A KONYA RUG, CENTRAL ANATOLIA |

Herrmann, E, Asiatische Teppich-und Textilekunst, Band 2, Munich, 1990, No.7, pp.22-23

The rug has undergone a comprehensive programme of restoration since its publication in ATT 2 by Herrmann. This is best understood by comparing the images. A scan of the ATT image and additional photographs of the rug are available by contacting the department (email: Fenella.Lindseyclark@sothebys.com for copies)
"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."

Herrmann, in his entry for this rug, op.cit. discusses possible origins for the spandrels motif, considering them to be mythical birds, probably Senmurv (Simourgh), see ibid, Abb.7, their presence mediating between heaven and earth. In recent correspondence he suggested these bird motifs, which he relates to the drawing of the animals in the MMA 14th century animal rug, in defining the field shape resulting from their framing are also at the root of the so called  ‘animal skin carpet’ design. Opinions continue to vary as to whether these anthropomorphic figures are accidental - purely the geometricization of the forms found in workshop rugs of the period - or whether, as for example Alan Marcuson suggests in ‘When is a prayer rug not a prayer rug’ in Hali Issue 152, pp. 101-105, the weavers of village rugs took those motifs and deliberately transfigured them into forms which held mythical significance for them. Marcuson, ibid., p.104, fig.10 illustrates a Konya rug, 16th century, TIEM 772 with a related border, in monochrome red on a yellow ground.