A Ninghsia rug, West China

the ivory field with a central lotus blossom vine,  inner border of geometric interlacing and panels enclosing rosettes,  outer border with running flowering vine

Acquired at Eberhart Herrmann, prior to 1988.

Eberhard Herrmann, Asiatische Teppich- und Textilkunst Band Four, München 1992, no. 2.

Wool pile. Ivory still in generally good condition, 5-6mm long, but with areas of localised wear in the field, particularly along the central axis. Golden yellow vinery slightly oxidised and again with some areas of localised wear to knot-heads. Blue in generally fair condition. Taupe heavily oxidised, particularly in large central lotus motif. Elephant grey heavily oxidised in upper right and lower left lotus palmettes. Dark brown oxidised throughout with some areas of repiling in outer guard stripe. Width of the lower end is rewoven to depth of approximately 20cm. visible as section with pale salmon and chocolate brown pile. Upper end rewoven to approx. 8cm. depth. New end finishes at both ends. Dark brown outer surround partially reconstructed on both sides. Small horseshoe shaped mark in ivory field upper right hand corner. Rug is woven with lotus stem springing from upper end.
"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."

This attractive small example of Ninghsia production is woven with the plain dark surround typical of the 17^th and 18^th century weavings from this area. The outer floral border is paralleled in a number of examples published in the exhibition catalogue, Glanz der Himmelssöhne, Kaiserliche Teppiche aus China, 1400-1750, Museum für Ostasiatische Kunst, Köln, Textile & Art Publications, London, 2005, for example ‘The Naito Medallion Carpet with Lotus Flowers’, ref.13, illus.pp.78-79. A similar border can also be found in ‘The Sorgato Carpet’, illustrated, op.cit. fig. 43, pg.45; although in the lot offered here the small spurs usually found on the vines have been extended to meet the lotus flowers. The inner border includes polychrome` T’-shapes which form a reversed out Chinese swastika (“eternity”), which  are interspersed with rosettes in panels; this combination of floral and geometric motifs in the same border is an unusual feature. The field design of a sinuous lotus tree is also unusual in that it is a single plant: extant examples of weavings using this motif are usually larger carpets and bear a multiplicity of this motif or they have evolved into an overall design so that the sense of an individual motif is lost. For example of a carpet with  multiple lotus plants within the field, see the ‘Der van Beuren Lotus Carpet’ illustrated op.cit. ref. 10, pg.72. The Nato Medallion Carpet cited above is however perhaps the most interesting comparison as in that piece the individual lotus plants are clearly differentiated by the colours of their stems and it is also unusually on an ivory ground, as is the piece offered here.

This use of a single motif in the field with an asymmetric design is rare in early Chinese rugs which normally display a  greater formality in their design. The lot offered here with its robust, bold drawing  has  a vibrant individuality, which coupled with its relatively small size creates an object of great charm and character.