July 2023 – Antique Rug Studio

25670

Indian Sampler Mat

Northern India, possibly Lahore

2.0 x 3.10

C. 1930

All cotton foundation, with approx. 180 asymmetric (Persian) wool knots per square inch

Sampler mats were created for several different purposes: to store patterns; for the weavers to consult when making larger carpets; and for the ultimate client to approve the weave, color way and pattern before a larger carpet is woven.

Indian samplers are quite rare, and they usually function as both weaver guides and pattern reservoirs. This sampler, incorporating a snippet of the ogival red leaf lattice field, with a section of a yellow ochre border with cypresses, trees and upright flowering plants, has not been taken from a Mughal period pashmina pile, silk foundation, ultra-fine weave but from an illustration of one. A fragmentary piece is in the Metropolitan Museum of Art, Ex-Altman collection. These fragments are from a long and narrow carpet with a weave of about 1250 knots per square inch. They were first published with an illustration in Sarre and Trenkwald, Old Oriental Carpets, vol. II, 1926-1929. So, the sampler mat cannot be older than about 1930.

The pile is regular sheep wool rather than fine pashmina goat. The sampler was used in a factory to create a full-sized carpet. Given that it is incomplete in both field and border, there were probably additional samplers with other parts of the design. The colors are, however, modern close approximations of the original.

As to where and by whom the sampler was made. Lahore is the first possibility. This has always been a carpet trading and weaving center. Thus, the rug could have been ordered from any one of the local shops. The sampler was made in a very professional atelier which had access to an extensive design library, one having the Sarre and Trenckwald set. Oriental Carpet Manufacturers (O.C.M) was active in India beginning in the first quarter of the 20^th century and had an excellent library and skilled designers. They had a specialized factory in Mirzapur weaving fine carpets, and this sampler could have used these. OCM did not market their carpets and it is difficult to assign any extant pieces to them, but since they were by far the largest carpet manufacturer, it is quite possible that this piece is one of theirs. Historicizing Mughal-style carpets, copied from illustrations in Sarre and Trenkwald , and from Hendley, Carpets in the Jaipur Palaces, 1905-6, were available in the Interwar Period, OCM possessed them in their extensive library, and we have seen other Mughal-style pieces of finer weave that successfully reproduce the originals. This sampler allows us to complete the fragmentary original.

To view this sampler on our website, click here.

*Written by Dr. Peter Saunders.

24013

Ningxia North Central China

17’10” x 17’10”

C. 1850

Warp: cotton, off white, handspun, Z-4-S

Weft: cotton, off white, handspun, 2 shoots alternating

Pile: wool, 3 strand, handspun

Knot: asymmetric, open left, 48 knots per square inch

Sides: one cord, offwhite cotton wrapped

End: no original finish

This is a particularly large example of a Mandarin official’s carpet with a central medallion displaying nine lion dogs collectively symbolic of success on the national Chin Shih examination which provided guaranteed entry into the national administrative bureaucracy and the wealth devolving therefrom. The nine lion dogs are a rebus for success in the national bureaucracy. The apricot ground features 11 full or partial rows of tree peonies, flower and stem. This carpet is particularly large and clearly was made for a highly placed official or the wealthy family of a recent graduate of whom great things were expected. The principal was probably Buddhist as indicated by the embroidered ball and precious objects in the medallion. The clouds surrounding the lion dogs form a broken, polychrome circle rather than the usual continuous cloud wreath. This is one of the several features indicating a bespoke order rather than a piece made for the market.

Another indicator is the exceptional size, as the standard square Ningxia Mandarin carpet is about 12 to 14 feet square. The main border continues the color combination, with a now apricot ground and peonies among floral arabesques. The blue inner stripe is unusual with butterflies alternating with paired peaches of longevity. Surrounding the whole is a wide, dark blue plain band. The drawing is balanced in all directions, with nothing cut off or left incomplete.

The medallion has three peony rows below and four above, but it seems well centered. To have added another row at the bottom would have been technically more correct, but it would have made the carpet less than square, and squareness was an essential requirement. The notion that these square carpets were made for conforming dais platforms can be dismissed on an even cursory look at traditional Chinese houses. There are no daises. The only dais platforms are in the Forbidden City Imperial throne rooms and this is not an Imperial rug.

The condition is extraordinary. Such carpets were woven for the largest room of the house, the ancestor hall, and brought out only on important occasions like funerals, weddings, visits or holidays. Otherwise, they were rolled up and stored away. The handle is particularly thick and solid, and indicates a turn away from the softer and looser characteristic earlier Ningxia weave. Very few large Ningxia carpets are known and even fewer are in this exceptional state of perfect preservation.

The peony is a traditional Chinese carpet design, but it is usually combined with butterflies, bats, fretwork or other elements. The close and allover display of peonies is very unusual. The flower heads reverse direction at the approximate horizontal middle of the carpet. The carpet was originally more of a lacquer red as indicated by the verso. The logwood dye has, as is usual for Chinese carpets, changed to a mellow apricot.

As is standard, Ningxia carpets are not dated or inscribed, and it would be impossible to ascertain the original patron of the piece. In any case, his dwelling would have been most substantial with an ancestor hall twenty or more feet in width. The intended owner would have been highly placed in any case.

The exact workshop practices of the dozen or so workshops active at the time are not known, but the weavers, Hui Muslims, worked on vertical looms. Whether they employed partial cartoons for this exceptional piece is unknown, but it surely was well supervised. The central medallion probably had some sort of graphic guide, however.