Oriental Rug 235 x 178 cm Wool Hand-knotted

Oriental Rug

Material and Craftsmanship

This Oriental rug is hand-knotted with a pile made of 97% virgin wool and 3% silk. Wool forms the dominant part of the pile and gives the textile qualities described for this rug: softness, durability and a pleasant sense of warmth. Silk makes up the smaller share of the material composition. The result remains primarily a wool rug while retaining the fine character associated with a carefully made hand-knotted surface.

Hand-knotting means that the knots are inserted individually into the foundation by hand. The process is time-consuming and calls for consistent, careful work across the entire textile. Unlike a machine-made floor covering, the construction is created through the repeated work of a knotter. The density recorded for this rug is 235,000 knots per square metre, a technical feature associated with fine workmanship and detailed pattern execution.

The source description identifies wool as naturally dirt-resistant and durable. Those qualities make the wool pile suitable for regular everyday use. Wool also provides the comfortable warmth mentioned in the description. In this rug, that material characteristic is combined with a traditional hand-knotting process rather than with an industrial production method.

Every hand-knotted rug is an individual piece because its surface is built knot by knot. A defined pattern can guide the work, but the finished textile is not produced as a perfectly uniform industrial repeat. The dense construction, wool pile and small silk content determine the particular feel of this rug. Its stated thickness is approximately 12 mm. The rug is new and described as being in perfect condition.

Origin and Tradition

This rug comes from India. It is therefore an Indian Oriental rug, not a Persian rug. The term Oriental rug places it within a broad textile and design tradition that includes many producing regions. The words Tabriz and Mahi belong to the pattern designation and refer to a traditional visual language; they do not change the stated Indian origin of this individual piece.

Oriental rugs are made in many parts of the world and bring together practical use, skilled making and inherited design systems. Rug-making knowledge is often passed from one generation to the next. Preparing the foundation, placing the knots, building the field and defining the outlines are all parts of a craft that requires more than following isolated instructions. The maker must maintain the relationship between the pattern and the developing textile surface.

The history of Oriental rug weaving reaches back over many centuries. Knotting methods associated with the tradition developed through long periods of use and are often linked with the weaving cultures of nomadic groups in the Orient. Many of the ornaments still found on rugs today grew from this historical exchange of techniques and symbols. A pattern may be preserved, adapted and reinterpreted as it moves between workshops, regions and generations.

Indian rug production has its own place within this wider tradition. Indian weavers produce Oriental designs using established hand-knotting methods and patterns influenced by historical models. India identifies where this rug was made. Tabriz Mahi identifies the decorative direction of the design. These two descriptions should be kept separate: a historical Persian pattern reference does not make a rug made in India a Persian rug.

Traditional Oriental rugs are both useful textiles and records of cultural history. They can define an area, add warmth underfoot and introduce a carefully ordered decorative surface into a room. They also preserve motifs, symbols and working methods that have been transmitted over time. With a hand-knotted rug, the making process remains visible in the construction itself, since the pile is formed through a large number of individual knots.

Knot density is one of the technical features used to describe the fineness of a knotted rug. A dense construction requires time and controlled execution. It can support clear small-scale contours and a more closely built pattern surface. In this rug, the stated density of 235,000 knots per square metre is combined with Indian manufacture and an Oriental pattern tradition associated with the Tabriz Mahi designation.

The style is described as traditional Oriental and Persian. This is a stylistic classification, not a statement of national origin. Rugs made outside Iran may draw on Persian pattern families while remaining products of their actual country of manufacture. For this one-off rug, the country of origin remains India, while the traditional Persian reference belongs to the design language.

Design and Pattern

The pattern is described as Tabriz Mahi and as a medallion design. A medallion gives the composition a central point and establishes a clear order across the rug. The surrounding field is arranged in relation to that centre, creating a visual balance between the principal motif and the areas around it. This type of structure allows the design to be read as a unified composition rather than as an unrelated collection of individual ornaments.

In carpet terminology, Mahi is associated with a traditional ornament composed of repeated curved and fish-like forms. These elements may be arranged in a regular pattern and repeated across the field. The name Tabriz Mahi describes the design direction of this rug. It does not state that the rug was knotted in Tabriz, because the origin given for the piece is India.

Oriental rug patterns often draw on nature, calligraphy and inherited ornamental forms. Floral and geometric elements can be combined so that individual signs become part of a continuous rhythm. Repetition creates cohesion, while the medallion establishes a hierarchy within the design. These principles explain how a traditional rug can appear orderly while still containing many small details.

Pattern traditions are not limited to direct depictions of flowers, leaves or other natural forms. Motifs may be stylised until they function as independent signs rather than as literal images. Curves, branches, petals and geometric outlines can be organised into a regular visual system. In a hand-knotted rug, the clarity of that system depends on the careful transfer of the design into rows of knots.

A medallion design can work well where the rug is intended to be read as a defined decorative area. Its central arrangement can accompany traditional furniture as well as a more restrained contemporary setting. The source description places this rug within a traditional Oriental and Persian style and describes it as suitable for different interior styles. That classification concerns its visual character and does not prescribe a particular room arrangement.

The stated knot density supports the detailed execution of the design. In general, a closely knotted construction allows more room for small contours and differentiated ornamental areas. For this rug, the documented density is 235,000 knots per square metre. It is a concrete feature of the piece and directly connected with the fine, detailed quality attributed to its pattern.

Oriental motifs may carry symbolic or narrative associations. Their meanings can vary according to region, pattern family and interpretation, so no single explanation applies to every version. What defines this rug visually is the combination of the Tabriz Mahi designation with a central medallion. Together, these elements establish the structure of its traditional decorative language.

Special Features

The knot density of 235,000 knots per square metre is a notable feature of this rug. It is highlighted as an indication of fine workmanship and detailed pattern execution. The closely knotted construction also contributes to the distinctive tactile quality described for the rug. Alongside the hand-knotted structure, it gives the surface a compact textile character.

The rug is new and described as being in perfect condition. Its thickness is approximately 12 mm. The pile composition is 97% virgin wool and 3% silk. It is also suitable for use over underfloor heating. These details describe this particular piece and remain separate from the historical pattern reference in its Tabriz Mahi designation.

Care is described as straightforward. Regular vacuuming helps remove loose dirt during normal use. Fresh stains should be treated promptly with a damp cloth and a mild cleaning product. Harsh chemicals should be avoided because they can damage the wool and the colours. For more extensive cleaning, professional rug cleaning is recommended.

FAQ

How should I clean my Oriental rug?

Vacuum the rug regularly so that loose dirt does not remain in the pile. Treat fresh stains as soon as possible with a damp cloth and a mild cleaning product. Work carefully and avoid harsh chemicals, since they may damage both the wool and the colours. If the rug needs a thorough cleaning or has persistent soiling, professional rug cleaning is the appropriate option. These measures help preserve the hand-knotted Oriental rug during everyday use.

Where is the best place to put this rug?

The rug is suitable for a range of living areas. The living room and entrance area are mentioned especially as suitable locations. In these settings, the medallion can provide a clear centre for the floor area. The rug is also described as complementing both modern and traditional interior styles. Its use is not limited to one particular room, provided the space allows the textile surface to be placed and maintained appropriately.

How can I make sure that a rug is genuinely hand-knotted?

Look at the knot density, the material and the workmanship. A genuine hand-knotted rug has a clear knot construction visible on its reverse, whereas machine-made rugs often have a flat backing. Certificates or documents confirming origin can also be useful. For this rug, the stated hand-knotting, the pile made of virgin wool and silk, and the Indian origin are the relevant described characteristics.