An East Turkestan silk carpet,

Hugh H. Moss Ltd., London, 1973

Carmen Thyssen-Bornemisza Collection

Schürmann, Ulrich, Zentralasiatische Teppiche, Frankfurt, 1969, no.81

Thompson, Jon, Silk Carpets and the Silk Road, Osaka, 1988, p.53, no.51

Franses, Michael, 'Fengruan rutan: Silk pile covers from Western China', 4th Hali Annual, London, 1997, p.104, fig.28

Spuhler. Friedrich, Carpets and Textiles, The Thyssen-Bornemisza Collection, London, 1998, Cat.No.51, pp.200-201

Glossy silk, pile approximately 3mm; weak areas scattered throughout, patched on reverese, some holes, the larger holes backed with toning coloured fabric, visible in illustration as plain areas, e.g. in lower border (showing as upper border in illustration), and in upper right hand corner of field (lower left in illustration); weak areas couched to strenghthen in approximately half dozen bands, each circa 30cm deep across the carpet; some splits and breaks, lined. Knot count: 3/cm vertically; 4/cm horizontally
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

With its vibrant color palette, emblematic design, and outstanding condition, the lot offered here is an exceptional example of carpet weaving from Eastern Turkestan. Knotted-pile weavings from this area can be categorized not only by place of origin, but also by different designs, such as the pomegranate-and-vase design, the medallion design, and the coffered or uncoffered gul patterns. The lot offered here belongs to the group with the most distinct composition; the pomegranate-and-vase design. This emblematic design, in which a pomegranate shrub bearing large fruits, alternating with small ones, grows out of a vessel, not only identifies the place of production but is also imbued with symbols of Buddhism, such as the vase representing Mother Earth and the pomegranate shrub symbolizing fertility. The origins of this ancient motif are still unknown, but it is certain that it was not used exclusively by carpet weavers in Eastern Turkestan as it appears in other works of decorative arts, such as wood carvings, and can be found in lands as far as Asia Minor, see Hans Bidder, Carpets from Eastern Turkestan, Tübingen, 1979, fig. 3, pg. 50. In Eastern Turkestan the vase-and-pomegranate motif only has four coloring variants as it is only found on blue, red, white or, like in the present lot, yellow ground. Similar to the pomegranate motif, the eight-petal rosettes in the border also design elements often found in carpets from the area. Whereas the rosettes are typically from Eastern Turkestan, the angular borders show influences from Chinese art. The outer geometric border is particularly intriguing as it appears to be constructed by morphed versions of the Yün Tsai T'ou, or cloudhead, motif, which was very popular in China and which was used in countless altered forms throughout the neighboring lands. A delicate and fascinating feature of the lot offered here is the faint gradation of color changes between reds and blues that are particularly nuanced in the border and that might be perceived as more of a shimmer than a juxtaposition of contrasting colors, further enhancing the scintillating effects produced by the high quality of the silk pile.