A Ninghsia '100 Antiques' carpet, West China

Pile ranges from near original 1/6 inch to low to knotheads in scattered foldwear areas; small restitched hole in lower right border; minor repiling at lower end of field. Clipped outlines. Original cotton selvages intact. Ends wtih warp fringes. Very supple handle, lustrous wool, good overall condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

As Michael Franses points out in his article "Early Ninghsia Carpets," Hali, Vol. 5, No. 2, pp. 132-40, the 1700s in Ninghsia weaving represent "the pinnacle of the art, during which the craftsmen were in complete harmony with their medium." This balance in composition and the color palette continued into the early nineteenth century as the lot offered here exemplifies. The present carpet is an example of the so-called '100 Antiques' design first found in Ninghsia carpets in the eighteenth century. The design itself emerged during the politically and culturally turbulent period following the fall of the Ming dynasty (1644). The design consists of a collection of culturally significant objects such as books and archaic bronze vessels as well as emblematic forms comprising the 'eight treasures,' the 'four treasures' and the symbols of the four fine arts. Here, besides the abovementioned symbols for the 'eight treasures,' including the chessboard and the painting scrolls, a number of the eight Buddhist emblems of happy augury, such as the conch shell representing the voice of Buddha and the calling to prayer and the endless knot, which is the symbol of destiny, fate and longevity, appear. These elements in a way symbolized the continuity of Chinese culture in a time when the alien Manchu Qing dynasty rose to power. Rarely totalling one hundred items, this figure probably simply represents a large number or emphasizes the all-inclusive nature of the design.