Oriental Rugs Technical
Analyses and Recordation
Senior - Oriental Rugs
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Technical analysis for the lay person (which is what we
shall consider most of us) can be simple and it can be complicated. We
shall take the easier route. The component parts of the knotted rug are
the warp, the weft and the pile (or woof). There is also the selvedge
at the edges or binding and sometimes the area at the fringes has
significant treatment.
The origin of the woven rug is important, certainly, but
the makeup of the rug is our concern. We shall record its component
parts and how it was all put together. We shall list the clues for
solving a mystery or we shall list the repetitive and obvious. Analysis
has more than one purpose. It can describe the rug for recordation. It
can be used to classify by type. It can be used to compare. It can be
used to identify lost and stolen rugs.
The subject of dyes will be a future presentation.
Recent methods of identifying dyes will cast new approaches in this
more sophisticated area of analysis.
Materials
Cellulose Type: Cotton.
Cotton is a cellulose hair-like substance that covers
the seeds of the cotton plant. It is machine or hand spun to create a
continuous thread. It is usually white. Cotton is sometimes dyed, often
in shades of blue, for use as the weft.
To test for cotton: If recognition is not easy, one can
take a small amount in a pair of clean tweezers and set it afire with a
butane lighter. The odor of burning wood, rags or paper indicates that
the material is cotton.
Mercerized Cotton.
John Mercer, 1791-1866, a calico printer, developed a
process using caustic soda to render cotton in a very silky-like
finish. This enhanced its appearance and its ability to absorb dye
stuffs. Some Caeserea rugs are made using rayon or mercerized cotton as
the "silk" fiber.
To test: Same as cotton.
Linen.
Linen is thread made from the flax plant, an erect and
sinuous plant. It is not generally as soft and absorbent as the cotton
thread. It is thinner in diameter and sometimes used in fine rug
manufacture. It is also not as often bleached and can have a green-gray
coloration when used in rug construction.
To test: As in cotton, burning gives the odor of burning
wood, rags or paper.
Jute.
Jute or Ramie is sometimes used alone or blended with
wool or cotton. This has been used in lower grades of Indian and
Chinese rugs.
To test: As in cotton it smells like wood, though a bit
musty due to oils present.
Rayon.
Rayon is sometimes used as "artificial silk" or "ART
CYLK" in Turkish and Pakistani rugs. Some Baluchis have been made in
rayon, stripped for aging color change and sold as silk.
To test: Same as cotton.
Wool and Hair Products.
Wool is the soft covering or coat of domesticated sheep
and other animals but especially sheep. It is used in the manufacture
of rugs and carpets. Hair is the slender thread-like outgrowth of
mammals that is sometimes used in the manufacture of fabric and
furnishings. Goat, camel and yak hair are used in the manufacture of
rugs and carpets. Wool and hair contain excess amounts of oil and
coatings that are removed as a matter of practice in its preparation
for use. Wool and hair are used in their natural color, washed, dyed,
chemically washed, machine and hand spun.
To test: If not readily recognizable, burn test yields
the odor of burning hair and lumps when multiple fibers are present.
Silk.
Silk is the fine strong ,lustrous fiber produced by the
larval state of certain insects; here the silk worm is considered. Used
more often in presentation and high-priced rugs, silk is not as durable
in ordinary use but it is in demand because of its strong eye appeal.
To test: Burn yields odor of burning chicken feathers or
hair and balls into small ashes.
Metal and Other Products.
Metal, such as gold, silver and gold-washed copper, is
sometimes used in presentation rugs and commissioned rugs or other than
ordinary production. A rug, presented to the White House by a "Mr. H.
H. Topakian," Consul General of Persia (Honorary) at the turn of the
century, was a silk "Geodes" prayer rug festooned with pearls and
emeralds. Some kilims have accents of gold threads woven in them.
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Single Ply Yarn
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Double Ply Yarn
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Four Ply Yarn
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Spin and Ply of Yarn
Quite simply the fibers of the described materials
having been gathered, cleaned and treated according to the local system
are then spun in a single strand. They are spun either to the left or
the right. If they are spun to the left, it is termed "Z" spun and if
spun to the right, it is termed "S" spun.
The single strand of the "Z" strand is plied with
another "Z" strand in the opposite "S" direction to give us a two-ply
strand, (or three or four to give us the ply of yarn desired).
Quite often village rugs are embellished by using
two colors of natural wool, dark and light, plied together for use as
warp threads.
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THE WEAVE
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kilim
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Sumac
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Knotting and
Brocading in Persia
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Flat Woven Types
Kilims, Palas, Sumac, Verneh, Sileh and Djidjim
are all flat woven by passing weft threads of different colors over the
unseen warp threads.
These threads can pass completely across and give
a smooth appearance; this is called Palas. Or they can go a certain
length and reverse on themselves according to a preconceived design;
this is called Kilim. Various techniques involve returning and leaving
a gap at that point. Successive returns to create the design leave a
slit and therefore "slit weave tapestry weave." Or it could share a
warp thread with the adjacent color. This technique leaves a ridge at
the joining. To avoid this and give clarity of design, the slit weave
is used and the smallest possible slit is employed by staggering or
indenting the design line.
The Sumac weave usually involves passing obliquely
over four threads, back under two and returning obliquely to form a
small herringbone pattern. (See diagram.) After this, a weft thread is
passed and may be beaten level. Short lengths of wool hang loose in the
back. This technique can produce the knotted carpet design.
According to Hubel, "Sumac technique occurs in
Phrygian fragments of textile of the early Seventh 'Century at Gordion
in Central Anatolia."I The Sileh, like the Sumac, is over four warps,
back under two, obliquely down and then a return obliquely upward. The
best known design is with the large "S" so-called vishap, or dragon
design, with the white being in cotton.
Djidjim is like the Sumac in construction but more
refined by using finer threads and passing over two warps and back
around one. Usually each row is obliquely upward and a thin unplied
yarn is run between each row. The appearance of the back is like a
knotted rug save the occasional loose thread.
Verneh is from Karabagh and Kazak districts and
like the Sumac does not reveal its warp or background weave. However,
its background is usually brick red or shades of yellowish to dark
brown. Embroidery is often applied.
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Persian, Senna, or
Asymmetrical Knots
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Gordian Turkish or
Symmetrical Knots
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Left Bidjar Weave -
Right Hamadan weave
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Knotted Types
The knots that we will most probably deal with and
will identify will be the Gordian (or Turkish) and the Senna (or
Persian). They are illustrated herewith. Variation of direction of the
knots, application of the weft(s) and the closeness of the warp can
produce a broad range of qualities.
They are tied on two vertical warp threads. When
four warp threads are used (in two pairs of two threads) this is called
a Jufti knot. Juft means double. Back-gammon players bless a "juft" or
a double set of numbers of the dice.
It would serve the novice well to examine many
examples of the types. We have knots that open to the left, or open to
the right. We have wefts with one, two, three or more "shots" (a single
pass of weft). We have a heavy weft thread with a thin weft as its
pair. This is seen in the Bidjar weave. Single weft is called "Senna
Baft" or Hamadan weave.Some rugs actually have a mixed technique of
both Gordian and Senna knotting. No rhyme or reason. Maybe they've
changed weavers. Aside from Caucasians, Chinese rugs are often found
with asymmetrical knots in the body and symmetrical as the edges are
approached.
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Sample Technical Analysis
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A-140 Armenian Embroidery Circa 1910. Brought to
U.S.A. by an American Missionary and sold to Harold Keshishian in 1975.
Warp: cotton, 1 Z yarn
Weft: cotton, 1 Z yarn
Design: cotton, 2 Z yarns, S plied
Colors: (3) eggplant purple, wine red, bright
yellow
Condition: very good. No selvedge.
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A-103 Karabagh S.S.R. "Avedis Hagopov", ca.
1915-4' 1" X 7t
An interesting and striking rug. Crisp white
natural main border with the wine cup and serrated leaf border in reds,
blues and yellow gold. The two guard borders are reciprocating red and
blue diamond "spear tips". The inner borders are "waves", contiguous
"S", and waves. The dark blue ground is painted over with
spirit-soluble dyes. The four diamond-lozenge medallions are flanked by
square-around-diamond small lozenges. Left and right of the second
medallion are two valiant Armenian soldiers complete with rifles. Above
the upper medallion is inscribed Avedis Hagopov. In poor but happy
condition (see worn painted ground) excellent color and good quality.
Bought in Chicago in 1978 for $450. Coincidence: Owner's name is Hagop
(Keshishian), brother's name is Avedis (Keshishian).
Warp: wool, ivory, 2 Z yarns, S plied
Warp: wool, pink, 2 Z yarns, S plied, 2 shots
Pile: wool, 2 Z yarns, S plied Ghiordes
(Symmetrical) knot, 8 Horizontal by 9 Vertical (72 knots per square
inch)
Colors: (6) light and dark blue, black, red,
ivory, tan
Condition: poor, painted,
Selvedge: 4 warps in 2 cords red, blue and yellow
wool
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| A-102 Lenkoran, dated 1909 4'2f' X 9f5"
Long rug, the Lenkoran design suggests a stretched
animal skin. The tan wool ground of this long rug has four medallions
in the typical design. The field is covered with a variety of stylized
flora and fauna. The panel at the top of the rug had a date of " 1803"
at purchase, an alteration soon corrected. The strong Christian flavor
is shown in the crosses. In very good condition, good color and average
to good quality. Bought in 1973 for $450.
Warp: wool, ivory, 3 Z yarns, S plied
Weft: wool, ivory and brown, 3 Z yarns, S plied, 2
shots
Pile: wool, 2 Z yarns, S plied, Ghiordes
(Symmetrical) knot, I I Horizontal by 8 Vertical (88 knots per square
inch)
Colors: (8) red, green, black, blue, orange,
chartreuse, ivory, brown
Condition: excellent,
Selvedge: not original, brown wool
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A-139 Kazak-4'4" X 9'5"
Karachopf dated 1838, a double prayer design of
the most vibrant and equally softened colors as contrast. The five
polygon medallions are set on a sea of blue-green variant dye lot
bands. The two humans are found by crosses, birds and rosettes. Spears
with the "back to back" C designs are in competition with still other
devices. The latch-hooked bar on the ivory border appears as a capital
"N". A "happy rug." See Schurmann, Caucasian Rugs, P. 99.
Warp: wool, ivory and brown, 3 Z yarns, S plied
Weft: wool, ivory and brown, 3 Z yarns, S plied, 2
shots
Pile: wool, 2 Z yarns, S plied, Ghiordes
(Symmetrical) knot, 7 Horizontal by 9 Vertical (64 knots per square
inch)
Colors: (6) yellow, red, blue, ivory, green, brown
Condition: good,
Selvedge: red wool, 8 warps in 4 cords
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JAMES M. KESHISHIAN A.S.A.
4505 Stanford ST.
Chevy Chase, MD 20815
(301) 654-4044
Mark
Keshishian & Sons, Inc.
Presented at Third Annual Symposium Armenian Rug Society
New York, NY
(Editors Note: The author is a founding member and has
held many offices in the Armenian Rug Society including President.)
For Further Reading:
Guide
to Rugs & Books
La
Miniature En Orient
Southwest
Asia Time Line
Thanks and best wishes,
J. Barry O'Connell Jr.
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