remaining pile and the light blue is slightly more worn than the dark blue. The delicate manner in which the dyes are handled complements the drawing. The clouds are also purely Tibetan; the workshop versions from China are much different.
Apparently sedentary plateau weavings portray a rich tradition with varied sources of inspiration as derived from consideration of these three examples. The geographical position of the Tibetan plateau appears to have contributed to this unique blend of styles and aesthetics, occupying the very heart of Central Asia. Wedged between the rich cultures of the subcontinent, China and Turkestan, one may speculate the sophisticated aristocracy enjoyed benefits through trade. Ebbs and flows of empirical power perhaps account for this unique melange as the Tibetans took what they could from others and revitalized all their art forms. The carpet tradition clearly enjoyed a period of renaissance in the urban centers.
But why do we see so few examples of this type of sedentary production? Are these pieces too old to expect to see many other examples? Due to the apparent regard for these rugs among Tibetans, it is no wonder they survived, having received special care which they deserved. The art is so developed and sophisticated, one could hardly entertain the notion they represent an anomaly, an aberration. But where are other examples?