Islamic carpets in Hong Kong offer 'tangible evidence' of cross-cultural exchange with China

Exhibition reveals 'legacy of mutual influence', says museum director

The exhibition is the first in Hong Kong to present such a comprehensive study of Islamic imperial carpets. Photo: Museum of Islamic Art, Doha

Celebrating the bold patterns, luxurious materials and meticulous techniques that went into crafting carpets for historic royalty, Doha’s Museum of Islamic Art (MIA) and the Hong Kong Palace Museum (HKPM) have teamed up for a unique exhibition.

On show until October 6 at the Hong Kong Palace Museum, Gallery 9, Wonders of Imperial Carpets: Masterpieces from the Museum of Islamic Art delves into the rich artistic and cultural exchanges that have flourished between Islamic and Chinese civilisations over centuries.

The exhibition is the first in Hong Kong to present such a comprehensive study of Islamic imperial carpets, bringing almost 100 historic objects – including carpets, manuscripts, ceramics, metalwork and jade from between the 16th and 18th centuries – primarily drawn from the MIA’s collection, alongside loans from Beijing’s Palace Museum and the HKPM. For some of the objects, it’s their first time being shown outside of Qatar.

More than 100 historic objects are on show in the display. Photo: Museum of Islamic Art, Doha

“The exhibition highlights how artistic traditions from Safavid, Mughal, and Ottoman periods intersected with those of China through centuries of trade, diplomacy, and shared visual language,” Mounia Chekhab Abudaya, MIA’s deputy director of curatorial affairs tells The National.

“Despite their geographic distance, Islamic and Chinese civilisations have long interacted through trade, diplomacy, and migration. The Silk Road played a crucial role in facilitating these exchanges, allowing for the flow of ideas, materials, and motifs between East and West.

“These dynasties all engaged with China, and these interactions influenced artistic traditions on both sides,” she adds. “While Islamic and Chinese carpets were shaped by distinct aesthetic traditions, there are notable points of convergence.

“Islamic carpets were often made of luxurious materials such as silk and gold thread, and featured intricate geometric, floral, and figural patterns. Chinese carpets, like those from the Xinjiang region during the Qianlong period, also used floral motifs and were designed for imperial use.”

With styles that link to both cultures, the items are proof of mutual influence, says the museum's director. Photo: Museum of Islamic Art, Doha

The only key difference between the two culture’s carpets was symbolism, tied to religious art and motifs. Islamic carpets could feature prayer niches or talismanic symbols, such as the Ottoman Cintamani prayer rug shown in the exhibition, decorated with an auspicious motif of three circles, known as cintamani (“wish-fulfilling jewel”) in Sanskrit.

Associated with good luck and power, the motif was very popular at the Ottoman court. Depicted at the centre of the rug is a prayer niche; at the bottom is an abstract representation of the Prophet’s sandals.

Chinese carpets instead depicted motifs related to Taoism or imperial iconography. The Carpet with Flowers, made in the Xinjiang region during the Qianlong period (1736–1795), is a prime example, with stunning floral patterns used in the imperial palace.

Displayed alongside is a piece of Safavid silk fabric with golden brocade, which features a similar design, showing how fluid the visual language between both cultures was.

“A highlight piece of the show is the Kevorkian Hyderabad Carpet, measuring nearly 16 metres long. This grand durbar (audience chamber) carpet is one of the longest Islamic carpets held in any museum,” Chekhab Abudaya says. “Used in Mughal ceremonial courts, it will be displayed in its entirety – a rare opportunity for visitors.

“These objects not only represent extraordinary craftsmanship but also serve as tangible evidence of centuries-long cultural interaction and mutual influence.”