SAMARKANDS.-A little over one hundred miles east of Bokhara, and on the southern border of the desert of Red Sands, the river Zarafshan, "Strewer of Gold," has turned a plain of yellow loam into an oasis.
Forty-three large ca.n.a.ls bring its waters to fields of cotton; to vineyards; to orchards of apple, pear, peach, and pomegranate; and to gardens of fragrant flowers. Here is Samarkand, "The Mirror of the World." Few cities as old remain after pa.s.sing through so many vicissitudes of fortune. Alexander forced his way through its gates, the Chinese Empire annexed it, and finally Tamerlane seized and made it the magnificent capital of one third of the known world. His tomb and other remaining monuments attest the grandeur of that time when there was fostered here the art, the luxury, and the splendour of the East.
The rugs known as Samarkands are woven in a district somewhat eastward from the city and are often called "Malgarans." They are not to be compared with the magnificent carpets that adorned the palaces and mosques of the capital of Tamerlane; yet they possess a special interest, as in them are combined features derived from both Eastern and Western Asia. Either because this city, known as Samo-Kien, was once part of the Chinese Empire, or as is more probable, because it is on one of the great highways of caravan travel between China and Western Asia, the Chinese element is particularly noticeable. It appears in the colours that are in strong contrast; in the general pattern that shows little affinity for those of Persian or West Asian rugs; and even in the weave, in which silk is occasionally mixed with the wool of both warp and pile.
The ground colour of the field is usually some shade of red or madder, with blue and yellow appearing conspicuously in the princ.i.p.al designs and border stripes. Or again, the field may be blue, soft brown, gray, or tan, with which the colours of the designs and borders, that may contain red, yellow, and blue, invariably appear in strong contrast.
Few rugs have a more noticeable pattern, which consists princ.i.p.ally of rounded medallions. If there be but one, it is in the centre; and if there be many, one is at each corner. They are usually ornamented with Chinese scrolls or some geometric design, as an eight-pointed star; but dragons, birds, or fishes are not uncommon. Occasionally, also, flowers of Persian design, with eight rounded petals, appear in the medallion, and others of larger size cover the field; or they may even exclude the medallion and const.i.tute the princ.i.p.al motive. Some simple design in fretwork gives finish to the corners of the field, which is further covered with Chinese b.u.t.terflies, scrolls, or archaic flower forms. The borders are equally distinctive, and unlike those of Chinese rugs are relatively wide and consist of several stripes surrounded by an edging of uniform colour. One of the stripes has generally a stiffly undulating vine; another a continuous swastika design; and a third is marked with frets, the barber-pole design, or a design which by some is regarded as the sacred Chinese mountain rising from the waves. In most pieces warp and weft are loosely woven, and the pile is of a medium grade of wool; but in very old pieces the wool is fine and l.u.s.trous.
_Type Characteristics._ _Colours_, princ.i.p.ally red, blue, and yellow.
_Knot_, Sehna. Knots to inch horizontally six to eight; perpendicularly, five to eight. Each half knot, as it appears at back, is as long as, or longer than, wide. The rows of knots are not firmly pressed down, so that the warp shows at back. _Warp_, generally cotton, occasionally wool; one of the two threads encircled by a knot is doubled under the other. _Weft_, generally cotton, occasionally wool, of coa.r.s.e diameter and frequently dyed. A thread of weft crosses twice, between every two rows of knots, and occasionally three times. _Pile_, wool, of medium length. _Border_, three stripes with a pink edging. _Sides_, a red or pink overcasting. _Lower end_, web and warp loops. _Upper end_, web and warp fringe. _Texture_, moderately firm. _Weave_ at back, rather coa.r.s.e.
_Length_, six to fourteen feet. _Usual width_, one half to three fifths length.
KASHGARS AND YARKANDS.-Among the foothill plains at the western end of the Chinese Empire, are the mud-walled cities of Kashgar and Yarkand, that were ancient even in the days when Marco Polo visited there.
Situated in populous and fertile districts, each has been a city of political and industrial importance; but on account of the great divides that separate them from Western Turkestan, Persia, and India, their commerce has been princ.i.p.ally with Thibet and China. Thus it has happened that only within recent years have any of their textile fabrics reached Europe and America, where they are still almost unknown. Yet even in the remote past, these cities gained a reputation for the culture of silk and the weaving of carpets. Moreover, at different periods they were centres of luxury, so that it may safely be a.s.sumed that many of their woven products were of a high order of excellence.
These rugs, to be sure, come from a district lying within the Chinese Empire; but it is so remote from the centres where the well-known Chinese rugs have been and are woven, and is so much nearer to West Turkestan and Afghanistan, that it seems best to place them in the Central Asiatic group.
As a rule, such pieces as reach this country show crude workmanship entirely lacking in graceful floral patterns or artistic drawing.
Octagonal forms, animals, and even mythical creatures are often distributed over the fields so as to give them a decidedly Chinese character. The narrow border stripes ornamented with the swastika and fret forms are often similar to some of the Samarkand stripes. The colours, which lack the subdued richness of Persian pieces, are often light; but they occasionally consist largely of tones of dark blue and red which show Turkoman influences. Most of these rugs are interesting on account of their quaintness and individuality; but few compare in quality of material, weave, or artistic finish with other cla.s.ses of this group.
BELUCHES OR BELUCHISTANS.-"When creating the world, the Almighty made Beluchistan out of the refuse" are the words of an old proverb, that refers to a land which formerly produced some of the most interesting rugs of the East. In fact, the thought is not surprising when the desolate character of the country is considered; for a sandy, waterless waste stretches over the greater part, and only in a corner to the northeast and in narrow strips, where streams from mountain sides water small valleys, is any cultivation. Across this spa.r.s.ely settled land and farther westward into the southeastern part of Persia, untamed tribes of Beluches and Brahoes wander with their sheep, goats, and large numbers of camels. Their rugs, woven on crudely made looms, bear little resemblance to the more artistic floral pieces of the Indian weavers to the east or to those of Kirman to the west. Nor are they closely related to the Turkoman rugs with which they are usually grouped. In fact, they possess an individuality that once recognised is never forgotten; an individuality due to the isolated condition of a country that is protected from its nearest neighbours by barriers of deserts and mountain ridges, and is possessed by a still unconquered people. To these circ.u.mstances, also, it is due that the rugs are rarely coloured with aniline dyes, though many modern pieces have been chemically washed by dealers.
[Ill.u.s.tration: PLATE 56. YOMUD RUG]
One of the most distinguishing features of Beluchistans are their tones of colour, that rarely depart from traditional usage. They are princ.i.p.ally a red of the shade of madder, a blue with purple cast, and a dark brown that has sometimes a slight olive tinge, particularly when appearing in the webs. Frequently, too, dull tones of green are seen.
Contrasting with these more subdued ground colours is almost invariably some ivory which appears as small detached figures in part of the border, or as outlines of princ.i.p.al designs. The patterns also show individuality and diversity. Most frequently they are geometric and represent some ill defined octagons suggesting Turkoman rugs. Or they may consist of a field covered with diagonal bands, with large lozenges, or medallions, all of which are decorated profusely with latch-hooks.
Still others have some crudely drawn flower design, as the Mina Khani, that tells of Persian influences.
A fair proportion have the prayer pattern, consisting of a large rectangular shaped mihrab, which is as high as, and frequently higher than, wide. The borders, as a rule, consist of three or four stripes.
The main stripe is geometric and in the guard stripes are running latch-hooks or the reciprocal trefoil, though occasionally they are replaced by some conventionalised vine or ribbon pattern.
Proportionally to their length few other rugs have such long webs at the end, though they are sometimes entirely worn away while the body of the rug is still serviceable. They are usually coloured in harmony with the colours of the field, and are marked with embroidered lines or simple designs. No other rugs have a surface with more l.u.s.trous sheen, due to the soft, fine wool of the pile, which in old pieces is short and closely woven, giving a play of colours, and velvety appearance unsurpa.s.sed by any other nomadic rugs. Many of the choicest pieces of Beluchistan weave now on the market are the small saddle bags, that are of rich yet subdued colours, and possess the character and sheen of very old rugs.
_Type Characteristics._ _Colours_, princ.i.p.ally red, blue, and brown, with minor quant.i.ties of white. _Knot_, Sehna. Knots to inch horizontally six to nine; perpendicularly, seven to ten. The rows of knots are usually pressed down, so that the warp does not show at back.
_Warp_, wool; each of the two threads encircled by a knot is equally prominent at back, or one is slightly depressed below the other. _Weft_, of coa.r.s.e, wiry wool, of medium diameter. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, and occasionally camel"s hair, of medium length. _Border_, three stripes. _Sides_, a heavy goat"s hair selvage of three or four cords. _Both ends_, a broad embroidered web with warp fringe. _Texture_, slightly loose. _Weave_ at back is moderately coa.r.s.e. _Usual length_, four and one half to six feet. _Usual width_, two thirds to three quarters length.
BORDER STRIPES
The border stripes of the Central Asiatic group are even more geometric than the Caucasian; for it is rarely that any floral forms are seen in them, though they may appear in the pile that extends beyond the borders of the ends. Even the vines are so angular as almost to lose their ident.i.ty. Octagonal figures, stars, frets, and latch-hooks are common.
In fact, the group as a whole, shows the influence of the Caucasian and Chinese groups more than the Persian.
PRIMARY STRIPES
The stripe shown in Plate L, Fig. 1 (opp. Page 250) is one of many found in the rugs known as Royal Bokharas. The eight-pointed stars, as well as the small tent-like designs, which may have been derived from the headstalls of horses, are almost always found in it.
A well-known stripe of Princess Bokharas corresponding with the pattern of the field, appears in Plate L, Fig. 2. It represents a continuous series of designs shaped like a Y, that were doubtless derived from forms of trees. More frequently the stripe (Fig. 3) of broad, serrated diagonal lines, that originally may have been intended to represent foliage, is seen.
Another stripe found in Princess Bokharas and also in Tekkes and Khivas is shown in Plate L, Fig. 4. It forcibly suggests the Chinese fret.
Sometimes it is used as a primary but more frequently as a secondary stripe.
In Plate L, Fig. 5, is a stripe frequently seen in Tekkes, which is interesting on account of the eight-pointed stars and latch-hooks similar to those of Caucasian rugs. Without doubt this is only one of the many instances ill.u.s.trating the migration of designs.
Plate L, Fig. 6 represents a stripe peculiar to Yomuds. The running vine is most mechanically drawn and fringed with latch-hooks, which are a constant feature of this cla.s.s.
Another Yomud stripe with vine in which serrations take the place of latch-hooks is shown in Plate L, Fig. 7. Pendent from the vine are other hooks shaped like frets.
Very similar to an old Caucasian stripe is the one represented in Plate L, Fig. 8; but in this stripe the small designs are drawn so that the proportion of length to width is greater; and it is probable that they were copied from a wreath of leaves. This stripe is very commonly seen in Beluchistans.
[Ill.u.s.tration: PLATE L. PRIMARY AND SECONDARY BORDER-STRIPES OF CENTRAL ASIATIC RUGS]
Plate L, Fig. 9 represents a mechanically drawn vine found in Beshires.
Well-known Afghan stripes are shown in Plate L, Figs. 10 and 11.
In Plate L, Figs. 12 and 13 are two of the most typical and interesting stripes of Samarkands and Yarkands. The first is supposed to represent the sacred mountain of Chinese lore rising out of the waves. The second is a vine with leaves and flowers, which suggest Persian influences.
A stripe with simple archaic pattern peculiar to Yarkands is seen in Plate L, Fig. 14.
SECONDARY STRIPES
In Plate L, Fig. 15 (opp. Page 250), is a well-known form of a secondary stripe found in Royal Bokharas.
A stripe seen in both Princess Bokharas and Tekkes is shown in Plate L, Fig. 16. It bears a slight resemblance to some conventionalised vines found in other groups.
Stripes of running latch-hooks (Plate K, Fig. 20, opp. Page 230) are frequently found in Yomuds, and occasionally in Beluchistans.
In Beluchistans the reciprocal trefoils, so well-known in Caucasian and Persian rugs, are very frequently used.
The pattern of a double vine, ill.u.s.trated in Plate L, Fig. 17, is a Beshire stripe that suggests a Persian influence.
In Plate L, Fig. 18, is the narrow pear stripe that appears in a very large number of Afghans and in some Khivas.
Two well-known stripes that belong to Samarkands are shown in Plate L, Figs. 19 and 20. The pattern of the conventionalised vine speaks of Persian origin, and the swastikas suggest Chinese origin.
In Tekkes, Yomuds, Afghans, and Beluchistans the small barber-pole stripes are constantly employed.
TECHNICALITIES IN THE WEAVE OF CENTRAL ASIATIC RUGS
Legend:
KNOT- H = Horizontally P = Perpendicularly WARP- g = goat"s hair e = each equally prominent d = 1 to the knot depressed h = 1 to the knot doubled under WEFT- g = goat"s hair No. = No. times crossing bet. two round knots SIDES- O = overcasting S = selvage LOWER END W = web S = Selvage K = Rows knots L = warp loops F = fringe UPPER END W = web S = selvage K = Rows knots T = turned back and hemmed F = fringe