A NINGHSIA RUG, WEST CHINA, QING DYNASTY, 17TH/18TH CENTURY

The Textile Gallery, London, 1989

Carmen Thyssen-Bornemisza Collection

Private Collection

Spuhler, Friedrich, The Thyssen-Bornemisza Collection, London, 1998, pl. 55, pp. 214-215

Sotheby's London, 6 November 2018, lot 93

The present rug incorporates the lotus flower (he, lian), symbol of purity, and one of the eight auspicious symbols of Buddhism. For comparable designs of this ancient dense pattern of flowerheads and arabesques, found on examples of silk matting, table and dais covers, Ninghsia and Kashgar, from the 17th century, see Franses, Michael, Fengruan rutan: Silk pile covers from Western China’, Fourth Hali Annual, London, 1997, pp.84-107, figs. 7, 8, 10 & 13. These cited examples include the peony or lotus flowers.

For examples of two peony rugs, of similar compositional design and balance, see König, Hans & Franses, Michael, Exhibition catalogue, Glanz der Himmelssöhne: Kaiserliche Teppiche aus China 1400 – 1750 (Splendours of Sons of Heaven: Classical Chinese Carpets 1400 – 1750), Museum für Ostasiatische Kunst, Cologne, 15 October 2005- 15 January 2006, London, 2005, no. 14, The Zadah peony rug, end of 17th century/early 18th century (157 by 155cm), and no. 15, The Michaud peony and rose rug, second half 17th century (180 by 130cm), pp. 80-85, and a comparable lotus and peony rug, on an indigo ground, with swastika pattern border, mid 17th century (259 by 194cm): Private collection, Tessin, no. 17, pp.84-85.

A Note on Classical Chinese Carpets

The study of pre- 1800 Chinese carpets is a relatively recent discipline. Carpets from Persia, India and the Ottoman Empire were extensively traded from at least the late 15th century; their aesthetic and commercial value has been well understood by collectors since they first arrived in the West. In contrast, the classical carpets of China were little known until the early 20th century, during the final years of the Qing dynasty, (1636–1912), when they began to appear on the international market. The rug scholar, Arthur Urbane Dilley wrote “The advent of Chinese rugs in America was as dramatic as their quick capture of popular approbation. As if the art arrived from another planet, The American Art Association announced the first sale of it in 1908”1. They were enthusiastically taken up by collectors such as Dilley himself, Louis Tiffany, J K Mumford, Frederick Moore, T B Clarke and the patron of modern art and literature, and collector, Scofield Thayer, whose dais carpet is included in this sale (lot 89). As calculated by Michael Franses 2 some 1,650 ‘antique’ Chinese carpets had been offered across 15 auction sales in New York by 1920, when the sales effectively ceased, as the sources of these pieces dried up. Illustrated examples in the American Art Association catalogues show many pieces in pristine condition, but the depredations of time and use have had their effect. Franses3 suggests fewer than six hundred classical Chinese carpets survive today with the Palace Museum in Beijing having the largest collection, of something less than one hundred, mainly examples from the reign of The Wanli Emperor, fourteenth Emperor of the Ming Dynasty, (1573-1619). In addition there are ‘some sixteen rugs’3 in the Metropolitan Museum of Art and a similar quantity in the Textile Museum in Washington, mainly from the collection of George Hewitt Myers, with the majority of the remainder held in private collections In Europe and the United States.

Classical Chinese carpets are in the main attributed to the weaving centre of Ninghsia in Western China, which seems to have seen an expansion in the production and availability of its weavings after a military expedition to the area by the Kangxi Emperor, fourth Emperor of the Qing Dynasty, (1662-1722), in 1696-97, during which he asked to see carpets being woven and was presented with several examples.4 Carpets were clearly highly prized as prestigious possessions: virtually all the portraits of the Ming and Qing emperors include depictions of carpets, see König. H. & Franses. M, 2005,5 pp. 19-23, pp.33, 39 for examples. Photographs of interiors of the several halls in the Forbidden City, dating from circa 1900, show how carpets were still being displayed in the palace by that date, see König. H. & Franses. M., ibid, pp.24-25. Carpets were used on raised platforms (dais), on beds, kang, as chair, bench, table and saddle covers, to define areas of importance, provide warmth and comfort, and through their motifs and decoration, create a harmonious aesthetic which integrated their symbolism with the other Chinese works of art with which the royal household, their courtiers and officials surrounded themselves.

1 Dilley, Arthur Urbane, Oriental Rugs and Carpets, A Comprehensive Study, Scribner’s, New York, 1931 cited in Franses, Michael, A Brief Introduction to classical Chinese carpets, in Classical Chinese Carpets I, London, 2000

2   Franses, Michael, A Brief Introduction to classical Chinese carpets, in Classical Chinese Carpets I, London, 2000, p.14

3 Franses, Michael , A Brief Introduction, Classical Chinese Carpets in Western Collections, The Kangxi period, 1661 – 1722, London, 2002

4 Franses, Michael , The emperors and their carpets, Classical Chinese Carpets in Western Collections, The Kangxi period, 1661 – 1722, London, 2002, p. 7&10, quoting Du Halde, Description geographique, historique , chronologique, politique et physique de l’empire de la Chine, Vol LV, fol 02, no.39, Biblioteque Nationale, Paris, 1697, p. 372 (26 April)

5 König. H. & Franses. M., Glanz de Himmelssöhne, Kaiserliche Teppiche aus China 1400 – 1750, Museum für Ostasiatische Kunst, Köln, exhibition catalogue, London, 2005