DAGHESTANS.âIn no part of Caucasia have better rugs been woven than in Daghestan, "the mountain country." Nor is it surprising that this province should produce distinctive types, when it is considered that it has a length of over two hundred miles; that its topography is diversified by glaciated mountains, barren steppes, and fertile valleys; and that it is occupied by numerous clans, many of whom differ in origin as well as religion. Some of the rugs come from the city of Derbend on the Caspian Sea; some come from Kuba in the southeastern corner; others, called Kabistans, are produced in the country about Kuba; a few are made by the Lesghians who live among the lofty mountains; and in other parts of the province are woven pieces which formerly were sent in large numbers to Europe and America, where they soon became known as Daghestans.
Though their resemblance to the Kabistans is so great that it is often difficult to distinguish between them, the rugs which acquired the trade name of Daghestans are different from almost all other Caucasian pieces. This is largely because the province is bounded on three sides by a sea and a nearly impassable mountain range, which render communication with surrounding territory difficult, and create a natural isolation, where in the course of many generations a distinct type was developed. Moreover, these same physical conditions have impeded both the introduction of aniline dyes, so that even among modern pieces spurious colours are not frequently seen; and also the adoption of new designs, so that the patterns of two or three centuries ago are still largely used.
It is among the oldest rugs of the Daghestan weave that are found many of the best examples of Caucasian textile art. The dark, rich reds and blues of the fields, which are brightened by the ivory, light blue, green, and yellow of the small designs, resemble the fine colouring of choice Persian carpets. But the patterns are totally dissimilar; for it is only in a few rare old pieces, in which are copied some designs such as the lotus, or the running vine with leaf and bud, that there is any likeness to the realism of Persian floral ornamentation.
The drawing, however, is never crude, and on account of the short nap and strongly contrasting colours always appears with clear definition. With the exception of conventionalised pears, the three-leaf sprig, which is commonly seen in the field, and the narrow border stripes of carnations, almost all of the figures are geometric; and are so carefully drawn, so closely clustered, that they represent an appearance frequently compared to mosaic work. Even when the patterns represent large medallions or stars, they contain smaller concentric forms, or are divided and redivided into smaller stars, diamonds, or tessellated figures, so that the effect is the same. In some form or other the latch-hook is seen in almost all these pieces. Of small designs, the octagonal disc is almost invariably found; and animals, human beings, and the pear are not infrequently seen.