CHINESE RUGS.

It is practically within the last decade or so that the artistic merits of the Chinese rugs have been fully appreciated. Previous to that time they were promptly laid aside to make place for the other Oriental weaves. A few wise connoisseurs were in the meantime securing all the choice pieces available and some have made themselves independently wealthy by their sagacious forethought. At the present time Chinese rugs are eagerly sought and treasured more than those of any other class, good ones bringing fabulous prices.

To illustrate the rapid advance in the value of choice pieces the writer will relate one incident out of many similar ones which to his knowledge have occurred.

About eighteen years ago a wealthy horseman of Central New York died leaving a stable which, together with its furnishings, was worth many thousands of dollars. Sometime after his death the furnishings were sold at public auction. Among the articles thus disposed of was a Chinese rug 10 × 12 which was bid in by a New York man for $150.00. Two years ago it was resold for $25,000.

Excluding those of recent make, Chinese rugs are of good workmanship and honest dyes, the weavers being little influenced by modern ideas, consequently they are durable and, on account of their original Mongolian designs, can easily be distinguished from the other Oriental products. Unfortunately, on account of the growing scarcity of wool in China and on account of foreign invasion, the rug industry seems to be dying out.

The classification of Chinese rugs is a difficult matter, in fact anything like an accurate classification is impossible even for a connoisseur for they cannot be assigned to the different provinces by the finish of their sides and ends as are the other Oriental weaves, but the classification must depend mostly upon the colors, materials and workmanship, which were in vogue at certain periods, as well as the effect of time upon these colors and materials.

Those which reach our own shores are generally divided into three classes according to the districts from which they came, namely, Pekin, Tientsin and Thibet, the latter being practically Chinese although not geographically so. The above are named in order of their excellence, the finest pieces, as a rule, coming from northern China.

Unlike other Oriental textiles those of China may be interestingly classified according to the symbolism of their designs, thus we may have the longevity rug in which are depicted the crane, the stork, the deer, or the tortoise, all of which are symbols of longevity. The literary rug is decorated with books, ink stands, pencils, brushes, scrolls, and sceptres. The bat, the gourd, the circle of happiness, and the shou denote happiness; the dragon, the lion, the phoenix, and the sword authority and power; the swastika, the knot of destiny, the swallow, and the magpie are symbols of good luck, while in the religious rugs are found the rosary, the incense burner and various altar implements.

The Chinese weaver is fond of filling every available space with objects with which he comes in daily contact, thus among the animate things may be mentioned butterflies, dogs, doves, ducks and swans. Among the inanimate things are vases, chess boards, jars, stands, baskets, wheels, ribbons, shells, pots and plates, while among the flowers are the peony, the primrose, the peach, the magnolia and tea blossom, the lotus, the orchid, the chrysanthemum, the sun flower and the aster.

There are seven designs, which on account of the great frequency with which they are used, are worthy of special mention. Named in order of their employment, they are the circle of happiness, the Chinese fret, the swastika, the butterfly, the bat, the shou, and the dragon.

The circle of happiness which is found in nearly all classes of Chinese rugs is a circle or ovoid within which are worked various Mongolian designs. The Chinese, or Greek fret, as it is sometimes called, is a border design suggested by the overlapping of the sea waves and is found in fully two-thirds of the Chinese products. The swastika needs little explanation other than the statement that for centuries it has symbolized good luck to many tribes in distant parts of the world. Butterflies, symbols of vanity, are frequently found intermingled with flowers or bats, the latter being symbolic of happiness. The shou, which stands for prosperity, has nearly a hundred different forms, many of which are similar in shape to the Egyptian scarab. The dragon, the Chinese symbol for sovereignty, always has five claws, unlike the Japanese dragon, which has but three. It is frequently represented as holding or looking towards a round object, the so-called "chin" or jewel.

The materials from which the Chinese make their rugs are practically the same as are used in the other rug making countries with perhaps the exception that the wool varies more in quality, being on an average considerably coarser than that of Persia or Anatolia. The Chinese also employ considerable hair, which in appearance very much resembles that of a cow. Rugs made of this hair are known as Yak rugs.

Chinese weaving differs little from that of other parts of the Orient. Both the Senna and the Ghiordes knots are employed, most frequently the former, but the appearance is different on account of the size and looseness of the warp and pile yarn, which, in many instances, makes it impossible for the weaver to tie over eight to ten knots to the square inch. During the early part of the eighteenth century, designs were frequently made to stand out in relief by cutting somewhat shorter the wool around them.

Chinese designs are characteristic and interesting, being similar to those found in the old Chinese porcelains. As a rule they are simple, with little detail and are outlined with a contrasting color. No family or tribal designs are employed as in the other rug making countries. Each rug being usually the work of one weaver, both in design and execution, it is frequently symbolic of his creed.

During the 16th and 17th centuries the majority of Chinese rugs had a field of solid color or were covered with the trellis design. They also had but few narrow border stripes, either in plain colors or carrying simple geometric designs, but about the middle of the 18th century, they began to show Persian influence, floral patterns being adopted especially for the borders.

Like the designs, the colors employed by the weavers are quite similar to those used in the old porcelains. As a rule, they are dull, warm and harmonious, but few shades being used in the same piece.

The colors and shades most frequently used in Chinese rugs, named in order of their employment, are dark blue, yellow, light blue, apricot, ivory white, dark brown, cream, old red, tan, fawn, robin's egg blue, green, fruit red, persimmon red, ash white, sapphire blue, peach blow, salmon pink, brownish red, brick red, greenish yellow, turquoise blue, copper pink, and black.

The different shades are of considerable assistance to the connoisseur in estimating the age of a rug, for instance, robin's egg blue, golden brown, and tan were mostly in vogue during the 17th century, and during that period, green and lemon citron, greenish and reddish yellows were never employed.

THE EXAMPLES ILLUSTRATED

Three color plates of these attractive rugs are given, with accompanying descriptions (see pages 300, 306 and 318).