Oriental Rugs, Antique and Modern

by W. A. Hawley

Kazaks.—Of the warlike Cossack tribes, which were once stationed along the southeastern border of Russia to protect it from the depradations of Caucasians, a number settled permanently in Circassia, and a few crossed the mountains to the high plateau lying between Lake Gotcha and Mt. Ararat. Here they adopted more sedentary lives; but there still lingers the inherited spirit that generations ago won for them the name Kazaks, which denotes to the Tartars, from whom many have doubtless sprung, a Marauder. All of these tribes weave; but the rugs seen in this country come principally from the southern district, where may also be found the fabrics of other races such as Armenians, Tartars, and the native people. Nevertheless, the Kazak weavings are of a most distinct type, to which even the smaller Kazakjes conform. They have bright, rich colours, of which a liberal amount of green is almost invariably present, though sparingly used in other Caucasian rugs. Only the Tcherkess vie with them in the length of the nap; and no other class has such noticeable patterns of incongruous sizes and shapes. They have, in fact, the most nomadic, unconventional patterns of all this northern group; and in their barbaric characteristics, they bear much the same relation to other Caucasian rugs as those of Western Kurdish and Yuruk tribes bear to Persian and Asia Minor pieces.

In marked contrast to the almost mosaic drawing of Chichis and many Daghestans, the Kazaks show a tribal fondness for large patterns. Sometimes the field is divided into three horizontal panels, which may be entirely plain except for a simple design fringing the edges; or as is more frequently the case, it may be occupied by large, slightly elongated octagons, within which are represented smaller figures. Occupying almost the entire field of other pieces are large patterns like medallions, perfectly balanced with reference to the centre and subdivided into small sections, each of which contains individual motives. A few of this class, also, have the “sunburst” pattern, so characteristic of the Tcherkess.

At least half the pieces now seen are without any formal pattern, but contain a heterogeneous lot of geometric designs characteristic of nomadic weavings; but even these are generally arranged with the idea of symmetrical balance. For instance, at the centre may be a large geometric figure surrounded at equal distances by pairs of smaller and similar figures. Not infrequently the drawing of the upper and lower half, or of the right and left side, shows an almost perfect correspondence, notwithstanding the many separate designs. The most common of these are eight-pointed stars, lozenges fringed with latch-hooks, and what are known as the “tarantula” device. Of the innumerable small figures, the octagonal discs and S forms are the most common; crude animal and human figures are also seen.

Excepting the addition of the arch, there is little distinction between namazliks and sedjadehs. It is small and less graceful than that of Asia Minor pieces, and follows stiff lines in harmony with the general pattern. It is, however, drawn in two different ways. Generally it has the shape of half an octagon, or of a wall-tent with apex flattened; but not infrequently it is square or slightly oblong. The narrow bands that form the arch are extended transversely from each side of the base to the borders; and occasionally they are continued down the sides of the field to form at the bottom a figure similar to the square-shaped arch. Now and then a comb, or small figure of diamond shape, on which to place the bit of sacred earth from Mecca, is outlined within the mihrab; and now and then crude palm-like figures, indicating where the hands are to be rested in the act of devotion, are represented at the sides.

However many stripes the border may contain, rarely are there more than one of any consequence; since the guard stripes have generally only the reciprocal sawtooth or trefoil patterns, the barber-pole or dotted lines. The absence of important secondary stripes, however, brings out more prominently the drawing and colouring of the main one. The most common pattern is what is known as the “tarantula” represented in Plate [I], Fig. 8 (opp. Page 226). Very similar is the crab pattern (Plate [I], Fig. 7), which was undoubtedly derived from the double vine of some Persian rug, as the crab-like figure may be resolved into a rosette to which are attached four conventionalised leaves. Another pattern, which is also seen in Kutais rugs, is the crude but striking vine shown in Plate [I], Fig. 15, which, when represented in bold, rich colours on an ivory field, makes a most effective and beautiful border stripe. Other border stripes frequently employed in these rugs appear in Plate [I].

Unfortunately, during recent years, many inferior rugs of other tribes have been sold as Kazaks, which in a measure they often resemble though they lack their spirit and character. The very modern Kazaks, also, are often of poor quality, but those made two generations or more ago were carefully and stoutly woven, with silky wool dyed with the best of vegetable colours. There is always something interestingly barbaric in their long, almost shaggy nap, their masses of rich red and green, their bold designs surrounded by smaller nomadic figures, all of which collectively find no counterpart in any other Caucasian rugs.

Type Characteristics. Colours, principally red, green, and yellow, also some blue, white, and brown. Knot, Ghiordes. Knots to inch horizontally six to nine; perpendicularly, seven to ten. The rows of knots are pressed down, so that the warp is hidden at back. Warp, wool; each of the two threads encircled by a knot is equally prominent at back. Weft, wool, of coarse diameter, usually dyed red or brown. A thread of weft generally crosses only twice between every two rows of knots, but occasionally three or four times. Pile, wool, clipped long. Border, three to five stripes. Sides, a double overcasting attached in figure-eight fashion to the sides, or a double selvage having from three to five cords. Lower end, a red or brown web and warp loops, or a braided selvage and fringe. Upper end, a red or brown web, occasionally a braided selvage or several rows of knots, and a warp fringe. Texture, stout. Weave at back is of very coarse grain. Usual length, five to twelve feet. Usual width, one third to three quarters length.

Karabaghs.—To the southeast of Lake Gotcha and north of the river Aras, that divides Caucasia from Persia, is the district of Karabagh, a name signifying “Black Vineyard.” On account of its geographic position, it has been subject to the Shahs for long periods, during the many struggles between the two countries. It is, moreover, separated from the rug-producing district of Karadagh by the river only; and its southern border is less than eighty miles distant from the city of Tabriz, to which many of its rugs are taken. For these reasons it would be only natural to expect that the weavings of Karabagh would show more of the Persian influence than those of any other part of Caucasia. Such, indeed, is true, when applied to the oldest pieces; but it is not at all true in the case of a large percentage of the modern products.

Within recent years large numbers of these coarsely made and wretchedly dyed rugs have reached the Western markets. Some of them resemble Kazaks in their geometric figures; but differ from them in their workmanship, since one of the two threads encircled by a knot is depressed; they are much more loosely woven; they are not so large; nor for the most part are they so heavy. Other pieces often lack the symbolic and other small designs that render nomadic rugs so interesting. Occasionally the central field is almost figureless, or there may be large expanses of white or some raw colour such as startling red, yellow, or blue, on which appear stiffly and crudely drawn nondescript devices.