History & Heritage
IN TIBET, ONE MAN, ONE RUG by Ellyne Raueber
For centuries, rugs have been an integral part of life in
endowed with vast stretches of grassland as well as
Tibet and every family has them. In this country of
sheep and yaks. Very early on they learned how to
practical people, rugs are intended to be functional
domesticate the sheep in order to get the wool,” said
and utilitarian and in fact are often worn to shreds,
Mr. Tashi. “Yak hair is used to make tents that are
then replaced rather than repaired. A well-loved rug
very thick and heavy, practically permanent houses
might be copied or cut up with its usable pieces reas-
for nomads. From that very functional, rudimentary
signed to a mat or used under a saddle. There is a
shelter of flatweave tents, the flatweave gradually
Tibetan saying: one man, one rug; each man and each
evolved and branched out.”
rug has a life expectancy.
1 0 00 MO N KS ON RUG S
The lack of “heirlooms” and the plunder that followed the Chinese invasion of Tibet in the late 1950s
Buddhism, introduced from the Indian subconti-
are difficulties often cited by scholars seeking the his-
nent in the 7th century, unified Tibet and became the
tory of Tibetan rug making. Yet evidence exists from
official state religion in the 8th century. Now rugs
folkloric and religious citings which go back at least
were not only used in the home, but also in Buddhist
to the 7th century in legends, including one told about
monasteries. There, signs of deterioration on a rug
a lama who meditated on a square rug decorated with
might indicate where a stand for texts had rested, or
sacred symbols; to actual rug fragments carbon dated
where a lama’s heel had laid in repose while studying
to the 15th century.
that text. There might be holes where monks sat again
The story of woolcraft began very early accord-
and again to meditate.
ing to Kesang Tashi, the author of Of Wool and
As monasteries proliferated, especially between
Loom—The Tradition of Tibetan Rugs, owner of
the 16th and 19th centuries, so did the manufacture of
InnerAsia Rugs based in Hanover, NH and founder of
rugs and sacred Tibetan Buddhist art. Some rugs
the Khawachen Arts and Craft Center in Lhasa. “Look
found in monasteries are thought to have been made
at the geography: very high up, average elevation
in China for sale in Tibet; in fact, rug production for
11,000 feet and the land is desolate and harsh, cold,”
export to Tibet might have been the impetus to the
he said. “In order for Tibetans to survive they were
development of rug making in China.
OPPOSITE, TOP Two Tibetan weavers at work, creating a rug. Courtesy of InnerAsia Rugs, Hanover, NH/Khawachen, Lhasa, Tibet.
OPPOSITE, BOTTOM Craft spinning in Tibet. Courtesy of InnerAsia Rugs, Hanover, NH/Khawachen, Lhasa, Tibet
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History & Heritage It is probable that by the 19th century many monasteries had organized workshops that met some of the monasteries’ own needs. Weavings, which in wealthy monasteries were frequently replaced, were also purchased, or donated in lieu of taxes. Monks and lamas enjoyed these traditionally beautiful works in their private rooms as well as in the great halls, which often held thousands of monks at a time. Some estimate that there were some 300,000 monks in Tibet at any given time.
WA NG D E N A N D D RUM ZE
Tsukdruks are blankets that were woven by
nomadic women who used horizontal backstrap looms to produce narrow strips which were then sewn together. “The tsukdruk is probably one of the earliest wool weaves having some kind of a pile,” said Mr. Tashi. He explained that tsukdruks gradually evolved into wangdens which then evolved into drumses, the Tibetan word for rug. Wangden rugs, too heavy for horizontal looms and therefore woven on vertical looms, are characterized by their square shape, looser weave, thicker pile, “warp-faced” rug backing, and often, a dense and shaggy fringe on all four sides. These early Tibetan pile rugs were in great demand by monasteries, valued for the insulation and warmth they provided to meditating monks of Buddhist—or even Bon, preBuddhist—traditions. “If I were a wangden weaver,” said Mr. Tashi, “and I organized some relatives to weave wangdens to sell, instead of just for family use, the obvious place to go to sell is the monastery because they had the money and would buy in bulk. Many wangdens ended up in the monastery, which is why you see many with Buddhist symbols.” The wangden rug is named after its town of oriABOVE Tiger rug, Tibet, late 19th century. Sold April 1, 2003. Photograph courtesy of Sotheby’s, Inc. ©
gin, Wangden. “That is further west of the Gyantse, the area probably the most renowned when the drumse or the pile carpet as we know it began to flourish,” explained Mr. Tashi. “It all started very simply:
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History & Heritage less color, very little design, and a primitive loose
Tashi. “For laity to sit on a serious religious symbol
weave that gradually evolved from a flatweave to
would appear to be disrespectful, but if the Dalai
wangden. Then it got to a stage called “knife cut,”
Lama is sitting on a rug made for him with all of these
then it jumped to drumse characterized by a tighter
symbols, it was meant for him; so it then becomes a
weave, a more complex design, and more colors.”
question of doctrine.”
Some drumse have fringe and a soft warp back-
The practical 3x6 drumse, used as a sleeping rug,
ing, popular elements that added extra warmth. Mr.
is found throughout Tibet. “In, for lack of other
Tashi’s antique Tibetan rug collection, now part of the
words, a middle class family, there would be multiple
Newark Museum’s extensive Arts of Asia Collection,
rugs. In the sitting room they would have minimally
has a few pieces of drumse weave with, he said, “a
three beds and possibly up to six or eight beds. They
look of warm and frizzy frills on the edge because the
would each have a pair of rugs on top of them,” Mr.
weaver really liked it. The beauty of Tibetan rugs is
Tashi said. He explained that the bed would double as
that it is very individualized and people weave what
a daytime sofa with the addition of two three-foot-
they like.”
long gabneys, or stuffed backrests the covers of which
Logical deduction as well as historical records
were rugs. Wealthy homes might have six, seven or
can date the drumse to as far back as the 11th century
eight rugs piled one atop another.
when Tibet’s famous poet, Melarepa, used the word.
SADDLE UP
“Melarepa taught by bursting into spontaneous verses about impermanence, among other things. He
Saddle sets, blankets and horse trappings—acces-
referred, in this incredible heightened sense, to final-
sories and adornments used on horses, mules and
ly meeting his Guru. He described how the Guru was
yaks—were another rug category to be found in
sitting on a khaden, the stuffed cushion, and covering
everyday life. They often featured medallions and
that was a drumse,” said Mr. Tashi.
“frog feet” in central patterns. Saddle sets, rarely
S IT , SL E E P , M E D I T A T E
found intact today, allowed for one rug under the sad-
Long, narrow runners, often with defined squares
Britain invaded Tibet in 1904, saddle rugs were fash-
to show where each monk should sit, were laid out in
ioned in a butterfly shape with rounded edges, just
monastery assembly halls where services were held;
like the cloths used by British troops.
dle and one on top as a cushion for the rider. After
while high ranking monks sat on three-foot square
Mr. Tashi noted that today, Tibetans who are
drumses or wangdens used on low platforms or on
financially successful are buying horses and equip-
thrones. Borrowing from a Chinese tradition, rugs
ping them with traditional Tibet saddle rugs. There
with auspicious designs were used to cover pillars in
also is a revival of polo (polo is the Tibetan word for
monasteries, while coarsely-knotted rugs covered
ball). With antique saddle rugs prohibitively expen-
entryways. Less common are purely decorative rugs
sive, Mr. Tashi is producing a collection at the
found hanging on monastery walls and covering pil-
Khawachen Arts and Craft Center in Lhasa, which he
lows.
opened in the hope of continuing the tradition of
Some say that in monasteries, the sacred motifs
Tibetan rug weaving and other Tibetan arts. Created
were used to ground and protect the monks; while in
for the domestic market, saddle rugs will be shown
homes they provided uplifting decoration and
this year at a rug exhibition in Amdo.
warmth. “It is subject to interpretation,” said Mr.
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History & Heritage W EAVING
have been used as a design element.
Tibetans use a distinctive weft wrapping tech-
With the advent of synthetic dyes, colors became
nique. There are fragments of rugs from the third and
more vibrant. Synthetic dyes were easier to use, espe-
fourth century found elsewhere that have a loop simi-
cially when deep, rich colors were the goal, which
lar to that used in Tibet, but none in more recent his-
they were in this colorless terrain where combinations
tory, except in Tibet. Yarn is looped over a gauge rod
of red, blue and yellow were often used. The change
once and then looped around, usually, two warps; then
occurred between 1885 and 1890. Some believe that
around the rod again. The size of the rod establishes
the use of synthetic dye differentiates antique from
the gauge/length of the pile. When a row of loops is
more modern Tibetan rugs. It should be noted, how-
completed, a sharp instrument is used to cut the yarn
ever, that the introduction of synthetic dye was
along the groove where the rod meets the warp. The
uneven, with some weavers in Lhasa, Shigatse and
weaver can then remove the rod that is no longer
Gyantse using natural dyes into the 1940s and some
wrapped in the yarn. The result is a row of pile that
synthetic dyes not reaching some villages until many
resembles overlapping shingles. With some excep-
years later.
tions for very early rugs, vertical looms are used.
DESIGN
No one really knows why Tibetans use this method. Fragments from non-Tibetan rugs like some
Antique Tibetan rug designers had more freedom
found in Eastern Turkestan, use similar looping meth-
than artists who were creating sacred works. They
ods; but those methods were discontinued, except in
reimagined religious symbols; copied existing designs
Tibet, where they continue to differentiate Tibetan
from fragments or from memory, leaving room for the
rugs from other rugs.
error of inventiveness; and created one-of-a-kind rugs
C OLO R
by combining design elements in new ways, some-
The Himalayas are beautiful, but not colorful so
times arriving at the atypical and original. Designs were inspired by Buddhism, mythology and textiles.
color in objects was important. In fact, the use of
Rugs intended for Buddhist Monasteries most
brighter color is one tool used to determine if a rug is
often followed a set of design rules applied to reli-
Tibetan rather than Chinese. A variety of natural dyes
gious art and therefore would not be used for anything
were originally used including madder for reds, the
other than ritual practice. They featured Buddhist
rare orange, and browns; lac for brighter reds like
symbols like the double dorje (thunderbolt and/or dia-
crimson and magenta; and imported indigo for blues.
mond in Sanscrit) embodying the force of the thun-
Walnut husks were used for browns, especially when
derbolt and the indestructibility of the diamond; rep-
madder was unavailable. Color sources for yellow, in
resenting firmness of wisdom and spiritual power.
an array of plant dyes, were rhubarb leaves; possibly
The endless knot is equated to the cycle of life; and
turmeric and safflower; and saffron, also used for
the swastika, later defiled by the Nazis, is the Sanskrit
orange. Where designs were minimalist, abrash might
symbol for auspicious.
OPPOSITE, TOP Geometric Pattern Carpet; Tibet; early 20th century; wool warp and weft; 27/27.25 x 27.875/27.75 in.; Collection of Robert and Lois Baylis. Photograph courtesy of The Rubin Museum of Art. OPPOSITE, BOTTOM Checkerboard rug, Tibet, late 19th century, 2.10x5.8. Sold for $16,000 on April 15, 1998 at Sotheby’s. Photograph courtesy of Sotheby’s, Inc.©.
38 Summer 2013
History & Heritage
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History & Heritage Rug makers borrowed, reinterpreted and applied
design and color, and became very ornamental,” said
to rugs textile designs from other cultures; or from
Mr. Tashi. “Aristocrats would have weavers from
their own textiles, like tigma, a Tibetan tie-dyed
Gyntse and elsewhere come to their estates in Lhasa
design of crosses that could be used to create a beau-
in the fall and weave so that the rugs would be ready
tifully fluid field pattern. “It is in textile, but then it
for the New Year.”
got reinterpreted in pile. You would get tigma and tex-
The rugs were objects of beauty that also added to
tile pieces from the backstrap,” said Mr. Tashi. “For a
a household’s wealth. Rugs could be taken from a
long time now in Tibet tigma has been called gyalo—
stored surplus when there was a need to give an
which literally means return from China—because it
important gift, something that had the cachet of hav-
was originally exported abroad and then, because it
ing been woven on the estate. It was not uncommon
was so successful there, the Tibetans said, ‘wow, now
for the head of the household to get involved, select-
I see why: it is so elegant;’ so they began using the
ing a brocade with designs thought translatable to
design again.”
rugs. “Many fancied themselves designers and would
Weaving also took place on the large estates of
work with the weavers,” said Mr. Tashi. “These tex-
the landed gentry. An increase in trade at around the
tiles came from China. Ming design seems to have
end of the 19th century brought economic growth and
been favored by Tibetans because of the very good
wealth to monasteries and land owning families who
relations they had at that time and because they had
often then emulated Chinese lifestyle. “In the 1920s
the quality of simple elegance.”
and ‘30s there was a rug weaving renaissance. Rugs
Mary Jo Otsea, Worldwide Director of the
were being woven all the time, but that is when rugs
Carpets Department at Sotheby’s, also mentioned
went up a notch in terms of complexity, choice of
rugs made at this time. “A lot of them were made at
BELOW Leopardskin Carpet; Tibet; early 20th century; wool warp and weft; 62 x 34 in.; Collection of Robert and Lois Baylis. Courtesy of The Rubin Museum of Art.
40 Summer 2013
History & Heritage the turn of the last century and have fugitive dyes that
originated in East Turkistan; but sometimes featuring
bleed,” she said, “but they can be charming and pret-
only one naturalistic central medallion. The checker-
ty.” Ms. Otsea does not feel that these rugs are finely
board, another common Tibetan rug design, also
woven or wear particularly well. “But, she said, “we
serves as an astrological chart and can be found on
did sell a checkerboard rug in 1998 for $16,000.”
monastery walls. The design, found on tsukdruk
A T THE RUBIN
looped pile strips as well, may be one of the oldest
In the summer of 2011, The Rubin Museum of
Art, New York, NY which holds one of the world’s most important collections of Himalayan art, present-
Tibetan rug designs.
AN I MA LS I N D ESI G N
Animals appear as an important design element.
ed Patterns of Life, The Art of Tibetan Carpets. The
Phoenixes and dragons, considered demonic in
carpets in this exhibit date from the early 20th centu-
Central Asia, are more playful in Tibet. Tibetans
ry and show the beauty of the rugs woven during the
equate dragons, which were said to live in both heav-
rug renaissance noted by Mr. Tashi. A wonderful
en and earth, with strength and power while phoenix-
small, square drumse with the talismanic crosses of
es are believed to be protective. There are many folk-
the tigma design is represented, as is a carpet with a
loric meanings to their appearance together on a rug:
floral motif, popular in Tibetan design.
one is a blessing of harmony, domestic and marital.
In the category of geometric designs, the medallion became the most common design feature, usually
These symbols often appeared in 20th century multicolored rugs which were sold commercially.
using a three-medallion motif—with the central
In terms of Tibetan rug collecting, tiger rugs are a
medallion being different from the other two—that
popular choice. “The most consistently valuable
BELOW Four Auspicious Animals Carpet; Tibet; early 20th century; wool warp and weft; 23.75 x 29 in.; Collection of Robert and Lois Baylis. Courtesy of The Rubin Museum of Art.
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History & Heritage Tibetan rugs are the tiger skin rugs, the ones with the very stylized tiger stripes, the very abstract ones; peo-
RU GS F O R SAL E
When the Chinese invaded Tibet in the late 1950s
ple love them,” Ms. Otsea said. Tigers are a symbol of
it was the end of an era of peace. Some posit that an
power, strength, and fearlessness. Whole tigers,
enormous number of rugs were looted or confiscated
flayed tigers, and tigers abstracted down to striped
by Chinese soldiers. Tibetans hid rugs and those who
prints comprise a rug design subset. They are said to
fled brought rugs out. There was a flood of rugs; and
provide protection and are found on throne backs and
then there was a dearth. Antique rugs do continue to
panels used on monastery halls, as well as in homes,
be found and valued; and there need be no worry that
where they may be more decorative than protective.
Tibetan rugs and rug making will disappear as an art
Single or paired tigers frolicking are referred to as
and craft form.
“happy tigers.” (On exhibit at The Rubin Museum
Rugs are being produced today at the Khawachen
were a black tiger striped print on an orange field, and
Arts and Craft Center in Lhasa, and elsewhere in
a sleeping rug that shows a tiger in a bamboo grove on
Tibet. At the same time, weavers who left Tibet creat-
one side and on the other side, a mythical snow lion
ed rug weaving centers in other countries like Nepal,
with mountains in the background.)
Bhutan and India, and, together with many American
Cranes are a symbol of good luck, as are snow
manufacturers, including ORIA members, are creat-
lions, considered guardians in the Tibetan culture.
ing newly designed rugs of great beauty, using age-
Elephants, symbolically auspicious animals, are
old skills. As some weavers are able to weave designs
rarely found on rugs. Frog footprints show up as a
from memory or just by looking at patterns, older, rec-
design element, although no one knows how the
ognizably Tibetan motifs will continue to appear on
design originated.
these new rugs, as will more contemporary designs, all of which will be the heirlooms of tomorrow.
BELOW Tibetan weaver high up on a loom. Courtesy of InnerAsia, Hanover, NH/Khawachen, Lhasa, Tibet.
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History & Heritage New On View
At The Met
by Ellyne Raeuber
Once again, carpets have been rotated in The New York Metropolitan Museum’s Art of the Arab Lands, Turkey, Iran, Central Asia and South Asia Galleries. Walter Denny, Senior Consultant to the Met and Professor of Art History and Adjunct Professor of Middle Eastern Studies at the University of Massachusetts at Amherst, commented on the whiteground medallion carpet from 16th-century Ushak in western Anatolia currently on view at the Museum. Professor Denny said: “Among the dozens of surviving examples of early Ushak carpets with medallions, this example is noteworthy for its unusual coloration, superb artistic quality, extraordinary state of preservation, and the presence of a white background field ornamented with chintemani—three small round ‘spots’ and two parallel wavy ‘bands’ that together constitute a symbol of good luck. “Originally arising from a Buddhist tradition— the word chintemani is Sanskrit for ‘auspicious jewel’—these spots and stripes by the 16th century had become a virtual symbol for the Ottoman Empire, appearing in Ottoman ceramic wares, wall tiles, carpets, woven and embroidered costumes, marquetry made from wood, mother-of-pearl and ivory, and Ottoman metalware and stonecarving.” The Metropolitan Museum of Art is located at Fifth Avenue and 82nd Street in New York City. It opens at 9:30 Tuesday through Sunday and closes at 5:30, except for Friday and Saturday when it stays open until 9:00 pm. Check www.metmuseum.org or call 212-535-7710 for further information.
Ushak Medallion Carpet on White Ground, first half 17th century, Turkey. Wool (warp, weft and pile); symmetrically knotted pile; 25’5x12’7. The Metropolitan Museum of Art, Gift of Caroline and Joseph S. Gruss, 1984. Image: © The Metropolitan Museum of Art, New York. Courtesy of The Metropolitan Museum of Art, New York.
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