COLOUR PLATE VII—LADIK PRAYER RUG
The rug here represented conforms in every particular to one of the best types of Ladik prayer rugs. It contains the beautiful border stripe of Rhodian lilies, the pomegranates and vandykes in the panel below the central field, and the queer designs of scrolls and serrated leaves so peculiar to these rugs. It is interesting to see how the pattern of the innermost stripe, which consists of a row of S-forms at the top and sides, is changed so as to resemble a ribbon at the bottom, to note the eight-pointed stars resting on octagons in the lower panel, so suggestive of nomads, and also the designs which have been placed near the two corners on the left, between the rosettes and Rhodian lilies of the main stripe, as if to divert the spell of the “evil-eye.” Such irregularities, denoting the idiosyncrasies of the weaver, add to the charm of Oriental rugs.
Loaned by Mr. Hulett C. Merritt
Yuruks.—Suggestive of gipsies, yet widely unlike them, are the tribes of Turkoman descent known as Yuruks. This term means “Wanderers;” and they are well named, since throughout the western part of Asia Minor they follow their sheep, cattle, and camels from the rich pastures among the mountain tops of the interior, where they live in summer, to the fertile, sunny plains bordering the seashore in winter. Even near Smyrna and the slopes of Mt. Olympus may be seen their black goat’s-hair tents, where the unexpected guest is always welcome.
In their rugs is the reflection of their untrammelled lives, unaffected by the refinements of cities; and as their lives are different from those of all other inhabitants of Asia Minor, so are these rugs entirely distinct, resembling more than anything else the work of the wild Kazaks of the Caucasus. In them will be recognised the same long nap, the same massing of colour, the same profusion of latch-hooks, and other simple designs. The colours, however, are less brilliant, bright reds and yellows being more sparingly used; but on the other hand the depth of floccy nap gives a subdued richness to the dark metallic madder, blue, green, and brown, such as is rarely seen in any Kazak. The patterns show the usual diversity of nomadic rugs. The fields may contain crude, unrelated figures, or diagonal stripes on which are small geometric designs. Again from the Kurdish tribes to the east may be adopted the pear designs as well as floral forms, but the drawing is always far from realistic.
Most of the modern rugs have fine wool coloured with vegetable dyes, and stout warp and weft woven to give flexibility; but their patterns show a want of all artistic feeling. Now and then, however, comes to light a piece that has stood the wear of more than a century, showing the touch of a higher craftsmanship, and with colours softened by each succeeding year.
Type Characteristics. Colours, principally brown, red, and blue, with minor quantities of yellow, green, and white. Knot, Ghiordes. Knots to inch horizontally five to seven; perpendicularly, six to nine. The rows of knots are not closely pressed down, yet the warp does not show at back. Warp, wool or goat’s hair; each of the two threads encircled by a half knot is equally prominent at back. Weft, wool of medium diameter. A thread of weft crosses two, three, or four times between every two rows of knots, varying in the same rug. Pile, wool, clipped long. Border, from four to six stripes, occasionally with an outer edging. Sides, generally a heavy double overcasting, but occasionally a double selvage of two or three cords. Lower end, a coloured web through which generally runs a parti-coloured cord, and warp loops; or the warp threads may be knotted and hang loose. Upper end, a coloured web through which generally runs a parti-coloured cord, a braided selvage, and a warp fringe; or the warp ends may be braided together at short intervals. Texture, loose. Weave at back is of moderately coarse grain. Usual length, four to nine feet. Usual width, two fifths to two thirds length.