Oriental Rugs, Antique and Modern

by W. A. Hawley

Kang-hi.—During the first years of the Tsing dynasty, that continued from 1644 to its recent overthrow, the country was so occupied by wars waged between the conquering Manchoos and the still resisting followers of the Ming dynasty that art was nearly at a standstill. But during the reign of the illustrious Kang-hi, 1662-1722, art revived and enjoyed one of the most splendid periods of its history. There is, however, a noticeable difference between the rugs that belong to the early and to the late part of this reign; so that it is convenient to divide them into the early Kang-hi pieces, that were woven during the last part of the XVII Century, and the late Kang-hi pieces, almost all of which were woven at the beginning of the XVIII Century. This division is also convenient; as many rugs cannot be definitely assigned to the reign of a particular emperor, and, accordingly, the broader distinction of assigning them to different centuries is frequently adopted.

In weaving, as in making porcelain, many of the products of the late Ming were still copied during the early Kang-hi period, but there was a freer use of colour and a more decorative ornamentation. Many of the figures are still geometric. Frets are conspicuous in the fields of large numbers of these pieces. The dragon also is a favourite motive; but in the scrolls that represent the legs and bifurcated tail, and in the conventionalised head, the resemblance to the mythical monster is almost lost. Sometimes two or more of these constitute a medallion in the centre of the field, in which others are grouped with regularity; while similar forms occupy the corners. Some of the rugs in which the fields are covered with sundry objects, as scrolls, vases, altar pieces, and sacred plants, also belong to this period. The borders of these and late Kang-hi pieces have frequently an outer edging of brown and a single border stripe with swastika-fret. In a few pieces, the stripe has a well-balanced scroll which has been developed from designs of conventionalised dragons and frets that appear in the central medallion and in the corners of the field. Occasionally, however, there is an inner stripe with the key meander. The colour scheme of the late Ming, including the golden browns and deep blues, is largely employed in rugs of this period.

Plate 61. Turkoman Saddle-bags

The same influences that resulted during the late Kang-hi period in the remarkable development of decorative art as applied to porcelains, produced a corresponding effect in the rugs woven at the same time. Manchurian ideas and taste gave renewed spirit to earlier Chinese style. The fields were not infrequently covered with sub-patterns of fret work, on which medallions appeared more prominently. The geometric figures were largely supplanted by foliate forms. Even when the central medallions and corner figures are of frets or stiffly conventionalised dragons, the fields are often covered with delicate scroll or foliate sub-patterns that support floral forms resembling the lotus or the peony. The drawing of some of these has a Western character, and there is little doubt that at this time the art of Persia had a strong influence on the weaving of China. In other pieces of this class, the foliate and floral forms no longer appear as sub-patterns but become the prominent feature in the decoration of the field; and the conventionalised flowers are arranged with precision in diagonal or perpendicular lines. To this period also belong rugs of a distinct type, in which the field represents a blending of pictorial and symbolic ideas, as, for instance, a homeward flight of swallows; or a grove where butterflies flit among the leaves, and deer with sacred fungus, emblematic of longevity, wander.

The employment of border stripes of uniform colour was still continued, but there was a tendency to employ more elaborate designs in many of the figured stripes. It is not unusual to see single or double vines with conventionalised flowers; and though the drawing is mechanical, the relationship to Persian art is apparent. Yet in most of these pieces the swastika-fret is used. A noticeable difference also exists in the colour scheme of many of the late Kang-hi rugs, which frequently display brighter colours. Much of the yellow, for instance, contains more red, giving it a golden hue known as the “imperial yellow.”

Yung-ching.—During the short reign of Yung-ching (1722-1736), though many of the old patterns were followed, the tendency to adopt more ornate forms begun during the first part of the XVIII Century continued. Manchurian ideas were now a strong factor in Chinese art, so that the use of colours and ornamentation followed broader lines. To this period are assigned most of those rugs in which designs are defined by lines of contrasting colour that has been so treated that the lines are depressed and throw the designs into bold relief. It is very difficult, however, to definitely determine that any particular rug belongs to this period; since the transition in colour scheme and patterns was gradual; and the effect of time on dyes, one of the most reliable factors in determining age, depends somewhat on their exposure to the elements and to use. But broadly speaking, figures of leaf and flower were more frequently adopted than in preceding periods and designs became less conventionalised and more artistic. Lemon and citron shades of yellow, also, became more prominent during this period.

Keen-lung.—The long reign of Keen-lung, lasting from 1736 to 1795, was one of the most prolific for Chinese art. To this period may safely be assigned most of the existing rugs made before the XIX Century, as well as many of the finest porcelains. The rugs partake of a more cosmopolitan character than those which had preceded; for not only are many of the designs and colours strictly Chinese, but others are of a Persian character, and others still suggest Mohammedan influences observable in the products of Turkestan and India. Moreover, many of the designs show a delicate shading that is not observable in the rugs made during the early part of the century. As a whole they are the most ornate of Chinese rugs. Woven after the inspiration of Persian masterpieces had left its strongest impress on Chinese weavers, and decoration in kindred arts had assumed a luxurious style, they represent in the drawing of leaf and flower, of birds, butterflies, and emblems of early philosophy and faith, and in the colours that blend with rare harmony, the most elaborate and voluptuous expression of native craftsmanship.

In the best examples the geometric, and many of the stiff conventional forms which continued through the XVII and the early part of the XVIII Century, disappeared. In their place was a greater refinement of design, a greater accuracy of drawing, which found expression in floral forms that reached their highest development at this time and became characteristic of it. Occasionally they are represented in profile as is usually the practice in Western Asia, but more often are represented as viewed from above. Some of them, as chrysanthemums, peonies, sunflowers, and orchids, are most dainty and naturalistic. The fields of many of these pieces are covered with such flowers carefully arranged in harmonious groupings of leaf, bud and flower, but never with the formal and exact balance of old Persian carpets. Not infrequently mingled with them in the same piece are more conventional designs that belong to an earlier period; sometimes there is a single central medallion; and occasionally there are a large number of them. As a rule these medallions are entirely floral, and in rugs made during the latter part of this period they display elaborate ornamentation that distinguishes them from earlier ones; but now and then they contain fabulous creatures, as the lion-dogs, by which in a few instances they are entirely replaced.