A Kansu carpet, West China

Pile ranges from approximately 1/10th of an inch to low to knotheads in most areas, scattered repiling throughout, not extensive. Sides overcast. Ends secured with a chain stitch. Very supple handle.
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.

Kansu province was a center of cross-cultural contact due to its location between the nomadic tribes of the north and the northwest and the settled Chinese population to the east. Because of its unique position along the Silk Route, the arts of this region were greatly influenced by different cultural traditions. Carpets were brought to Kansu from the oases towns of Khotan, Yarkand, Kashgar and also from Ninghsia in China. As a result, the artistic traditions of these weaving centers influenced the design and execution of Kansu rugs and carpets, which incorporate Chinese design elements with those of found in East Turkestan weavings. The saturated colors of this lot recall earlier Chinese textiles, such as the one illustrated Jacqueline Simcox, Chinese Textiles, London, 1994, pls. 23 and 29, as well East Turkestan carpets, rather than the ivory, blue and yellow palette of Ninghsia carpets. In comparison to rugs from East Turkestan, in particular Khotan, the rarity of yellow is the most noticeable difference. As carpets in China were woven to complement furnishings, their designs and color palette also often derived from other decorative arts and in particular from textile patterns. Here, a central medallion is flanked by two vases issuing flowers at each end of the field, the corners of which are decorated with quarter medallions. The combination of these design elements; the vases, whole and fragmentary medallions, is shared with a sub-group of Kansu carpets (for a detailed categorizing of Kansu carpets, see Hans König, "Gansu," Hali, issue 138, pp. 52-54). Flowering vases are a common design element in carpets from the oriental world and it seems logical that this pattern made it into the Kansu decorative vocabulary from classical Persian carpets via Indian and East Turkestan models. Whereas the vases are more of an omnipresent decorative element, the dotted center of the medallion of this carpet is much more specifically Chinese in appearance.