An equally important characteristic is the large number of pear designs, which are unlike those of any other rug. These designs (Plate [O], Fig. 6b, Page 291) are so rectangular that they have lost all resemblance to floral drawing; and to add to their formality, each is placed in the field with studied regularity and often surrounded by a delicate hexagonal shaped sub-pattern giving a diaper effect. Sometimes, also, they appear in the border between an array of other designs, to which they show no relation; but they never constitute the sole feature of the rug as they do in Sarabends.
At the centre of the field is often a star-shaped design surrounded by a large diamond or other figure fringed with radiating lines. These lines suggest the effulgence of light; and it is not improbable that their origin lay in the mysticism of fire worship. In sedjadehs the corners are set off by quadrants of octagons, of which the diagonal sides are serrated and frequently fringed with radiating lines like the central medallions. Throughout both corners and fields often appear eight-pointed and effulgent stars, the three-cleft leaf, S designs, crude human and animal forms, and other small geometric devices like those seen in Daghestans and Shirvans. But more noticeable than any of these are the realistic but mechanically drawn birds, which are represented in larger numbers and more frequently than in any other rugs woven within the last century.
The borders contain from three to five stripes, of which one at least is always geometric; and another, as a rule, has some suggestion of floral form. Often it is only the carnation in profile; but now and then it is a running vine with leaf or flower, adopted without modification from Persian rugs. This is not, however, surprising, when it is remembered that during the reign of Shah Abbas, Baku belonged to Persia, which for centuries had been the home of devout Parsees, some of whom undoubtedly made pilgrimages to the sacred temple.
These rugs can at once be recognised by their short nap, and their characteristic colours and designs. They are always interesting on account of their marked individuality and the still unsolved symbols of Zoroastrian mysticism they may contain; but in spite of the careful delineation of the design and the delicate mosaic effect of the central medallions, very few, excepting the old pieces, are handsome.
Type Characteristics. Colours, principally brown, tan, blue, yellow, and black. Knot, Ghiordes. Knots to inch horizontally six to nine; perpendicularly, seven to eleven. The rows of knots are firmly pressed down, so that the warp does not show at back. Warp, wool; each of the two threads encircled by a knot is generally equally prominent at back, occasionally one is depressed slightly below the other. Weft, usually cotton, sometimes wool, of medium diameter. A thread of weft crosses twice between every two rows of knots. Pile, wool, clipped short. Border, three to five stripes. Sides, a weft overcasting or a narrow weft selvage. Both ends, a web, one row of knots or more, and a warp fringe. Texture, moderately firm. Weave at back is of slightly coarse grain. Usual length, six to nine feet. Usual width, one half to two thirds length.
Shirvans.—Between the rugs of Shirvan and Daghestan is a relationship easily accounted for by the fact that they are adjoining provinces, and that almost the only approach to Daghestan for the Asiatic races among whom the art of weaving reached its highest development was through Shirvan. Both districts, therefore, received ideas from the same sources; but since Shirvan has been at times more completely under the sway of Persia, it has yielded more readily to the influence of the Persian weavers, as is observable in the flower and foliate forms which are used more frequently and are drawn more realistically in its rugs than in those of Daghestan. On the other hand, the technique of weave as well as finish of sides and ends in the Shirvans lacks something of the refinement observable in the Daghestans.
The oldest existing Shirvans are absorbingly interesting. In them the foliate forms are more noticeable than in almost any other Caucasian rugs, though they may in a measure be disguised by formal treatment. Sometimes they appear as large figures covering a great part of the field and acting as sub-patterns for superimposed smaller devices; but they are most frequently found in the borders. Other old pieces contain lattice-work of hexagonal-shaped diaper patterns, within which may be designs abounding in latch-hooks and figures strongly suggestive of Chinese devices. Such patterns, however, are unusual; as the fields of most old Shirvans are covered with large medallions, stars, and diamonds similar to those of Daghestans, although the drawing inclines to greater simplicity of outline and detail; and they have greater diversity of colour, as tones of blue, red, green, and brown in a field of ivory are not unusual.