Some old saddle-bags are still to be found, rich in their fields of deep blues and floral forms of brighter tones, but unfortunately they are somewhat marred by the long slit in the centre made to fit the saddle.
Type Characteristics. Colours, principally dark blue, red, and ivory, with lesser quantities of green, light blue, and yellow. Knot, Sehna, often Ghiordes. Knots to inch horizontally eleven to twenty; perpendicularly, twelve to twenty-four. The rows of knots are closely pressed down, but the yarn of knots is not drawn tight against the warp. Warp, generally cotton, occasionally linen, rarely silk. Each of the two threads encircled by a knot is equally prominent at back. Weft, generally cotton, occasionally wool or linen, rarely silk. A single thread of small diameter crosses only once between every two rows of knots, so that the white spots of transverse warp exposed at back have a quincunx appearance. Pile, wool clipped very short. Border, three stripes. Sides, a tightly wound double overcasting. Lower end, a short web, or web and warp loops, or web and short warp fringe. Upper end, short web and fringe. Texture, very firm. Weave at back is of fine grain but very rough. Length, three to seven feet. Width, two thirds to three quarters length.
Bijars.—One hundred miles beyond Hamadan, on the road to Tabriz, is the city of Bijar, capital of the district of Gehrous. It is surrounded by barren mountains that rise out of high table-lands, where for miles scarcely a habitation or bush breaks the monotony, and where not even a blade of grass or flower brightens the cracked and sun-parched earth, except for a short season of the year. As is the case throughout nearly all Persia, the spirit of desolation has crept into the city; the grapevine climbs over ruined walls; the shade of poplars and willows falls alike on decaying palace and crumbling houses. Yet there still remain caravansaries, schools, and mosques, as well as a population of five thousand people. Without doubt the importance of the city is partly due to the regiment of soldiers that the governor maintains to keep in subjection the bands of robbers and fierce Kurds who, in large numbers, live throughout the surrounding country. Nor are they the only tribes of fierce foreign blood dwelling in this region; for it is stated that during the invasions of the Timurids, a body of Turkomans from the fortress town of old Saraks, where the corners of Persia and Afghanistan meet Turkestan, followed the conqueror westward and settled here. After them is named a small river that flows a short distance to the north and finally empties into Lake Urumiah; and it is not unusual to apply the name Saraks to the rugs woven about Bijar, though they have none of the Turkoman characteristics.
By adopting some of the best qualities of both Persian and Kurdish rugs, the Bijar weavers have produced pieces of unusual merit. The foundation is generally of wool; but unlike almost all other rugs with nomadic features one thread of warp to each knot is doubled beneath the other in the process of weaving, so that it is almost or entirely concealed. Bijars are accordingly pieces of great firmness and durability. Moreover, their threads of warp and weft are of coarse diameter, so that they are invariably thick even when the nap is not long. They are also distinctive in the effective massing of bright and strong colours. Perhaps the association with ranges of treeless hills, with salt wastes, with vast plains where rainless months leave the grass parched and the flowers withered, has deadened the Persian love for the brilliant, joyous colours so acutely cherished in other parts of Asia; but by the weavers of Bijar it is not unusual to discard many of the Persian colours, which, however rich, are subdued and sombre, and adopt the brighter hues seen in some of the rugs of Asia Minor. Yet, as is not always the case with the latter, there is no sense of outraged taste; and though crimson reds, deep blues, or tawny camel’s hair be brought in relief against a field of strongly contrasting colour, the effect, except in modern pieces of poor dyes, is never displeasing.
Plate 31. Kulah Prayer Rug
In the pattern much latitude is exercised, but only in the oldest pieces are found the gracefully flowing lines suggestive of the highest Persian art. In many pieces a central medallion and triangular-shaped corners, separated by a field of plain or slightly shaded colour, is a favourite pattern. But the defining lines are severe, and lack the delicate drawing characteristic of Kermanshahs and Sarouks. Or the field may be covered with a lattice-work pattern that contains small repetitive forms, consisting of slender stems supporting one or more flowers. Frequently a rug is covered with a medley of designs composed of conventionalised flowers, crudely drawn trees, as well as birds, animals, or human beings. The borders generally consist of an outer edging of plain colour, and three stripes, on which are often represented purely geometric forms, but more frequently the undulating vine and pendent leaves, such as are common to most Persian rugs. Fortunately many sterling pieces still remain that have none of the earmarks of factory-made rugs, but are beautiful with their soft wool and lustrous colours, as well as interesting with their blending of Persian and Kurdish features.
Type Characteristics. Colours, principally red, also blue, ivory, green, yellow, and chocolate. Knot, Ghiordes. Knots to inch horizontally six to ten; perpendicularly, eight to twelve. The rows of knots are pressed down, so that the warp is concealed at back and the weft partly hidden. Warp, wool; one of the two threads encircled by a knot is doubled under the other. Weft, wool, of medium or coarse diameter, frequently dyed red. A thread of weft crosses twice between every two rows of knots. Pile, of medium length, usually wool, but frequently partly of camel’s hair. Border, of three stripes, often with an outer edging. Sides, a double overcasting in red or purple. Lower end, a web that is occasionally coloured or a narrow braided selvage. Upper end, a web with loose warp fringe and sometimes a braided selvage. The webbing is occasionally turned back and hemmed. Texture, very firm. Weave at back is of coarse grain. Length, six to sixteen feet. Width, one quarter to three fifths length.
Kermanshahs.—On an ancient highway between Bagdad and Teheran is the city of Kermanshah. As it is situated near the frontiers of northwestern Persia, facing the Turkish provinces, and is surrounded by mountains where once wandered bands of homeless marauding Kurds who recognised no government, it was formerly a most important stronghold of defence. A century ago Robert Kerr Porter, who visited the city, referred to the luxurious gardens and orchards that surrounded it, and to the villages of the vicinity in which were made “carpets of most beautiful colour and fabric.” Within later years the moat has filled with rubbish, the encircling walls have crumbled, and the deserted bazaars and caravansaries show that its present population of about twelve thousand is but a small part of what it has been. With its decline in political importance followed a decline in industrial activities; yet for a long time it remained a rug-producing centre of importance. In 1880 Sir George Birdwood wrote that “the finest Oriental rugs of our time, which at the Vienna Exhibition astonished all beholders, are those made in the palace of the Governor of Kermanshah, in Kurdistan, and are only disposed of as presents.”[25] And in 1890 a traveller[26] spoke of the weaving as follows: “It is a process carried on in homes, hovels, and tents by women and children.... The vegetable dyes used are soft and artistic, especially a wonderful red and the various shades of indigo. The dull, rich tints, even when new, are quite beautiful. The women pursue their work chiefly in odds and ends of time, and in some cases make it much of a pastime.”