Oriental Rugs, Antique and Modern

by W. A. Hawley

From this city and the surrounding hills are still obtained large quantities of rugs, which follow the same patterns that for years have been characteristic of this district. Yet most of the modern Kermanshahs are made elsewhere in the workhouses of exporting companies. So noticeable is the resemblance in drawing and colouring of some of them to the Kirmans of Southeastern Persia, that they are offered now and then by dealers as real Kirmans, though they lack the fine technique and artistic merit of the latter. They possess, however, the same wealth of floral expression, for throughout border and field are sprays of flowers on delicate vines and foliate stalks. Most of the pieces now seen contain at the centre of the field a large medallion, which may have serrated or lobed edges, be oval or of diamond shape, and with or without pendants. The corners are

defined by lines that do not always conform to those of the medallion; and the borders have always several stripes, of which the main one is usually but little wider than the others. In all these different parts are floral and foliage motives that find expression in sunflowers, roses, tulips, daisies, and many simpler forms, supported by delicate branching sprays and vines.

There are, however, other patterns less frequently met with, as it is not unusual to see elaborate pear designs, and sometimes the cypress or the palm tree naturalistically drawn. Covering the field of a rare old Kermanshah recently seen were thirty large panels, which like so many small rugs contained central fields that were alternately coloured blue and ivory. Surrounding each of these little fields, on which were represented the arch of a temple and the tree of life, were borders wherein were woven verses from the Koran, and at the intersections of the borders were floral designs like roses. Encircling all the panels was a wide border containing escutcheons in which were woven other verses. Without doubt this rug was used for sacred purposes. In fact, a larger proportion of Kermanshahs than almost any other Persian rugs have prayer arches as well as verses from the Koran inscribed in some part of them, but with very few exceptions they are recently woven and bear no evidence of devotional usage.

The general colour scheme is distinctive, for the tones are much lighter than those of most other Persian rugs. Frequently a field of ivory surrounds the central medallion, though sometimes a light rose red is used. Other colours are light blue, green, and buff, which are softened by the floccy quality of the excellent and moderately short-clipped wool. One feature common to almost all of them is the narrow edging of pinkish red that surrounds the border. This edging, the foliate scrolls, the soft light tones, and the rather coarse weaving, that leaves the white or sometimes pinkish weft exposed at the back, are characteristics by which these rugs may readily be distinguished. As they come in all sizes from small mats to large carpets, and have tones that harmonise with almost any surroundings, they are a most popular class with those who care little for association and ignore the fact that they are chemically washed.

Type Characteristics. Colours, principally light rose and ivory, also blue, green, and buff. Knot, Sehna. Knots to inch horizontally twelve to eighteen, perpendicularly eleven to eighteen. The rows of knots are pressed down, so that the warp is concealed at back, but the weft is conspicuous. Warp, cotton; one of the two threads encircled by a knot is doubled under the other. Weft, cotton, of medium diameter, sometimes dyed pink. A thread of weft crosses twice between every two rows of knots. Pile, wool, soft and of medium length. Border, frequently of three stripes of almost equal width, but sometimes many stripes; also an outer edging that is generally red, but occasionally blue. Sides, a double overcasting in same colour as edging. Lower end, a narrow web and warp loops, or short warp fringe. Upper end, a narrow web and short warp fringe. Texture, firm. Weave at back is of moderately coarse grain. Usual length, four to fourteen feet. Usual width, three fifths to four fifths length.

Western Kurdistans.—Within the land lying between the Anti-Taurus and Zagros mountains, where the Euphrates and Tigris rivers have their sources, dwell a people almost as untamed as when in the dawn of history they were designated the “Warriors;” or centuries later, under the name “Carduchis,” opposed the retreat of Xenophon and his ten thousand Greeks. Now they are known as “Kurds,” of whom large numbers, wild, brave, and hospitable, live a nomadic life among table-lands partly covered with sycamores and oaks, or follow their sheep over lofty pine-crowned mountains, that for long months are enveloped in snow. Doubtless the cheering influence of green hillsides and the rich vegetation of innumerable valleys, where streams flow perennially, is in a measure responsible for their more sprightly aspect when contrasted with that of the Persians. They recognise no law but the will of their chief, to whom they maintain strictest fealty. “There was up to a recent period no more picturesque or interesting scene to be witnessed in the East than the court of one of these great Kurdish chiefs, where, like another Saladin, the bey ruled in patriarchial state, surrounded by his clansmen with reverence and affection, and attended by a body-guard of young Kurdish warriors, clad in chain armor, with flaunting silken scarfs, and bearing javelin, lance, and sword, as in the time of the Crusades.”[27]

Plate 32. Melez Prayer Rug