Born of a northern region where climate is cold and arid (conditions ideal for raising sheep), Chinese rugs were traditionally produced in an area also subject to continual conflict between Chinese and nomadic tribes to the north and west. The Inner Mongolia Autonomous Region has been home to a variety of cultures, and the rugs created therein could be attributed to Muslim, Turkish, and Mongolian ethnic minorities while clearly retaining a strong influence from Chinese art. While there is some debate over the origin of style in this general area, each region has it’s own unique character and weave.
Baotou having been a main trade post for excellent wool and carpets from the region, was itself well known for it’s pictorial rugs. The city’s Mongolian name translates to “place with deer”, which may account for the recurring theme of this imagery. Many of these pieces are of landscapes and animals (showing mountains, deer, birds, trees, and waterways), depicting scenes from daily life or traditional stories. Other designs created are still life images (displaying vases with floral arrangements, tables, books, and scrolls), sometimes with auspicious symbols.
Earlier Baotou rugs depicted realistic imagery within the center of the rug, with geometric patterning surrounding them, and enclosed in borders. Evolving over time, the images began to occupy the entire surface of the carpet and borders were disregarded, creating a style that was more akin to paintings than that of traditional floor coverings.
While changes in composition are apparent, just as obvious is the sustained use of traditional color – in this case predominantly indigo blue. Masters of dying, some Baotou weavers used various shades of indigo as the only color within a piece – creating layers of nuance. Reds, yellows, and neutrals/browns seem to be the complimentary colors often found within the work.
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