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                    THE MENTOR 1916.03.01, No. 102,
                             Chinese Rugs

                            LEARN ONE THING
                               EVERY DAY

                   MARCH 1 1916      SERIAL NO. 102

                                  THE
                                MENTOR

                 [Illustration: A RUG OF MIXED DESIGNS

                  The Center Is a Faded Magenta Red.
                   The Border Ground Is Pale Yellow]

                             CHINESE RUGS

                          By JOHN K. MUMFORD
                  Author and Expert on Oriental Rugs

                      DEPARTMENT OF      VOLUME 4
                      FINE ARTS          NUMBER 2

                         FIFTEEN CENTS A COPY




A Thing of Beauty


No word in the language is more abused than “beauty.” A pretty thing is
a thing of _beauty_; a pretty picture is a picture of _beauty_; and so
following. Lacking a proper descriptive term for anything attractive,
we, too often, employ the word “beauty.” What term have we then with
which to pay just tribute to true beauty?

       *       *       *       *       *

The real, final test of beauty is that it _wears well_--not in a
material way, but in the qualities that are truly beautiful. The rose
is fragile material and its life is brief, but rose beauty is lasting
and rose fragrance clings sweetly to the memory--so that the rose has
become a synonym of beauty. The message of true beauty is enduring and,
oft repeated, grows in charm. “A thing of beauty is a joy forever.”

       *       *       *       *       *

A distinguishing attribute of true beauty is _authority_. A thing of
beauty bears on its very forefront the stamp of authority. It does
not plead for recognition--it commands it. The snow-capped summit at
sundown, the Madonna face on a master’s canvas, the poet’s “lofty
rhyme,” the fragrant flower, the harmonious symphony, the “frozen
music” of architecture--the countless varied forms of beauty in nature,
art and life ask no favor nor do they play to the fancy of the moment.
Created in intelligence, sincerity and truth, and inspired by lofty
devotion, they compel a lasting homage.




[Illustration: PLATE I

LOANED BY MR. CARLL TUCKER

ANTIQUE CHINESE RUG]




CHINESE RUGS

ANTIQUE CHINESE RUG

Monograph Number One in The Mentor Reading Course

    Length, nine feet nine inches.

    Width, five feet five inches.

    Forty-two hand-tied knots to the square inch.


This attractive rug is representative of a very admirable class of
Chinese floor fabrics, and illustrates in the clearest manner some
interesting and important features in the rug weaving art of China.
The knottage, as will be learned from the specification above, is
not great. A Mohammedan sedjadeh with only 42 knots to the square
inch would be held of small merit, unless it came from one of two or
three districts in Asia Minor--Bergamo for example, or else had some
individual element of value, such as great age, phenomenal color, or
uncommon design. In China, however, as has been pointed out in the
accompanying text, high textures are not accounted of large importance.

This rug is not of great antiquity, nor yet is it of very recent
manufacture. It might with safety be attributed to the Kien Lung
time, or some reign immediately thereafter. The best artistic tenets
of Persia--so far as they appertain to rug weaving--have been
conscientiously followed. The Mohammedan influence is not difficult
to trace, and yet at no time can a foreign or vagrant note be
discovered. The rug is thoroughly Chinese, not only in spirit but in
every detail. It will bear careful study in the light of what has
been said regarding the absorbent and adaptive quality of Chinese art
in all ages. The border area is relatively narrow, wherein marked
deference is paid to the oldest and best Chinese standards, and for
all a distinctly floral character prevails, the utmost simplicity is
maintained. It is a notably consistent rug. There is perfect harmony
between border and center, and the most perfect manifestation of the
Chinese artistic sense, perhaps, lies in the fact that, to the end of
preserving simplicity and balance, the weaver has carefully refrained
from “cluttering up” the border section with “guard stripes” requiring
additional patterns, which in a rug of this character would have been
superfluous and therefore disturbing.

Throughout the field of the rug, despite a decidedly ornate touch,
there is still a careful avoidance of excess. Only two elements
appear--the emblematic butterfly and floral devices, which not only
are combined to form the fine medallion, but which, with the utmost
refinement of handling, suffice for all the secondary and tertiary
constituents of the design.

Referring again to the fidelity with which the Persian theory has been
followed, observe that the design works out from a mathematically
precise central point, and is built in all directions with perfect
equality. Every figure has its exact counterpart on the opposite side;
side or end, the balance is preserved even to the corner patterns.
Given such impeccable skill in the adjustment of the design, there
remains only one test point; namely, the distribution of color. Observe
in this regard with what nicety the dainty touches of light and dark
blue are balanced against one another, from the central medallion
outward; and also how the little note of irregularity which is held
of such vital importance by the superstitious Persian, even in his
greatest masterpieces, is struck here by employing blue in some of the
smaller field devices, butterflies and flowers alike, and omitting it
from the corresponding figures at the opposite side.

Herein lies the human charm in the old weaving of