格伦·乔夫（Glen Joffe）编辑
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当您想到中国传统艺术时会想到什么？是瓷器，书法，学者的岩石还是玉雕刻？一类艺术品常常被忽视的是中国地毯。令人惊讶的是，中国几乎没有关于羊毛编织传统的历史记录。尽管国际贸易持续了几个世纪，但地毯和地毯很少出口。尽管经常归入更广泛的“东方地毯”类别，但中国编织的纺织品主要是为了内部消费而创建的。此外，编织本身并不被认为是其他学术艺术的平等。然而，近年来，收藏家注意到了杰出的中国地毯群体，这些地毯是杰出的艺术品。最值得注意的是图片地毯。
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传统上，中国羊毛地毯是在北部地区寒冷和干旱的北部地区生产的，这是饲养绵羊提供羊毛的理想条件。但是，这也是中国和西部游牧部落之间不断冲突的领域。结果是频繁的边界移动。著名的编织中心位于宁西，新疆和baotou。如今，这些地区分别位于中国北部的Hui，Uyghur和Inner Mongolia自治区。一些历史学家认为，这些地毯应归因于穆斯林，土耳其和蒙古少数民族，而另一些地毯则指出了中国艺术的不可否认的影响。不管这些地毯如何看待，每个区域都有其独特的风格和编织，也许最令人印象深刻的是来自Baotou的人。
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Baotou is the largest industrial city in the Inner Mongolian Autonomous Region. The city’s Mongolian name means “place with deer.” An alternate name is Lucheng, which means “deer city.” Rugs from Baotou are so decorative and scenic they could pass as paintings on a wall. As a result, they are also known as pictorial rugs, and when the subject matter illustrates outdoor scenes, as landscape rugs. They are distinctive and cannot be found anywhere else in the world. In stark contrast to the highly intricate and complex tableau picture rugs of Persia, Baotou rugs are bolder and more minimal in design; yet, they nonetheless demonstrate remarkably delicate lines and lyrical shading.
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Baotou rugs have been compared to Chinese landscape paintings, and in particular, theShan Shui绘画风格，描绘了山脉，河流和瀑布。正如一位名叫Ch'eng Hsi的学者所说的那样：“ Shan Shui绘画不是观众眼睛的开放窗口 - 它是观众心灵的对象。”Baotou景观地毯也可以这样说。Shan Shui绘画的理想是捕捉自然的情感，感觉和节奏，而不是绘制场景的精确代表。Baotou地毯具有类似的令人回味的性质，使观众能够欣赏地毯的心情，就像它所描绘的那样。
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早些时候包头地毯的描绘现实的图像nimals, landscapes and objects placed in the center of the rug with repeated geometric motifs and borders. This format eventually evolved. Subjects began to occupy the entire surface area of rugs, and in many cases borders became nonexistent. Yet, some things scarcely changed. For example, the main color field was predominantly indigo blue, whereas rugs from Ningxia and Xinjiang used lighter, more neutral colors. The blue in Baotou rugs is striking, so deep that at times it can appear almost black. The Baotou dyers and weavers were masters of utilizing different shades of indigo. Oftentimes, it was the只要使用的颜色。在某些情况下，红色和黄色补充了靛蓝，进一步唤起了滚动绘画的图像。
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收藏家和艺术史学家通常同意1890年左右的大量中国商业地毯以东方图案出口，直接应对西方需求。实际上，许多工厂都是由外国监督者建立和经营的。天然染料被苯胺颜色代替，编织很粗糙，设计变得平淡且可预测。但是，在鲍托（Baotou）编织地毯之后的几年中，仍然忠于传统图案，颜色和手工制作的结构。一个多世纪后，他们仍然表现出无与伦比的艺术性。在艺术界普遍缺乏对鲍托地毯的认识；他们的美丽，稀缺性和无可挑剔的建筑现在已将他们从所有类型的中国艺术中的失败者位置提升到公认的冠军。
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