Plate 48. Kazak Rug
The patterns of the more modern rugs have become corrupted into a mere mechanical copying of conventional forms lacking all artistic spirit. Some of them resemble those found in both Daghestans and Kabistans, but generally the designs are drawn less clearly in Shirvans. This is partly because, as a rule, they are not so closely woven and the nap is not quite so short. Now and then the large medallions so common to Soumaks are seen; and not infrequently the field is covered with diagonal parallel stripes on which are small geometric devices.
There is, however, one pattern peculiar to Shirvans that rarely, if ever, is adopted in any other class. It has somewhat the appearance of pole medallions and consists of a panel that occupies nearly the whole field and contains broad incisions at each side, which nearly divide it into three or four rectangular sections. Within each of them are octagonal figures, and an octagonal shape is given to both ends of the panel so as to leave small corners to the field. Each part often contains small designs such as latch-hooks, octagonal discs, S forms, eight-pointed stars, and combs, as well as crudely drawn dogs and other animal or human forms. With slight modifications this pattern is sometimes repeated in the prayer rugs (Plate [C], Fig. 11, Page 61), but the section at one end is more completely an octagon, and the remainder is an oblong rectangle. A more usual pattern for prayer rugs has the same form of arch that is common in Daghestans.
Whatever the fields of these rugs may lack in delicacy of drawing is amply compensated for by the diversity and beauty of some of their borders, which have a well balanced harmony of colours. They have seldom less than three, nor more than five stripes, of which the secondary are often as interesting as the primary. The best known is the one with serrated leaf and wine glass, represented in Plate [I], Fig. 1, opp. Page 226, which is found in such a large percentage of Shirvans that it is almost typical of them. If the figures of the field contain latch-hooks, they are very apt to be expressed in some form in the primary stripe. Such a one appears in Plate [I], Fig. 2; and the beautiful Georgian pattern (Plate [J], Fig. 9, opp. Page 228) is also occasionally seen. A very much rarer stripe, which is shown in Plate [J], Fig. 8, is only used when the field has a large central panel with a corresponding pattern. Now and then appears a stripe with no other ornamentation than a formal row of pear designs. Of the secondary stripes, the one with the designs of carnations (Plate [K], Fig. 1, opp. Page 230) is very frequently seen, but its beauty depends largely upon the delicacy of its drawing and colour scheme. On the whole, the Shirvan dyer displays a wider scope in the selection of colours than his Daghestan neighbour, but the tones are not always so rich or harmonious.
Type Characteristics. Colours, principally blue, red, and ivory. Knot, Ghiordes. Knots to inch horizontally seven to twelve; perpendicularly, eight to twelve. The rows of knots are firmly pressed down, so that the transverse warp does not show at back. Warp, wool; each of the two threads encircled by a knot is equally prominent at back. Weft, generally wool, occasionally cotton, of medium or coarse diameter. A thread of weft crosses twice between every two rows of knots. Pile, wool, of short or medium length. Border, three to five stripes. Sides, generally a weft selvage of two or three cords or a double selvage, occasionally a double overcasting. Both ends, a web, one row of knots or more, and a warp fringe. Texture, slightly loose. Weave at back is moderately coarse. Usual length, four to six feet. Usual width, one half to four fifths length.
Soumaks.—Seventy miles to the northwest of Baku, and about the same distance to the south of Kuba, where the high ranges of the Caucasus begin to descend to the sea, is the city of Shemakha. It was almost destroyed by Nadir Shah, but recovered sufficiently within the last century to become the capital of Shirvan and a manufacturing centre of silks. It is the market place for many tribes from the mountains of Daghestan and the valley of the Kur, who take thither their rugs, from which its own weavers often borrow patterns. By a corruption of the name of the city, their fabrics are called Soumaks, though they are more popularly known as Kashmirs, because ends of yarn hang loosely at the back, as is the case with the beautiful shawls of the noted valley of India.