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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figure thatgenerally represents a rose, but sometimes a peony or rosette, aboutwhich are grouped other figures like crumpled or lance-shapedleaves. Probably both the central and encircling figures are ofPersian origin, though the latter have been regarded by some au-thorities as representing fish and attributed to Egypt or to China;in fact, they are occasionally drawn so as distinctly to show eyesand fins. Very frequently four of these figures are arranged abouta lattice-shaped design with pendants and a central rosette, as in PlateO, Fig. 4 (Page 291). This Herati or Fish Pattern, as it is frequentlycalled, appears in many of the old Persian rugs and in most of themodern pieces, particularly the Feraghans and Herats. A lessfrequently seen floral pattern, which has been used from a very re-mote time and is still represented in modern rugs, is the Guli Hinnai,or Flower of Hinnai (Plate O, Fig. 3). Of this plant Mohammedwas so fond that he called it the chief of this world and the next.
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PERSIAN RUGS 105 It occurs as a formal pattern in many of the Feraghans, and inseveral other rugs in which its bright five-petalled flowers are scat-tered informally over the field. Another floral pattern frequentlyseen is the Mina Khani, illustrated in Plate O, Fig. 2, that wasnamed after Mina Khan, a former Persian ruler. It is particularlycharacteristic of Persian Kurdish pieces in which a dark blue fieldis covered by a network of intersecting olive-coloured vines. Atthe intersections are placed large flowers that alternate in regularseries according to their different designs and colours; and betweenthem often appear other flowers, such as the smaller and brightercoloured Hinnai, so as to destroy too great stiffness of design. Asthe flowers are relatively large and sufficiently separate to showthe intervening blue field, this is one of the most effective of theformal repetitive floral patterns. A still more formal pattern (PlateO, Fig. 1), which appeared in some of the Persian rug

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