Oriental Rugs, Antique and Modern

by W. A. Hawley

Plate 33. Melez Rug

Tabriz.—Although Tabriz, capital of the province of Azerbijan, is situated in a remote corner of Persia, from the earliest times it has been one of the most important centres in the Orient for the production of carpets. They were well known in the days of the Caliphs; and some of the earliest masterpieces that now remain were woven there during the reign of Shah Tamasp, who extended to this industry his royal patronage. This city has been for a long period on the great routes of caravans passing to Trebizond and Tiflis from the country to the south and east, so that it has become the principal mart of Persia for the export of rugs gathered from surrounding regions. Nevertheless, it still continues to produce its own pieces; but the weavers are in the employ of foreign companies who prescribe the character of workmanship. As a consequence, the rugs are of good material, excellently woven; and though many of the old dyes are no longer used, the colours as a rule are fair; yet on account of the mathematical exactness of their formal patterns the truly Oriental spirit is largely lacking.

Since the rugs are made solely to meet the requirements of Western buyers, the patterns are various. Most of them consist of a large central medallion surrounded by a broad field of ivory, blue, or red that extends to the sides and ends. In others, a small diamond occupies the centre and is surrounded by a series of concentric medallions. Although in these respects they correspond with Kermanshahs, Sarouks, and Kashans, the patterns of their fields lack the long scrolls and interlacing branches, and consist frequently of short, slender stems supporting fronds, leaves, flowers, or the pear designs arranged so as to present almost the appearance of lace-work. Sometimes the drawing is a delicate tracery representing intertwining arabesques. A field completely covered with the small designs peculiar to Sehnas, or containing the disjunct forms of nomadic rugs, is never seen; and yet it is not improbable that many of the early Tabriz weavers were Kurds. Sometimes the flowers are similar to the roses of Kirmans, or are realistically drawn compositæ surrounded by delicate leaves on graceful stems; some times the small designs are as formal as the palmettes of old Ispahans, from which they were doubtless copied; again, the naturalistic and conventional may be blended together in an harmonious whole. But whatever the pattern, the different parts show the perfect balance so frequently seen in the antique pieces of three or four centuries ago. Nevertheless, to these types are many exceptions, since the weavers will produce for hire any class of rug or copy any coloured drawing.

The borders differ from those of Kermanshahs, with which these rugs are frequently compared, in the fact that in their central stripe the continuous vine of leaf and flower is less conspicuous; and in its place are often palmettes, pears, shrubs, or formal trees separated by foliated scrolls. Not infrequently the smaller stripes, also, have a repetitive pattern of leaf and flower, though in some of the many stripes is usually a well-drawn vine. Again, the border may consist of a series of cartouches that have been copied from much older rugs and contain verses of the Koran or of Persian poets. Within recent years this tendency among the Tabriz and Kermanshah weavers to imitate not only borders but also fields of old masterpieces is increasing.

A feature peculiar to a very large number of these rugs is the adoption of very finely spun linen for the warp; though cotton, which is used for the weft, is sometimes substituted. The knots are carefully tied, and the closely woven texture presents an appearance at the back similar to that of Sarouks; but the almost concealed weft is generally either white or pink. The weave compared with that of Kermanshahs is finer, but the wool of the closely shorn nap is neither so soft to the touch nor so silky, the colours are harsher, and the patterns more formal. These rugs are made in all sizes, though most are large and almost square.

Type characteristics. Colours, principally red, blue, and ivory. Knot, Ghiordes. Knots to inch horizontally twelve to twenty; perpendicularly, ten to twenty-two. The rows of knots are pressed down, so that the warp is hidden and the weft partly concealed at back. Warp, generally cotton, frequently linen; one of the two threads encircled by a knot is doubled under the other. Weft, as a rule, is cotton, occasionally it is wool or linen, of fine diameter, and frequently dyed pink. A thread of weft crosses twice between every two rows of knots. Pile, wool, clipped short and harsh to the touch. Border, from five to eight stripes and an outer edging. Sides, a two-cord selvage. Both ends, a narrow web and loose warp fringe. Texture, firm. Weave at back is of fine texture. Usual length, nine to eighteen feet. Usual width, two thirds to four fifths length.

Gorevans.—Of the many rugs now made in Persia and designed primarily for use, few are of such moderate price as the Gorevans, which, during recent years, have been imported in large numbers from the province of Azerbijan in Northwestern Persia. A hasty glance suggests Occidental craftsmanship, but in every essential they are distinctly Oriental. Their stout weave, large size, and nearly square shape place them in the class of Persian pieces often called carpets, to which belong the Kermanshahs, Muskabads, Mesheds, and rugs of Tabriz. Yet they are frequently larger than any of these, and are readily distinguished from them by their colours and patterns. It is true that they have the same light shades, but the tones are in a distinctly different scale, consisting principally of dull brick-red, light terra cotta, buff, dark blue, dull green, yellow, and ivory, which, when once recognised, are rarely mistaken for those of any other rugs. Nor are the colours distributed in patches so small as to blend when viewed at a short distance, but are of sufficient masses to be separately observed and analysed.

The patterns are equally distinctive. The field is generally covered with a number of concentric hexagonal-shaped medallions, of which the longer sides of the largest are often marked with conspicuous indentations such as are not seen in classes made in other districts. All of the medallions are covered with large designs, in which the artist has departed from the usual forms of vine, leaf, and flower, that poorly imitate the splendid examples of so-called “Ispahans,” and in many instances has represented them in the archaic drawing of the oldest remaining Persian carpets. Hard, straight lines with angles replacing graceful curves define the medallions, corners, stems, leaves, and flowers. And not infrequently the formal treatment shows a European influence, as when all semblance of leaf and flower has disappeared in the extremely conventionalised forms that are placed with set regularity in the field. A very noticeable feature of these rugs is the manner in which the designs are coloured, as it is not unusual to represent a large figure in two strongly contrasting colours, as blue and pink separated by a stiffly drawn line.