Oriental Rugs, Antique and Modern

by W. A. Hawley

Kabistans.—Within recent years most of the rugs shipped from the southern part of Daghestan have become known in Western markets as Kabistans, though the distinction between them and the type that takes the name of the province is so slight that it is determinable only by the strictest analysis. In fact, Kabistans are merely a variety of Daghestans. Both have short nap and occasionally adopt the same colour scheme and patterns, so that many of each class are indistinguishable from one another.

On the other hand, there are a few interesting points of difference between the best types, which are largely attributable to geographic environment. As the only easy access to this province from the south is by the shore of the Caspian, where the great mountain wall that forms an almost impassable barrier between Northern and Southern Caucasia descends to the plain, the district adjacent to this entrance on the line of travel would naturally feel and show a foreign influence, while the remote and more inaccessible parts of the province would be unaffected. Accordingly, the designs of Kabistans are more varied, and it is not surprising to find in them evidences of Persian influence not so apparent in the Daghestans. In some, for instance, are pear designs, like those occasionally seen in Shiraz pieces; and the rich tones, that are usually more subdued than those of the Daghestans, suggest the finest dyes of the Feraghans. There is also a slight difference in weave. Both display the two threads of warp encircled by each knot with equal prominence at the back; but in the Daghestans the alignment of the two halves of the knot, as they appear at the back, is more regular; while in the Kabistans one extends beyond the other in the direction of the length of the rug, as is the case with the Shirvans woven in the adjoining country to the south. Frequently the weft of Kabistans is of cotton; and the filling is not as wide as that of Daghestans, which is of wool. Moreover, the Kabistans may be either overcast or have a selvage at the sides, but the Daghestans have almost always a narrow selvage. Among the modern pieces there is a tendency for both classes to follow the side finish of the Shirvans.

A well-known type of old Kabistans, that is also sometimes repeated in Daghestans, has a dark blue field on which are spaced in regular order white bracket-like designs, in which the perpendicular arms are usually connected (Plate [O], Figs. 18-a and 18-b, Page 291). Their origin is unknown; but when their shape and their position in reference to the rosettes or effulgent stars that are placed near them are considered, the thought is at once suggested that in them is reproduced after a long process of slow change a conventionalised form of the Herati design. Other small harmonious designs are properly spaced throughout the fields, and in the main stripe of the border, on a cream-coloured ground, is frequently seen the beautiful pattern of Cufic origin represented in Plate [J], Fig. 19 (opp. Page 228). Old pieces of this pattern, which are now growing rare, represent in weave, colour, and design the masterpieces of Caucasian textile art.

Another pattern consists of diagonal stripes with small geometric figures, or of small floral forms arranged in rows, so that those of similar colour fall in diagonal lines. Again, the entire field may be covered with rectangular pears like those of Baku rugs. Oblong odjaliks are often seen with fields of dark colour, at each end of which are large geometric figures symmetrically balanced with reference to the centre. But they are so fringed with latch-hooks and so subdivided into smaller devices, which are accentuated by the shortness of the nap, that they have the effect of an assemblage of smaller designs.

Type Characteristics. Colours, principally blue, also some red, ivory, green, and brown. Knot, Ghiordes. Knots to inch horizontally seven to twelve; perpendicularly, eight to sixteen. A half knot, as it appears at back, is as long as wide and occasionally longer. The rows of knots are not firmly pressed down; their alignment is less even than in Daghestans, yet the warp may be seen at back. Warp, wool; each of the two threads encircled by a knot is equally prominent at back. Weft, wool or cotton, of medium diameter. A thread of weft crosses twice between every two rows of knots and occasionally three times. Pile, wool, of medium length. Border, three to five stripes. Sides, generally a weft-overcasting, or a two-cord weft selvage; occasionally a double overcasting or selvage. Lower end, a narrow web, not infrequently a fine braided selvage and warp loops. Upper end, a narrow web, occasionally a fine braided selvage and warp fringe. Texture, moderately firm. Weave at back is of medium grain. Usual length, five to twelve feet. Usual width, one half to three quarters length.

Plate 45. Shirvan Rug

Kubas.—Not far from the southeast corner of the province of Daghestan, in a plain watered by streams that debouch from the Caucasus, is the small town of Kuba. It is on the site of an old Persian fort, about which in the course of time sprang up a town sufficiently important to be the residence of a Khan. For a long period previous to the treaty of Gulistan, in 1813, the influence of the Persians had been predominant in this part of the country; and it is not improbable that some of the oldest Kuba rugs now existing are the work of their weavers. Many, on the other hand, have few foreign characteristics either of weave or design, and show a relationship to the work of the Shemakha tribes, who inhabit an adjoining district in Shirvan.

In some of this class the floral form receives more elaborate treatment than in any other Caucasian rug. One of the patterns of undoubted Iranian inspiration represents a large oval panel or medallion, with graceful outlines resting on a field of deep blue and sable brown, streaked with waving lines of gold. Within the medallion is a lavish display of large flowers en masse, and not detached from one another or arranged in set form, as is the case with most floral patterns. In each corner is a rose with spreading petals that equals the largest seen in nature, and with colour that suggests the beauty of a Duchess or Marechal Niel. Surrounding all is a narrow dainty border of some well-known Persian vine. The most recent copies of this pattern, that has been followed for at least a century and a half, are so crude as to resemble but slightly the oldest, which suggest the work of some early Kirman weaver and are unsurpassed in beauty and artistic elegance by any other Caucasian rug.