In a space that is sophisticated and minimal, eclectic and well traveled, neat and organized, and mindful of itself; a space that loves the pure essence of music and aims to capture the cleanest sound, sits the perfect braided carpet.
A unique rectangular piece that contains color, but is strengthened by black, dark browns, and neutrals brings together these elements to ground a listening room that is both soft and masculine at the same time. It’s texture, warm and full of memory, cultivates a sense of home.
Ries | Hayes Interior Design Studio really nailed it on this one.
Braided carpets are a category of rugs which are rich with history. This American cultural object of necessity has over time become an appreciated woven art form, and the search for unique and interesting period pieces is an ongoing one. Here’s some braided rugs that we find to be quite wonderful.
When you’re ready to find home, you know who to call.
It’s no secret that we love working with the spectacular Ryan Lawson, and we’re especially thrilled to see his inspired visions in an exhibition called CELEBRATING MASTERWORKS, in which Ryan uses some of our vintage and antique carpets to help build narratives around the furniture.
With Ryan’s eclectic touch, he pulls from the incredible collections of Dobrinka Salzman and Diner Gallery to curate the best of the best works by a number of artists.
Here an early 20th Century Donegal Arts & Crafts Carpet Designed by Gavin Morton brings an intense warmth that offsets the wall color perfectly.
The “Turkey red” Oushak based design eschews borders, and the whole effect is that of a centered, but not overtly medallion, layout. The color palette is narrow, including red, cream and black. One could see it as a Turkish village yastik (cushion cover) blown up to vast room-size. The weave is quite coarse and the carpets were intended for a middle class clientele, going with wallpaper, furnishings and accessories. They were marketed primarily through Liberty of London. The carpets in this design, as most of Donegals were, came in various colorways, and there are examples with cream and dark blue grounds.
Unlike Oushaks which were produced in quantity, Donegal carpets were woven in smaller numbers and have always been relatively uncommon.
Stock ID 24303 Irish Donegal 11’4” x 16’8” circa 1900
In this ensemble a 1950s Swedish Rya grounds the space with its modern rendition of pictorial tradition that is more than two centuries old.
The relatively shaggy pile is arranged in an oval ecru lattice creating pumpkin yellow – orange reserves, forming a background for stick figures of peasants wielding pitchforks, baskets, staves and slings for seeding. Some could be construed as ancient military figures with shields.
The pictorial tradition in Scandinavian Rya and Rollakan pile and flat-weave, rugs and carpets is more than two centuries old, and in fact probably had an origin back in Mediaeval times.
The open light rose field of this 1930s Austrian Art Nouveau Vienna Werkstätte carpet is bounded by a narrow stripe of alternating squares and rectangles. The general effect is minimal yet colorful. The carpet does not have a design in competition with the art and other furnishings, but it easily holds its own in any context.
Stock ID 19280 Austrian Art Deco 9’4” x 13’6” circa 1930
This space features a mid 20th century Ecuadorian carpet designed by Olga Fisch which is an abstracted and minimalist design in neutral tones – inspired by the Nazca Lines of Peru.
The “Nazca Lines” are ancient Peruvian, but they have inspired the drawing on this Moderne New World carpet. The vast majority of Ecuadorian carpets display active, schematic human figures and animals, generally in dark tones contrasting with cream, borderless grounds. This is the only known carpet by this designer executed in a totally abstract, minimalist manner.
Stock ID 24599 Ecuadorian 12’4” x 17’3” circa 1960
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 20th 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.
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.
Written by Dr Peter Saunders. To view this rug on our website, click here.
Here’s a fun space in London with one of our stunning and punchy antique Chinese Art Deco carpets.
We absolutely adore this space, but, just for fun… Let’s switch it up and try some other options from our inventory on for size and see how it alters the look.
Everyone’s taste, and interior style is different, and a completely different look can be achieved by simply swapping the rug that grounds your space. Which one of these alternatives is your favorite look?
Whether your look is casual, colorful, formal, or eclectic, we’ve got that something that will be the perfect accompaniment under foot. Check our inventory or let us get a search started for you today.
There are many symbols found in antique carpets which are representative of luck, fortune, abundance, and prosperity. Here we offer a short list, and a few examples of rugs utilizing these design elements.
Herati
Herati pattern
A pattern that derives its name from the city of Herat in Northwestern Afghanistan. It is an extremely common design found mainly on handmade carpets from Iran. It is comprised of a flower surrounded by acanthus-leaves. These leaves are sometimes called “flying fishes”, because of the similarity in shape.
The pattern is often used in designs with an all over repeated pattern, though lends itself nicely into lozenges or medallions of rugs with open fields or other simple ground layouts.
Dragon
Dragon
In Chinese culture dragons are symbols of great power, good luck, and strength which dates back to at least 3000BCE. They are significantly associated with prosperity, good harvest, health, and wealth.
Many Chinese New Year celebrations begin with the dragon dance as a symbolic request for prosperity in the coming cycle.
Stars & Crosses
cross
Star
Stars and crosses are protective motifs, found in rugs of varying origins, which connote happiness, offer protection agains evil, catastrophes, or ill will.
Birds
Ghashgaie birds
Whether it’s a phoenix, an eagle, a peacock or a dove, most birds symbolize good luck, power, happiness and love. There are some birds, however, such as ravens and owls, which mean bad luck and death.
Some rugs, such as the Persian Ghashgaie, contain flocks of small birds scattered throughout what would otherwise be the negative space in a carpets design.
Pomegranate
Pomegranate
The pomegranate with its many gem like seeds is used to portray luck in fertility and abundance, and is often displayed half open, with its seeds visible – an indication of its existence as a fruit of plenty.
The fascinating thing about the use of this fruit in woven art is that while it is is native to most Near Eastern and Mediterranean regions, it most often a feature in Central Asian rugs, such as Khotans.
Stay tuned for more descriptions and examples of further rug symbols!
In the world of Chinese rugs we find a subgrouping in which seemingly inanimate objects are pictorially portrayed in a couple of ways. Wether these objects float around the field, or are visually arranged as a still life, it is clear that their continued usage over time pegs them as not inanimate, but rather objects of historical or cultural importance. These objects tell a story about history and tradition, and are symbols of cultural pride.
In this post we will look specifically at game boards, in particular the game of Go (Weiqi) – an abstract strategy board game in which the aim is to surround more territory than your opponent. The game was invented in China more than 2,500 years ago and is believed to be the oldest board game continuously played through present day. If that’s not something to be proud of, I don’t know what is.
“The standard Go board has a 19×19 grid of lines, containing 361 points. Beginners often play on smaller 9×9 and 13×13 boards, and archaeological evidence shows that the game was played in earlier centuries on a board with a 17×17 grid.”
wikipedia
Similarly, the game of Fangqi is played traditionally in Northern China as a training tool for Weiqi. Board sizes for this game vary by region – with NingXia employing a 7×8 grid, and Xinjiang utilizing a 7×7 grid for example. The rules may also vary depending on the size of the board, but the basics remain constant throughout place and time.
I suppose the real question is, can the grid size of the boards displayed be used as a point of reference to aid in the proper categorization of a carpets’ origin? After copious amounts of hours counting grid squares of board games on rugs, I have determined that the answer is generally no. The size of the grid seems to align more with the overall size of the carpet rather than its place of origin, and a 6×6 grid seems to be the most standard configuration in the woven representation of the game.
Regardless of the accuracy of visual representation, the fact that this board is most often displayed with other objects of cultural importance (such as calligraphic tools, scrolls, and pottery) it is obvious that this is a symbol of pride for an ancient culture who’s contributions to society have endured the test of time.
After such an intense year in 2020, we couldn’t be more excited to accept the statement made by Pantone regarding the pairing of two colors as the color of the year for 2021:
“PANTONE 17-5104 Ultimate Gray + PANTONE 13-0647 Illuminating, two independent colors that highlight how different elements come together to support one another, best express the mood for Pantone Color of the Year 2021. Practical and rock solid but at the same time warming and optimistic, the union of PANTONE 17-5104 Ultimate Gray + PANTONE 13-0647 Illuminating is one of strength and positivity. It is a story of color that encapsulates deeper feelings of thoughtfulness with the promise of something sunny and friendly.”
Not only do we agree 100% with the idea of encouraging solidity and optimism, but we look forward to working with designers in expressing these colors and feelings in exciting ways. As such, we have put together a little bit of antique carpet inspiration based on this wonderful combination of hues.
Illuminating
Ultimate Gray
We hope you find this little vision board useful, and encourage you to touch base about any of the carpets you see here, or to do a search for something else.
Silk pile of Asymmetric Knots with Gold Metal Thread Brocading
Inscribed: “For Palace of Harmony usage only”
Most of the silk and metal thread rugs, ostensibly, according to their inscriptions, made for the Imperial palaces in the Forbidden City, display five writhing, scaly dragons, one central and full faced, the others more in profile in the corners, all executed in knotted silk pile on flat-woven gold grounds. This one, in perfect condition, shows a meditating Buddha with an enormous flaming halo, seated in a Lotus Position, between stipple shaded rocky mounds displaying irises/ peonies. Above is an umbrella signifying royalty, and scattered about are cloud bands, cloud knots and precious objects including: a cord knot, vase, wheel and scroll (?). At the bottom of the field is a scalloped and frothy sea with curling surf and droplets of foam. The usual stylized mountain rising from the waves is absent, replaced by a wave peak. Out of the sea climbs a vine supporting the Buddha’s lotus seat. The Buddha holds some sort of fruit, perhaps a citron or pomegranate, in his left hand, with the other lowered in the position of Calling the Earth to Witness. He is crowned and wears a double jeweled collar with a pendant ornament. His chest is exposed, but otherwise he is robed. The top knot on his head (urna) is consistent with the usual Buddha iconography.
This rug looks to be taken directly from a Buddhist thangka hanging scroll. It was clearly designed as a wall-hanging, and displays none of the usual symmetries of even the most luxurious Chinese dragon silks. There are the remains of hanging loops on the upper plain-weave end band. The main red border shows tilted flowers somewhere between chrysanthemums and peonies, connected by leafy arabesques. The central border shows a T-fret pattern with simple knot corners.
The originally bright gold ground has tarnished to an attractive brownish tone. The metal thread is composed in the usual Chinese manner: with gold leaf adhered to a paper substrate and then wrapped around a silk core. Metal thread without a silk core tends to break and cannot be woven smoothly. The silk pattern stands in relief against the metal thread ground much as in Persian Souf technique rugs. The combination of silk pile and metal ground is found on antique Kashgar carpets from Xinjiang, but the use of the technique in Peking seems to be a circa 1900 innovation. The weave is medium and extremely even.
Among the most desirable of American antique braided carpets are those with a strong circular bull’s eye design alternating light and dark rings concentrically, converging to a central disc. This striking piece in excellent condition admirably meets all the desiderata.
The fabric snake creates a speckled black and white disc edged in dark blue, with spreading bands in black and dark brown, thinning out slightly in width while stronger circles in lemon yellow, oranges red and a powder blue radiate outward. The innermost black circle is dramatic. The generally warm pattern cools off at the dark edging circle. The transitional joins of one color to another are clear and add to the hand made character of the piece.
The braided spiral was stitched as it was wound. One could walk the spiral into the center. This carpet has a real three-dimensional character with the center lower, the yellow band and its surrounding rising up, and then slowly flattening towards the edges. It is a genuinely artistic creation with an affinity toward certain Op Art circular painting of the 1960’s.
The choice of fabric, and what is joined to what, determines the overall visual texture. The bands spiral inwards while the colors pulsate outwards. In many braided carpets, it is one or the other. Things fall into the center or fly outwards on many braided rugs, but not always are the two so finely balanced. The tonality tends to the warm side, with no large cool blue bands. The braiding gives a sparkling, mosaic-like character to the surface, especially in the two inner circles flanking the black circle. The overall effect is bright, but harmonious, especially the soft rusts, oranges, pinks and reds.
More recent braided carpets draw on almost limitless fabric supplies and have a more set, cut-and-dried character. Here, there was no attempt to stretch a color by adding similar braided fabrics, yet the fabrics were chosen with care. No two circles are identical, but certain mixture themes are repeated, with subtle variations. Off white isn’t always white and black may be grey or patterned. The handle is moderately heavy, unlike later rag carpets which are lighter and thinner.
Antique Rug Studio 