Oriental Rugs, Antique and Modern

by W. A. Hawley

Plate 38. Mudjar Prayer Rug

So essentially do the modern rugs of the Ghiordes district differ from the old pieces in weave, colour, and pattern, and so great is their inferiority, that they have little interest; but fortunately it is still possible to purchase pieces from seventy-five to one hundred and fifty years of age, and others still older are in the hands of collectors or in museums. In determining their age the colours and drawing, as well as weave and pattern, are important indices. For instance, the reddish tones of the fields of pieces less than a century old have a pinkish or even magenta tinge, while in the oldest the red is of rich, deep colour. Similarly, in the case of blues, greens, yellows, and even the ivories that rarely occupy the field, a riper and richer colour marks the greater age. Likewise with the drawing, greater painstaking and higher artistic skill are apparent in the older rugs; though in some of the oldest the designs are less ornate than in those of a subsequent period. This is also true of the patterns as a whole; since the best types are found in rugs that are probably from one hundred and fifty to two hundred and fifty years old, whereas in the extremely old pieces there is an approach to archaic forms.

The difference between the odjaliks and namazliks, which are the kinds most frequently seen, is most noticeable. The colours, to be sure, are much the same, though as a rule lighter and duller tones predominate in the odjaliks. Their borders show a greater tendency to use geometric figures, some of which are profusely fringed with latch-hooks suggestive of Caucasian influences. They also contain archaic designs believed to be associated with sun worship, as well as many floral forms common to the prayer rugs. It is, however, in the fields that the distinction is most noticeable; since the large masses of uniform colour that make the namazliks so effective are wanting, and instead are frequently seen hexagonal-shaped medallions that are fringed with large rounded latch-hooks and contain a lozenge or other geometric design in the centre. At both ends of the fields are sometimes narrow panels containing quasi-floral forms, and stiff conventions occupy the intervening corner spaces.

In striking contrast to these odjaliks are the old Ghiordes prayer rugs, with the rich tones of solid colour in the fields and the delicate drawing of the borders. No doubt they were made with unusual care, since they were intended for religious purposes. The pattern represents an entrance into a mosque; and it is not improbable that some of the earliest rugs were copied directly from archways, many of which still exist in Mohammedan countries.[29] Near the base of all Ghiordes arches, at each side, is a shoulder, which in old pieces was supported by a single pilaster or a pair. Sometimes these were ornamented with scroll work or floral forms, but finally many of them degenerated into floral devices that bore slight resemblance to columns, and in other rugs they have entirely disappeared. In some very old pieces the shoulders and the mihrab were rounded, but as a rule the shoulders are flattened at a very obtuse angle; and the mihrab is either plain or has stepped sides that culminate in a blunted apex. To further suggest the sacred purposes of the rug a lamp is often suspended from the niche, though floral forms may take its place, and not infrequently these too are wanting. Almost without exception some reminder of the tree of life, such as the small floral sprig or the Rhodian lily, is projected from the inner side of the arch and from all sides of the border against the field. In the spandrel, also, is almost invariably some floral or leaf form; though these may be very much conventionalised or even supplanted by geometric figures. Above the spandrel is a panel, which may contain some floral form, scroll device, or verse from the Koran; and another panel, though generally with different design, is almost invariably placed beneath the field. A scroll resembling a large S (Plate [O], Fig. 9, Page 291) frequently appears in these panels. Its resemblance to forms found in Armenian dragon carpets of earlier centuries is very noticeable.

The border surrounding the field is as characteristic of this class as is the prayer arch. There are invariably a number of stripes, which generally consist of a wide central one, two secondary, and two or more small guard stripes. The drawing is distinctly floral, yet is widely different from the Persian. A design (Plate [G], Fig. 1, opp. Page 192) frequently seen in the central stripe represents a large palmette or rosette partly surrounded by leaves, suggestive of the Herati design, and connected by tendrils with more delicate flowers or leaves. But the more usual design (Plate [G], Fig. 3) consists of flowers and fruits that are arranged in quadrangular shape, so that the alternate units face in different directions as they extend around the border. Though it is far from naturalistic, its delicate lace-like drawing with clear definition and its tones in harmony with the central field, contribute largely to the beauty of the rug. The secondary stripes have generally repetitive leaf forms; and running through the guard stripes is a simple vine, ribbon, or wave design. Occasionally, however, the typical Ghiordes border is replaced by one borrowed from the near district of Kulah, and instead of the broad central stripe are several narrow parallel stripes studded by perpendicular rows of small floral figures (Plate [G], Fig. 12). An unusual feature of these rugs is the linen nap which is sometimes used in the field instead of wool, for the reason that it retains its colour while wool darkens with age; and another is the silken fringe which is often seen at the corners of fine specimens. The nap is always short, and the rugs are closely woven.

Type Characteristics. Colours, principally red, blue, yellow, and white. Knot, Ghiordes. Knots to inch horizontally seven to twelve; perpendicularly, eight to sixteen. The rows of knots are pressed down, so that the warp is concealed and the weft is partly hidden at back. Warp, wool or cotton and in a few pieces raw silk. One of the two threads encircled by a knot is usually slightly depressed below the other at the back. Weft, wool or cotton. A thread of weft crosses twice between every two rows of knots. Pile, wool, and occasionally some cotton, clipped very short so as to be harsh to the touch. Border, six to nine stripes. Sides, a weft selvage of two or three cords, or only infrequently an added selvage of silk. Both ends, a narrow web and warp fringe. A few pieces have an added silk fringe at the corners. Texture, firm. Weave at back is of very fine grain, but slightly rough. Usual length, five to seven feet. Usual width, two thirds to three quarters length.

Kulahs.—About fifty miles from Ghiordes, in a southeasterly direction, is the Turkish village of Kulah. Both places are surrounded by the same general character of hills and plains, and for the last several centuries the people of each have been subject to the same influences of race and religion. They have undoubtedly visited, intermarried, and become familiar with the arts and crafts of one another. It is not, therefore, surprising that some of their rugs should have similar technique of weave, and that a few resemble one another in general pattern and small designs. Moreover, such a close correspondence exists between many of the old rugs of both districts, that even the most experienced are sometimes at a loss to distinguish between them. In fact it is surprising that there is so marked a distinction between most of them. In the Kulahs the border designs are not so elaborately drawn, nor are the prayer arches so high. They have rarely the fringe that adorns the corners of some Ghiordes rugs, or more than one panel. The field usually contains floral figures, arranged in formal order; the spandrel is almost always extended in two narrow stripes, one at each side of the field; and the colours are always subdued. These and other characteristics of each class make it possible to distinguish between most of them.

As is the case with Ghiordes rugs, sedjadehs are almost unknown; but it is not unusual to see odjaliks. These resemble prayer rugs in the following respects: the borders are almost identical; the central fields contain the same floral figures resting on a similarly coloured ground; both ends of the hexagonal-shaped field resemble a mihrab; and the space between the field and border is covered with designs peculiar to the spandrels of the prayer rugs.

On account of their artistic drawing and soft colours the prayer rugs are favourite pieces with all collectors. It is true that the arch is flatter than that of any other rug of this group, and is defined either by plain sloping lines, or more frequently by stepped edges, so that it lacks the classic beauty of the Ghiordes type; but on the other hand the Rhodian lily and other floral forms characteristic of these pieces are delineated with a realism and graceful delicacy that are unequalled in any other Asia Minor rugs. Arranged on slender sprays along each side of the field, hanging as long clusters from the niche in place of a lamp, or placed on the panel in formal rows, they accentuate with their bright tones the subdued richness of the ground colours. Sometimes, however, these simple field designs are replaced by more formal drawings that represent a plat of land with a tomb shaded by a tall cypress and other trees with many leafy branches. Rugs with these designs are not uncommon in Germany, whither large quantities of Asia Minor prayer rugs were shipped many years ago, and where they are known as “Friedhofteppiche,” or “Grave Rugs,”