November,, i g 2 j 
87 
A vase shape was frequently used as a basic 
motive for an elaborately interwoven pattern 
of symbolic birds and flowers in a great 
variety of colorings, among which the 
famous Kirman yellow is conspicuous 
A beautifully conceived desig^i, in 
which small flower shapes are sub¬ 
ordinated and woven into a flowing 
pattern by the long curving and 
serrated leaves 
medans work along with the descendants of 
the old Parsees, themselves perhaps still fire 
worshippers in secret, and the Turkoman 
element contributes a share. Upright 
looms are used for the weaving somewhat 
after the fashion of the old Gobelin tapestry 
looms. For each rug the master designs a 
painted pattern which is hung in the factory 
for reference, and the boy who sits nearest 
to it chants or intones the variations of 
designs and color for the benefit of the other 
Flowery devices, characteristic of most 
Persian rugs, prevail in the Kirmans. Even 
living forms are reproduced — birds, animals 
and human beings 
The variety of flower shapes charac¬ 
teristic of Persian design, and the 
artistry with which they are com¬ 
bined reveal the fertility of the 
weaver’s invention 
workmen. The sehna knot is always used, 
and the weaving is exceptionally fine; the 
men use little wooden mallets, and hammer 
every three or four stitches together as they 
go along. Only men are employed, and this 
partly accounts for the fact that Kirmans 
are the firmest and clo.sest knotted of all. 
With a pile soft as velvet the underside is 
like a deal board. In many Kirmans a thick 
brown shag is attached to the underside in 
{Continued on page 100) 
These floral motifs were 
generally made without 
regard to the bota^iical 
relationship of the 
flowers 
{Left) .-1 pattern chiefly 
carried out in pale 
colors, salmon pink and 
green against a buflf 
ground 
