In China, carpet making dates back to the period of the Sung Dynasty (960 to 1279 AD). The Chinese produced rugs in factory workshops controlled by the emperors. The designs were characteristic of Buddhism and Taoism.

Marco Polo discovered some of the earliest examples of carpets while traveling through China and Turkey in the 13th century. He was an ardent admirer of Chinese rugs.

Chinese handmade rugs are essentially ornamental and the ancient motifs found on Chinese Carpets are fundamentally symbolic. The artistic language is composed primarily of symbols and their meaning has not changed over the centuries. There are many, so interpreting them is not easy. Some have been drawn from nature, others from ancient local myths, and still others from the Buddhist and Taoist religions. A few are composed of creative, complicated designs.

The dragon is used frequently and symbolizes the union of the earthly and celestial forces and the emperor. Other frequent symbols are the phoenix, representing immortality and the empress, the Fo-dog which symbolizes protection from evil, the lotus flower, representing purity and summer, the peony representing respect and wealth, the stag and stork (longevity), the cloud which symbolizes divine power, the mountain and water indicating stability on a stormy sea, the bat representing fortune, since its name phonetically resembles anfu (fortune).

Others include the swastika (cosmic rotation) and the ideograms Shou and Fu (fortune). Column carpets typically use eight common Buddhist symbols, the canopy (royalty), the lotus (prosperity), the umbrella (authority and good government), the shell (victory), the wheel (the route to salvation), the vase (harmony) two fish (happiness and utility), and the endless knot (longevity and destiny). Eight Taoist symbols are also used. The sword (victory), the staff and gourd (healing), the fan (immortality), the basket of flowers (magic), castanets (soothing music), the flute (miracles), the lotus (prosperity), and bamboo and staffs (foresight and fortune).

Maybe you can see some of these symbols and interpret the meaning of your Chinese rug!

Chinese rug production took a dramatic turn between the 1950's and 60's and it was during this time period the Chinese government took over the carpet factories. Chinese rug quality was strictly maintained as the production of thick, lustrous, carved rugs made in a variety of designs and pastel colors was stepped up. In fact, most continue to be made in state-owned co-operatives in and around Tianjin. Common qualities are "70 line" (34 knots per sq. in.) and "90 line" (56 knots per sq. in.). Value is determined by not only knot count, but by thickness as well. Thickness is rated by increments such as 3/8, 5/8, etc. Design detail, age and coloration are also indicators determining how valuable a particular piece is.

Around the end of 1980's; probably as a result of the Iranian embargo, some factories began to produce more finely woven rugs in the very popular 'Persian' patterns. In qualities like "160 line" (177 knots per sq. in.) and finer, these "Sino-Persian" rugs have intricate floral patterns, pastel colorations, and closely-clipped nap.

Before the 1987 embargo from Iran, Persian rugs were the most famous and pricey carpets, due to their beauty and high quality. During the embargo, copies of Persian rugs were made in other Asian and Middle Eastern countries.

Chinese rugs became more popular and Persian rugs declined in sales, mainly because they were cut out of the U.S. trade, and Iranian weavers have not kept up with U.S. fashion trends, and during the embargo, the quality of Iranian rugs declined, while weavers in China improved. Iran lost their focus after the embargo, and quality dropped dramatically. Iranians tend to be a little bit less perfectionist, where the Chinese are very perfectionist.

Although fine rugs are made on machines, many people prefer Chinese handmade rugs because they embody culture and tradition.