File:Oriental rugs, antique and modern (1922) (14780579535).jpg

Identifier: orientalrugsanti1922hawl (find matches)
Title: Oriental rugs, antique and modern
Year: 1922 (1920s)
Authors: Hawley, W. A. (Walter Augustus), 1863-1920
Subjects: Rugs, Oriental
Publisher: New York, Dodd, Mead
Contributing Library: Sterling and Francine Clark Art Institute Library
Digitizing Sponsor: Sterling and Francine Clark Art Institute Library

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, wool; each of the two threads encircled by a knot is equallyprominent at back. Weft, wool or cotton, of medium diameter.A thread of weft crosses twice between every two rows of knotsand 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 andwarp loops. Upper end, a narrow web, occasionally a fine braidedselvage and warp fringe. Texture, moderately firm. Weave at backis of medium grain. Usual length, five to twelve feet. Usualwidth, one half to three quarters length. Kubas. — Not far from the southeast corner of the province ofDaghestan, in a plain watered by streams that debouch from theCaucasus, is the small town of Kuba. It is on the site of an oldPersian fort, about which in the course of time sprang up a townsufficiently important to be the residence of a Khan. For a long
Text Appearing After Image:
J^4^0§m m r Plate 45. Shirvan Rug CAUCASIAN RUGS 203 period previous to the treaty of Gulistan, in 1813, the influence ofthe Persians had been predominant in this part of the country;and it is not improbable that some of the oldest Kuba rugs nowexisting are the work of their weavers. Many, on the other hand,have few foreign characteristics either of weave or design, and showa relationship to the work of the Shemakha tribes, who inhabitan adjoining district in Shirvan. In some of this class the floral form receives more elaboratetreatment than in any other Caucasian rug. One of the patterns ofundoubted Iranian inspiration represents a large oval panel or medal-lion, with graceful outlines resting on a field of deep blue and sablebrown, streaked with waving lines of gold. Within the medallionis a lavish display of large flowers en masse, and not detached fromone another or arranged in set form, as is the case with most floralpatterns. In each corner is a rose with spreading petals that

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