Oriental Rugs, Antique and Modern

by W. A. Hawley

Irans.—Although neither a city nor district of Persia is called Iran, a well-defined class of rugs is known to the trade by that name. They are woven by some of the old Iranian stock dwelling principally in the province of Irak-Ajemi. These people follow no particular pattern or colour scheme of their own, but to a large extent copy those of a few well-known Persian classes; yet in other respects their rugs have a noticeable individuality. They are woven with a Ghiordes knot and so loosely that if the rug be observed from the front, as it is bent backward in a plane parallel to the direction of the weft, the foundation threads of warp and weft, which are of cotton, will show distinctly between the knots. Each of the two threads of warp encircled by a single knot are equally prominent at the back. Ordinarily the threads of weft cross twice between the rows of knots, but occasionally they cross only once, as in Hamadans. Many of the fabrics regarded as Sarabends, Feraghans, and even Hamadans are in reality Irans, which on account of their inferior workmanship are much less valuable.

Type Characteristics. Colours, principally blue and red, with minor quantities of ivory, yellow, green, and brown. Knot, Ghiordes. Knots to inch horizontally, six to eleven; perpendicularly, seven to eleven. A half knot as it appears at back is frequently longer, measured in the direction of the length of the rug, than wide. The rows of knots are not pressed down closely, so that the warp is noticeable at back. Warp, cotton; each of the two threads encircled by a knot is equally prominent at back; they are not closely strung, so that each half knot stands out distinctly. Weft, cotton; a thread of weft of coarse diameter as a rule crosses twice between each two rows of knots, and only rarely crosses but once. The weft is conspicuous between the knots at front when the rug is bent backwards. Pile, wool of medium length. Border, generally four to six stripes. Sides, a heavy double overcasting that is generally brown or black, but sometimes red. Lower end, a narrow web. Upper end, a narrow web and loose warp fringe. Texture, loose. Weave at back is of coarse grain. Usual length, five to ten feet. Usual width, two fifths to three quarters length.

Sarouks.—Towards the western end of the Feraghan plain and at an altitude of seventy-five hundred feet is the mud-walled village of Sarouk. Here, shaded by poplars, are clustered one hundred and fifty houses, with floors, roofs, and sides of mud that has dried and cracked until it admits the wind. The sun and light enter through the open doors, for there are no windows. Nor are there chimneys, but simply openings between the rafters to permit the escape of smoke from the open fireplace in the floor below and the entrance of more wind. At times the atmosphere is not only oppressive with smoke, but is laden with odours that arise from the pens beneath and beside the houses, where fowls, sheep, and goats are huddled. During the winter and early spring snow lies on the ground; a little later a hot summer follows. Yet amid these depressing surroundings and under these adverse conditions lived weavers who gave the name of their little village to some of the most beautiful rugs made in all the East.

Now and then is seen an old piece with surface like velvet and with mellowed tones of perfect harmony that has come from these huts or surrounding hills; but probably not one in a score, perhaps not one in a hundred, of the Sarouks now offered for sale in this country was woven there, as most of them are made in the workhouses of larger cities, though they follow essentially the general appearance and technique of old and genuine pieces, even if lacking some of their best qualities. Nevertheless, the modern pieces are of handsome colour, of graceful pattern, and are well woven. Some of them, which were made two or three decades ago, had large designs of the cypress, willow, or the tree of life, as well as realistically drawn animals represented in the fields; but the great majority of those now seen invariably follow a pattern consisting of a large medallion with pendants, or of two or more concentric medallions resting on the field, from which are set off the four corners. Defining the edges of both medallions and corners are lines that are most artistically irregular, yet correspond with one another.

Between each part is the greatest co-ordination, for the designs of field, corners, medallions, and borders are similar. On long delicate stems that bend and interlock like carved tracery are leaves, buds, and flowers, suggesting the craftsmanship of the best days of old Iran. The borders generally have only three stripes: a broad main stripe on which appears an elaborately drawn undulating vine with pendent flowers, and a narrow guard stripe on each side. Sometimes the guards are ornamented with only a simple vine, but more frequently with a reciprocal pattern, which, however, is so well drawn as to conflict in no wise with the harmony of the floral forms. In the drawing of the borders the weavers exercise greater latitude than in any other part of the rug; for occasionally they add a narrow outer edging of dark colour, place the reciprocal figure next to the innermost stripe as a fringe to the field, or increase the number of stripes to seven. Rarely is the medallion wanting in modern pieces, but now and then the pendants are replaced by bunches of flowers, and in some pieces the corners extend along the sides in undulating lines until they meet near the centre.

Plate 29. Ghiordes Prayer Rug

All of these pieces are so closely woven that the fine bluish weft is hardly discernible at the back. Very few other rugs have such short-cut wool, which has a velvety appearance, rendered more effective by the soft, rich colours that are always in perfect harmony and excellent taste. As a rule they are dark. Ever present in the ground colours are deep blues and reds, suggestive of the hues of the so-called “Ispahans;” while olives, delicate greens, and ivory represent with consummate dignity of tone and design a lavish tracery of leaves and foliage motives.

Type Characteristics. Colours, principally dark blue and red, with minor quantities of green, olive, buff, and ivory. Knot, Sehna. Knots to inch horizontally twelve to eighteen; perpendicularly, twelve to twenty. The rows of knots are pressed down, so that the warp is concealed and the weft is partly hidden at back. Warp, cotton, rarely linen; one of the two threads encircled by a knot is almost always doubled under the other; in a few pieces it is only depressed. Weft, cotton, of small diameter, dyed blue. A thread of weft of fine diameter crosses twice between every two rows of knots. Pile, wool, short and velvety. Border, generally of three stripes but sometimes as many as seven. Occasionally there is an outer edging of dark colour. Sides, a tightly wound double overcasting of red, blue, or black wool. Both ends, a narrow web, or web and short warp fringe. Texture, very firm. Weave at back is of fine grain. Length, four to twelve feet. Width, two thirds to three quarters length.