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Lot Essay
Charles Grant Ellis first coined the phrase 'RKO' in 1967, when discussing the design of a Chinese rug in the Textile Museum. His description of the dynamic 'stroke-and-dash' field design as being akin to the famous sonic waves of the RKO Picture Inc. logo was so apt that the term has stuck (see C.G.Ellis, 'Chinese Rugs', Textile Museum Journal, vol II/3, Washington DC., 1967, p.48).
In his seminal article on the group in HALI, Hans König concluded that the 'RKO' rugs are defined as an idiosyncratic group of rugs woven by weavers in Ningxia, Kansu and Khotan. Whilst often differing dramatically in their appearance, the group share a number of design characteristics, such as the dynamic 'stroke-and-dash' field pattern, a small central medallion, a small format, similar tonal palette and most have bold end panels in the place of a conventional border. The motifs within the central roundel vary, but are most commonly characterised by either having a pierced fret-work pattern, a floral rosette or a dragon-fret work centre, as in the present rug.
According to König, all of the 'RKO' rugs woven in East Turkestan were produced in Khotan and display undyed, slightly depressed, cotton warps and woollen wefts. He notes that almost all display rounded corner, however the present rug is one of a smaller group of rectangular form. A similar rug of rectangular form was formerly in the collection of Hans König which sold in these Rooms, 25 October 2018, lot 294. Unlike conventional rugs, the 'RKO' group do not have a four-sided border surround, but instead feature bold end panels with various interpretations of the sea-mountain-sky pattern. Comparable patterns can be found on narrow, vertical pillar rugs and on some pile wall hangings, as well as on other Chinese carpets.
Typically the 'RKO' group measure no more than 5ft. by 2ft.6in., which would suggest that they were woven for a specific purpose, such as saddle covers. Contemporary writings record the use of similar rugs as altar covers, where the central panel would fit the top of the altar while the pelmet decoration at either end would hang down at the front and back, (Sandra Whitman, 'Articles of Faith', HALI 194 Winter, 2017, pp.67-69). A closely related example, with a fret-dragon medallion but devoid of end panels, was with Sandra Whitman and is illustrated by König (HALI 110, p.105, fig.14).
In his seminal article on the group in HALI, Hans König concluded that the 'RKO' rugs are defined as an idiosyncratic group of rugs woven by weavers in Ningxia, Kansu and Khotan. Whilst often differing dramatically in their appearance, the group share a number of design characteristics, such as the dynamic 'stroke-and-dash' field pattern, a small central medallion, a small format, similar tonal palette and most have bold end panels in the place of a conventional border. The motifs within the central roundel vary, but are most commonly characterised by either having a pierced fret-work pattern, a floral rosette or a dragon-fret work centre, as in the present rug.
According to König, all of the 'RKO' rugs woven in East Turkestan were produced in Khotan and display undyed, slightly depressed, cotton warps and woollen wefts. He notes that almost all display rounded corner, however the present rug is one of a smaller group of rectangular form. A similar rug of rectangular form was formerly in the collection of Hans König which sold in these Rooms, 25 October 2018, lot 294. Unlike conventional rugs, the 'RKO' group do not have a four-sided border surround, but instead feature bold end panels with various interpretations of the sea-mountain-sky pattern. Comparable patterns can be found on narrow, vertical pillar rugs and on some pile wall hangings, as well as on other Chinese carpets.
Typically the 'RKO' group measure no more than 5ft. by 2ft.6in., which would suggest that they were woven for a specific purpose, such as saddle covers. Contemporary writings record the use of similar rugs as altar covers, where the central panel would fit the top of the altar while the pelmet decoration at either end would hang down at the front and back, (Sandra Whitman, 'Articles of Faith', HALI 194 Winter, 2017, pp.67-69). A closely related example, with a fret-dragon medallion but devoid of end panels, was with Sandra Whitman and is illustrated by König (HALI 110, p.105, fig.14).