Allah, to walk around the sacred stone within the Kaaba, and leaving behind their forgotten sins to return homeward with a bit of sacred earth or a strip of the temple’s covering. Each of these pilgrims bears offerings for propitiation, of which a large proportion are rugs; and whatever their size, they are invariably the choicest the devotee can offer. Since the Mohammedan priests regard the best interests of their religion and themselves as conserved by a disposition of all articles not directly available for their use, they sell large quantities of such rugs, that find their way to Cairo, Damascus, and Constantinople. Furthermore, the pilgrims carry many pieces which are sold or exchanged along the routes of the caravans or at Mecca, and ultimately reach the same markets. Such a large number of the pieces that years ago came from these sources were of the well-known type of Shiraz rugs that they and similar pieces which had never left Persia were called Mecca rugs. This deception is still encouraged by some dealers, because for many buyers a special interest is attached to a piece that they are persuaded has been carried on this pilgrimage as an offering.
Type Characteristics. Colours, principally blue, red, and ivory, with minor quantities of yellow and green. Knot, generally Sehna, frequently Ghiordes. Knots to inch horizontally seven to twelve; perpendicularly, eight to twelve. At back one of the half knots is generally smaller than the other and pressed to one side. The other half knot is about as long as wide, and the yarn is not drawn tight against the warp. The rows of knots are pressed down, so that their alignment is slightly irregular, and the warp is concealed at back. Warp, almost always wool; in a few modern rugs goats’ hair is used. Each of the threads encircled by a knot is almost equally prominent at back, or occasionally one to each knot is depressed. Weft, wool of medium diameter, frequently coloured red. A thread of weft crosses twice between every two rows of knots. Pile, wool, short to medium, and silky. Border, three to five stripes. Beyond the borders, at each end, is frequently a narrow band of pile. Sides, a heavy double overcasting in a barber-pole stripe or in short lengths of different colours, which generally consist of two of the following colours: red, yellow, green, and blue. In some pieces small tufts of wool protrude from the sides at regular intervals of one or more feet. Lower end, a broad web of coloured stripes, through which may run a dovetailed coloured cord, and warp loops. Upper end, a broad web of coloured stripes, through which may run a dovetailed coloured cord, and warp fringe. Texture, loose. Weave at back is of slightly coarse grain. Usual length, five to nine feet. Usual width, three fifths to four fifths length.
Plate 27. Gorevan Rug