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拍品专文
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 concludes 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 present lot, one of three in the current sale from the same collection, is of a shaped-form where either end has a rounded corner and which most likely served as a saddle cover. 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.
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, with almost all having rounded corners. 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. The present rug has a particularly striking rolling sea-pattern with tightly-curled breaking waves. A closely related example that displays a similar pattern but with a less curled profile is in a private Italian collection, (König, op.cit. fig 9), see also lot 295 in the present sale (König, op.cit. fig.12).
In his seminal article on the group in Hali, Hans König concludes 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 present lot, one of three in the current sale from the same collection, is of a shaped-form where either end has a rounded corner and which most likely served as a saddle cover. 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.
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, with almost all having rounded corners. 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. The present rug has a particularly striking rolling sea-pattern with tightly-curled breaking waves. A closely related example that displays a similar pattern but with a less curled profile is in a private Italian collection, (König, op.cit. fig 9), see also lot 295 in the present sale (König, op.cit. fig.12).