Tag: chinese

Rug Classifications

The first thing that most people want to understand about rugs is how to classify them. There are a number of ways to do this.

  • One could classify rugs by general rug type:
    a. Tribal Weavings
    b. Cottage Rugs
    c. Workshop Rugs
  • One could classify rugs by the style they portray:
    a. Tribal, or geometric, weavings.
    b. Decorative, or casual, rugs.
    c. City, or formal, rugs.
  • From there, a more specific classification comes into play, where the rug is from:
    Persia
    Turkey
    India
    The Caucuses
    Europe
    China
    Turkoman
    America
    Israel
    Morocco
    Palestine
  • After pinpointing where a rug is from, it can further be categorized by weave type and color to a distinct area within the countries of origin. Here is a list of most types of rugs:
  • Persian Rugs:

Afshar
Bakhtiari
Bakhshaiesh
Bibikabad
Bidjar
Farahan
Gabbeh
Ghashgaie
Hamadan
Heriz
Isfahan
Joshaqan
Karaja
Kashan
Kashan – Dabir
Kashan – Mohtasham
Kazvin
Kerman
Kerman – Lavar
Kurdish
Lilihan
Mahal
Malayer
Malayer – Mishan
Mashad
Mashad – Sabeer
Mood (NE Persian)
NW Persian
Qum
Sarouk
Sarouk – Farahan
Sarouk – Mohajeran
Senneh
Serab
Seraband
Serapi
Shiraz
Sultanabad
Sultanabad – Ziegler
Tabriz
Tabriz – Haji Jalili
Tehran

  • Turkish Rugs:
    Ghiordes
    Melas
    Oushak
    Oushak – Angora
    Oushak – Borlou
    Sivas
    Yuruk
  • Indian Rugs:
    Agra
    Amritsar
    Dhurrie
    Sharistan

 

  • Caucasian:
    Bidjov
    Chi-Chi
    Kuba
    Karabagh
    Lesghi
    Moghan
    Shirvan
    Talish
    Zeychor
    Kazak
  • European:
    Arraiolos Needlework
    Aubusson
    Axminster
    Besserabian
    Donegal
    English Art Deco
    German – Bauhaus
    Needlepoint
    Rya
    Savonnerie
    Spanish – Cuenca
    Tapestry
    Ukranian
  • American:
    American Hooked Rugs
    Braided Rug
    Navajo
    Rag Rug
  • Chinese:
    Art Deco
    Khotan
    Mongolian
    Ning Xia
    Peking
    Samarghand
  • Turkoman:
    Baluch
    Ersari
    Beshir
    Hatchli
  • Other:
    Bezalel – Palestine
    Israeli
    Kerghiz
    Moroccan
  • All of the above:
    Soumak
    Kilim

To view  classify rugs on our website, please use this link:

http://www.antiquerugstudio.com/

 

#19647 Khotan | As Seen in Rooms With a View

Rug #: 19647

Type: Khotan

Origin: China

Size: 4’8″ x 7’7″

Circa: 1920

When George Marshall Peters of Pamela Bankers office asked if we would be interested in participating in their Rooms  With a View show space we were delighted. The vignette that George had planned out was influenced by a recent trip to Asia, and included a piece of art from his own collection. The painting contained delicate cranes upon a golden ground, with a rice paper feel, which strongly influenced the rest of the design–and screamed to be accompanied by a soft toned Asian carpet.

With a small (approximately 8′ square) floorplan, wallpaper samples, photos of the furniture, and the feeling of the central art piece in mind, George and I began our search.Though we pulled a few other options out that could have worked, it was clear that a warm, traditional Chinese piece was the best way to go for the space he imagined.

Photo via MANUFOTO

While George had originally nixed this Khotan as an option due to it’s size, Ramin and I knew it was a great match for the look he was going for.  Many designers will rule out perfectly fitted rugs based on architectural lines drawn on paper, rather than trying the rug in the space.  Upon sight of this carpet though, George agreed to see if it would fit, without making the room feel cramped.

Photo via MANUFOTO

Though the Khotan does fit wall to wall, the vignette was a huge success, each element falling into place beautifully – the carpet really completing the conversation between the other components of the room.  The golden neutral tones of the rug were woven in beautifully with the naturally textured wallpaper and golden collectables placed about, the earthy browns complimenting the darkness of the floor and furniture, and the subtle geometry pulling in the small geometric art elements that George used in perfecting the details of this space.

 

Weavings of Khotan

Located in the southern region of Xinjiang, the innermost of the trio of Silk Road Cities (with Kashagar and Yarkand), Khotan weaves carpets mostly in the 6’0″ x 12’0″ size.

These pieces have mostly recognizable Chinese iconography, borrow some central Asian elements (such as the gul), and are made with brighter colors and distinct wool and handle.

Later examples use synthetic dyes which have been treated to mellow the colors.  Although this later period is not collectible, it is much in demand decoratively.  The geometric designs and, and neutral tones, found in many Khotan rugs makes them a versatile option for modern decor.

 

A few smaller rugs and chair seat pieces (2′ square) are also encountered, as well as the occasional basket design or pictorial piece.

For more information on these rugs, please follow these links to our website:

http://www.antiquerugstudio.com/Khotan/19222

http://www.antiquerugstudio.com/Khotan/18996

http://www.antiquerugstudio.com/Khotan/17703

http://www.antiquerugstudio.com/Khotan/17414

http://www.antiquerugstudio.com/Khotan/20046

http://www.antiquerugstudio.com/Khotan/20047

 

 

 

 

 

Antique Rugs of China: Art Deco

The term Art Deco refers to the style launched at the 1925 Paris World’s Fair Exhibition of Modern and Industrial Decorative Art.  Woven between the wars for the Western Market by mostly American owned firms, especially Nichols and Fette, Chinese Art Deco rugs (as the name implies) were made in thick heavy weaves using strong colors, assymetric patterns, and downplaying the Chinese-ness of the carpet.

Nichols rugs are more strong toned than the pastel Fette.  In 1924 W. A. B. Nichols introduced the now world renowned “Super Chinese Rug”. These rugs were known in most markets as the most durable and beautiful product of the modern Chinese weavers art.  The reason that Nichols Super Rugs may have been so unique to themselves, is that every last part of the process was done by Nichols Company, in house.  Most were woven in the coastal port city of Tiensin, though other lesser known workshops were also active.

 

Helen Fette initially went to China as a missionary, selling small rugs to raise funds for various charities. Teaming up with Chinese rug manufacturer Li Meng Shu to form the Fette-Li Company, the pair started producing rugs out of the Peking area in the early 1920s, becoming one of the largest exporters of the period. Fette rugs usually have a floppy feel because the cotton warps are thinner and more pliable than those used in Nichols carpets, resulting in a soft, limber feel.  Many of the designs, over viewed by Fette, were taken from Chinese emroidery, or inspired by traditional Chinese motifs.

Both Fette and Nichols companies used fabric tags on the back of their rugs for identification purposes. Nichols also stamped “handwoven in China by Nichols” onto the backside of the fringe, however if the fringe has worn or been repaired, the mark will be absent. Because Fette and Nichols were so closely associated with the Deco period, rugs woven in their trademark style, without any identifying marks, are routinely referred to as Fette or Nichols style.

Some pieces are ultra-geometric and haute-Deco moderne in character: these are very rare.

More frequent are pieces with bits of Chinese ornament: vases or other precious objects, paeonies, vines, fences, etc.

  Most common is the 9’0″ x 12’0″ size, in colors never found in mainstream Chinese rugs: backgrounds in black, mauve, purple, hot pink, orange, olive, employing the best synthetic chrome dyes of the period.  Prices are still reasonable and carpets in top condition are available.

to view these rugs on our website, please use the following links:

http://rahmanan.com/inventory/show/21017/

http://rahmanan.com/inventory/show/19573/

http://rahmanan.com/inventory/show/20278/

http://rahmanan.com/inventory/show/18310/

http://rahmanan.com/inventory/show/20997/

 

 

 

Antique Carpets of China: NingXia

The Western Chinese province of NingXia has a mostly Muslim population and is the source of many of the oldest Chinese carpets of the modern era (Ming Dynasty and later).

 

The designs are typically Chinese: fretwork or Greek key borders, paeony palmettes, bats, butterflies, Fu Dogs, clouds, dragons, shou symbols, etc.  Pillar carpets designed to wrap around monastery columns and displaying a dragon above waves are a specialty.

The weave is course and soft, with several wefts between knot rows, and a longish pile.  Yellow golds, dark and light blues are common colors.  The outermost plain border on pre-1800 examples is a corrosive brown.  Formats include large square “throne” carpets, parallel meditation runners, chair seats, and scalloped backs.

to view these rugs on our website, please use the following links:

http://rahmanan.com/inventory/show/18355/

http://rahmanan.com/inventory/show/19168/

http://rahmanan.com/inventory/show/40-503/

 

Chinese – NingXia: circa 1750

#18355
Chinese, Ning Xia, Platform Carpet
3.99m x 4.06m (13’1” x 13’4”)
2nd half of the18th century.

Structure:

Warp: Cotton, white, natural, Z-4-S
Weft: Cotton, white, natural, Z-4, 2 shoots alternating
Pile: Wool, Z-3 or Z-4, asymmetric knot, 4-5 h. x 6½v. = 27 – 33/in²
Sides: 2 body wraps weft attached and weft wrapped thinly
Ends: No original finish.

This piece has a very close parallel in David Franses’s, Lion-Dog and 100 Antiques Rugs, pl.15, Thyssen – Bornemisza Coll., a platform carpet 3.53 x 3.86m. Both employ a multi-colored cloud wreath surrounding a central rounded medallion of large lion–dog and several cavorting smaller ones. The fields are a similar salmon, but the T-B. piece uses precious objects instead of clouds and lion-dogs; the peonies are virtually identical. The overall effect is quite close. The T.B. piece uses large flower scroll corners instead of close fret scrolls, and in the former they are en-suite with the middle narrow border, which, in turn resembles both inner and main stripes to varying degrees. The T.B. example, however, uses a 3-dimensional swastika fret stripe and an inner band with running dog fret. The other stripe is plain brown in contrast to plain blue in our piece. The knot count in the T.-B. ex. is 6 x 6 = 36/in², roughly in line with ours and characteristic of the period.

The medallion re-appears almost exactly on Franses pl. 14, a lion-dog rug ex. Andonian coll., 2.2 x 3.7m (7.2 x 12.1) with similar wreath and dog-filled roundel, but the field is a diagonal tone-on-tone fret pattern with scattered cranes and peonies. The main border is close to ours, but yellow rather than blue, and there is a swastika fret inner stripe. The other surround is plain blue. Franses dates it similarly, second half of the 18th century. No. structural analysis is given except to indicate cotton foundation, wool pile.

The cloud wreath surrounding a lion-dog medallion seems to be characteristic of large pieces in the second half of the 18th century.

To view this piece on our website, please use the following link:

 

http://www.antiquerugstudio.com/Chinese%20-%20Ningxia/18355