Game Boards on Chinese Rugs

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.

#18885 Doroksh: circa 1910

Rug #: 18885

Origin: NE Persia

Type: Mood (Doroksh)

Size: 10’6″ x 13’10”

Warp: cotton

Weft: cotton

Pile: wool

Circa: 1910

What we in the industry refer to as “Mood Carpets” are a generalization of a number of types of rugs woven in NE Persia.  These pieces are generally formal in design, and are considered to be sort of a sister rug to the Tabriz.

One type of weave considered as such is the Doroksh.  Typically, the pattern on Doroksh carpets can be viewed in as much detail on the back of the rug as on the face.

One result of the intricacy of these weavings was the method of cheating by using a weft every few lines, instead of every line (like most Persian rugs).  Perhaps the weavers were trying to save time by doing this.  The effect that this creates once the rug has worn some is quite unusual, with a striated look and a feeling much like a frayed piece of fabric.

To view this rug on our website, use the following link:

http://www.rahmanan.com/inventory/show/18885/

*by Katrina Mauro

Sarouk – Mohajeran: Circa 1920

Origin: NW Persia – Arak District

Type: Sarouk – Mohajeran

Size: 13’2” x 16’10”

Warp: Cotton

Weft: Cotton

Pile: Wool

Circa: 1920

Main Colors: navy, rust, coral, pale yellow

 

This carpet originates in the area of Sarouk, slightly south of Tehran in NW Persia.  This area, and surrounding regions, have a long history of rug making, dating back to at least the beginning of the 17^th Century.

While the colors in this rug may be typical of pieces produced in the area, they are extremely well balanced, and the design makes use of unique elements which make the piece more interesting.

Rugs woven in Sarouk vary greatly in quality and design execution.  This particular piece is distinctive because of its repetitive use of the same geometric shape, which outlines the medallion, in the corner and borders.

by: Katrina Mauro

Sultanabad: Circa 1900

Rug #: 18876

Origin: North Persia – Arak region

Type: Sultanabad

Size: 9’’6” X 10’2”

Weave density: 60 knots per sq inch

Warp: cotton

Weft: cotton

Pile: wool

Sides: 3 ply wool

Circa: 1900’s

Main Colors: olive-lime green, medium rust, ivory, navy blue, pale yellow.

This carpet originates in the Mahal district of the Arak region in NW Persia. It was most likely made for export to European or North American markets because of its size and color combinations. The town and surrounding regions have a long history of rug making, dating back to at least to the beginning of 17th Century.

What makes Sultanabad carpets distinctive, and highly desirable, are their bold designs which are always based on classical Persian rugs, along with a good array of pastel colors, which are enhanced by the lustrous mountain wool. This particular piece is distinctive because of its soft and uncommon combination of colors paired with a rare pattern.

http://www.rahmanan.com/inventory/show/18876/

Chinese Art Deco: circa 1930

#40-986

Chinese – Art Deco

8’0″ x 10’0″

circa 1930

As seen in ‘Art Deco & Modernist Carpets’ by Susan Dry (page 94)

 

In the 1930s, the demand for handwoven rugs, which could not be made in the United States, caused a surge of industry overseas, especially in China.  There were major factories opened in Beijung and Tientsin.

This particular design is the child of the Fette-Li Company of Beijing China.  The Fette-Li Company was set up in 1919 by Helen Fette in Partnership with Chinese weaver Li Meng Shu.

Many of the designs, over viewed by Fette, were taken from Chinese emroidery, or inspired by traditional Chinese motifs.  This pine tree design is one of their more distinctly Art Deco pieces.

 

http://www.rahmanan.com/inventory/show/40-986/

Oriental Influence on European Rugs

Antique rugs were once new production. About 80 – 90 years ago, carpets from the orient were sold at extremely high prices throughout Europe. European manufacturers saw the need to produce such products at lower costs, causing a sweep of production through Europe in places such as Donegal and Axminster.

This is the reason that some Donegal rugs can be found with Turkish Oushak patterns. While the need to produce a product for cheaper dominated the “where” of the production, there was still a desire for the cultural feel of an oriental rug. On top of being less expensive to make, there was also more control over how the product was made.