International studio (53.1914)

Antique Ghiordes Rugs

nomadic influence and is a wonderfully lustrous
piece.
It is uncommon to find a Ghiordes rug with an
inscription. Page lxxxvi shows one of this kind,
containing a leaf from the Koran and considerable
archaic design. It bears the Mohammedan calen-
dar, date 1022, which corresponds to 1604 in the
Christian era, showing this piece to be 310 years
old. The centre niche is red; the border combina-
tion green, cream, soft red and blue. The seven
borders of this rug symbolize the “seven heavens
of Allah,” having the following significance: The
first heaven symbolizes Paradise; the second, the
Gate of Eternity; the third, the Peaceful House;
the fourth, Felicity; the fifth, the Home of the
Golden Light; the sixth, the Garden of Delight;
the seventh, the Footstool of the Throne.
Ghiordes rugs of the second type are woven in
the cities and towns. They show most beautiful
drawing in fine floral, leaf and vine effects. Their
colour schemes are masterful in the highest degree,

master artist. Filled with mysticism, symbolism,
tradition and artistic feeling, they make a mute
appeal to every person of discernment as examples
of unfading charm.
This type is the finest in weave, containing from
100 to 250 knots to the square inch. A rug
shown on page lxxxix is of exceptional quality in
fineness of weave and colour, and is undoubtedly
of royal origin. The figure representing the lamp,
or “immortal light,” is woven with silver and gold
wire. The colouring in this piece is soft, subtle
and mellow, combining a rare tenderness of hues
and a witchery of design, redolent of the mosque,
representing absolutely the best there is in
Ghiordes weaving. It is a mosque piece.
The prayer arch in the central panel is a magnifi-
cent solid red. Inside the prayer niche, on either
side, is a row of carnations extending from the
lower end of this panel to the beginning of the
arch, followed by a very narrow border tracing the
arch and known as the “wave line.” At the base

the embodiment of grace, culture and refinement,

of the prayer arch panel are seven pine trees. The


Life” signifies the “seven days
of creation,” and it is safe to
assume that the employment
of the tree in Turkish motif
bears similar import. All
primitive people believed
that the soul of the right-
eous mounted to heaven
from the branches of trees
on high mountains. In the
main panel above the prayer
arch will be noticed very
delicate tracery suggesting
pea vines. In the panel
extending across the top of
the prayer arch is a pair of
beautiful vases, out of which
is growing a gorgeous luxuri-
ance of trailing vines and
flowers in delicate design.
This rug has three narrow
borders surrounding the
main panels, and a wide
central border showing Per-
sian influence in the Herat
pattern, which is itself sur-
rounded by three narrow
outer borders, making seven
borders corresponding to the
seven trees, symbolical of
the “seven days of crea¬

tion,” at the base of the

LXXXVIII

kis (betrothal) ghiordes, 4.2 x 3.9