Details
A KASHGAR MAT
EAST TURKESTAN, 18TH CENTURY

The deep indigo field with four small rust-red rosettes issuing rust and grass-green bat-like leaves flanked by smaller flowerheads all within a wide rust-red border of indigo craggy palmettes issuing amorphic grass-green leaves between partially corroded guard borders of a stylized wave pattern or Greek key, minor areas of wear and insect damage, one very minor area of repiling to lower left corner, very minor tinting to corroded brown
Approximately 3ft.4in. (102cm.) square

Warp: ivory or light blue cotton, Z4S, considerably depressed, slightly undulating
Weft: 3 shoots ivory or pink cotton, Z6S, first and third slightly undulating, second strongly undulating
Pile: wool, Z2-3S, asymmetrical open to the left, H4.1 x V3.0/cm.
Sides: main weft flat-woven around two additional warps, sometimes between the outermost knotted warp and the two additional warps, travelling over the flatweave, dark brown wool yarn Z4S wound irregularly around one or two of the additional warps
Lower end: approx 0.5cm. plainweave with ivory cotton Z6S
Remarks: Very occasionally there are two knots between weft passes
Provenance
Acquired 9 August 1937 as a "Kaschgar"
Literature
Bernheimer, Otto: Alte Teppiche des 16.-18. Jahrhunderts der Firma L. Bernheimer, Munich, 1959, pl.82

Lot Essay

Although among the smallest products of the East Turkestan looms, Kashgar mats are often visually the most powerful. The Bernheimer Kashgar mats are not only remarkable for their beauty, but also because they have survived together as a pair. The monumentality of design seen here is created by the wide, powerful rust-red borders contrasting against the relatively more refined blue field. The design of these pieces draws a direct comparison with another Kashgar mat in the Textile Museum, Washington (see Schrmann, Ulrich: Central Asian Carpets, Frankfurt am Main, 1969, pl.77) The border design on both the Bernheimer pieces and the Textile Museum example are nearly identical realistically drawn peony blossoms linked by abstracted tendrils. The field designs, however, are different. The Textile Museum mat repeats a version of the border motifs in the field, whereas the Bernheimer pair employs a coffered rosette design that looks as if it is composed of four bats flanking a flowerhead. The Textile Museum piece also has a somewhat more subdued colouration than seen here.

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