Page 135 - Christies March 16, 2017 The Varata Collection NYC

The reign of the Kangxi Emperor was a period of great achievement for all the 康熙朝在工藝美術各方面都有卓越的成就，而此時期的織毯更以其色彩和尺寸上
arts, and carpets woven during this period are celebrated for their harmony and 的調和及比例聞名。清代織毯係為王公貴族所作，通常有其固定使用的場合或功
proportion both in coloration and size. Woven for both the Imperial court and 能。根據大小來看，本拍品應該是覆在榻上的毯子，僅在貴賓光臨時使用。
nobility, Qing dynasty rugs and carpets were often made for a specifc place or
function. Based on its proportions, the present lot was probably made as a daybed 此毯之所以顯得高雅，係因於平均且對稱分佈的五個圓形裝飾，而這樣的形式並
cover that would have been typically reserved for an important guest. 非主流；此時期較常見的形式是正中間一個大圓裝飾圖案，兩邊有四枚類似但稍
小的圓飾，四角還有紋飾。（參照M・S・狄曼德與尚・麥利，《大都會藝術博
The elegance of this carpet lies in the balanced symmetry of the fve equal-sized 物館藏東方織毯》，紐約，1973年，316頁，圖版編號284，編號206。）這裡
medallions in the feld. This format is atypical; the more usual format from this 每個六瓣的圓飾都由一個風格化的Ｔ字或雲帶裝飾環饒一朵綻放的蓮花組成，襯
period is a large central round medallion fanked by four similar, but smaller, 著鋪地盛開的牡丹和長長的葉子。主要的邊框中還有連續的面對面、背對背古龍
medallions with embellishments or spandrels in each corner (see M. S. Dimand 紋，兩兩中間夾著壽字，讓人想起中國古青銅器上的「葉龍紋」，以其與藤蔓枝
and Jean Mailey, Oriental Rugs in the Metropolitan Museum of Art, New York, 1973, 葉相仿的造型而名。（費德利西・斯卜勒，《提森－波那米薩美術館珍藏：織毯
p. 316, fg. 284, cat. 206). Here, each six-lobed medallion formed by a stylized ‘T’ 與織品》，倫敦，1998年，220頁。）
or cloud-band motif encircles a fowering lotus blossom all on a feld of fowering
peonies and long leaves. The main border contains a repeat of archaic opposing 一件和本拍品尺寸、顏色皆類似、牡丹底紋幾乎相同的織毯，現藏於聖路易美術
dragons fanking a shou (longevity) symbol recalling early Chinese bronzes where 館拜拉德珍藏。（莫里斯・狄曼德，《拜拉德珍藏之東方織毯》，聖路易，1935
they are also known as ‘leaf dragons’ for the similarity to vines and leaves (Friedrich 年，圖版編號68；沃特・丹尼，《織毯與其行家》，聖路易，2016年，230
Spuhler, The Thyssen-Bornemisza Collection: Carpets and Textiles, London, 1998, 頁。）拜拉德織毯同樣也有五個大小一致的圓飾，不過正中的圓飾的中心圖案和
p. 220). 其餘四角圓飾的不一樣。另外一件同樣有牡丹鋪地和五個大小相等的圓飾的織
毯，於倫敦佳士得拍出，2013年10月8日，拍品55號。拜拉德織毯圓飾內反覆
A carpet of similar size and color and with a nearly identical feld pattern of peonies 的龍紋，和本拍品邊綴的龍紋近似。大都會藝術博物館藏的普萊特榻墊（狄曼德
is in the Ballard Collection at the St. Louis Museum of Art (Maurice Dimand, The 與麥利，見前揭書，325頁，圖版編號301），和郭路畢歐織毯有許多雷同的特
Ballard Collection of Oriental Rugs, St. Louis, 1935, plate 68 and Walter Denny, The 徵，包括類似的龍紋，尤其是四角上裝飾的龍，以及牡丹與葉構成的格紋底。邁
Carpet and the Connoisseur, St. Louis, 2016, p. 230). The Ballard carpet also has 克・法蘭西斯認為兩者間的相似度之高，顯示可能出自同一間工坊之手。
fve equal-sized medallions, however, the central medallion has a diferent central
motif than the four medallions in the corners. A similar example with a comparable 維克多・郭路畢歐（1878至1945年）是十九世紀末、二十世紀初鍾情於織毯的
peony-flled ground and fve equal-sized medallion format was ofered at Christie’s 藝文人士之一。作為一個東方學者及教授，專門在東南亞從事考古發掘工作，郭
London 8 October 2013, lot 55. The writhing dragons within the medallions of the 氏不僅收藏中國工藝品，同時也喜歡西藏、柬埔寨、寮國的物件。
Ballard carpet are very similar to the dragons in the border of the present lot. The
Pratt daybed cover in the Metropolitan Museum of Art (Dimand and Mailey, ibid. p. 有意思的是，邁克・法蘭西斯指出，1909至1920年間，約有1650 件「古董」
325, fg. 301) also shares many features with the Goloubew carpet including similar 中國織毯於紐約透過各種拍賣出售，大部分都保存良好，幾近完美。（《獅子古
drawing of dragons, particularly the dragons in the corner spandrels, as well as the 董一百選：古典中國織毯第一集》，倫敦，2000年，頁14。）今天，大部分被
peony and leafy trellis ground cover. Michael Franses suggests that their similarities 認為來自康熙年間的織毯大半有毀損或破碎，因此能找到一件完好且仍可供使用
are so striking that they may have even been woven in the same workshop. 的織毯實屬難能可貴。

Victor Goloubew (1878-1945) was among the cultural elite who purchased carpets
at the turn of the century. A noted Orientalist and professor who specialized in
archaeological excavations in Southeast Asia, Goloubew collected not only Chinese
works of art but also objects from Tibet, Cambodia, and Laos.

Interestingly, Michael Franses notes that between 1909 and 1920 about 1650
‘antique’ Chinese rugs were ofered for sale in various auctions in New York and
most were in near perfect condition (Lion-dogs Hundred Antiques Classical Chinese
Carpets I, London, 2000, p. 14). Today, most carpets attributed to the Kangxi period
are in distressed or fragmentary condition so to fnd a complete example in useable
condition is a rare opportunity.

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