Oriental Rug Fars 150 x 105 cm Wool Hand-woven

Fars Oriental Rug

Material and Craftsmanship

This kilim is hand-woven and made of wool. The weft yarn is identified as a specific material feature. In weaving, the weft runs across the warp and plays an important role in forming the continuous surface of a kilim. Unlike a knotted rug, whose surface is created by rows of individual knots, a kilim is formed by interlacing threads. Its flat construction is one of the defining characteristics of this type of textile.

Hand-woven means that the threads are guided and joined by hand during the weaving process. The visible structure is therefore directly connected with the arrangement of the textile. In a kilim, material, direction of weaving and pattern are closely related: the weft makes up an important part of the surface, while the warp provides the underlying framework. Wool and weft yarn are specified for this piece. No separate information about the warp or knot density is provided.

The kilim construction also explains why the pattern is identical on both sides. Neither side is presented as the sole viewing side. This is consistent with a flat woven textile and distinguishes it from rugs whose appearance depends mainly on a directional pile. The condition of this rug is stated as new.

Origin and Tradition

The kilim comes from the Fars region near Shiraz. Fars is in southern Iran and is historically associated with different forms of weaving, rug making and textile craftsmanship. Shiraz is an important geographical reference point for the region. The origin given for this piece is the Fars area near Shiraz; no more specific village, workshop or maker is identified.

Fars includes settings in which nomadic, rural and urban textile traditions have existed alongside one another. Each setting created different practical requirements for woven textiles. Flat-woven pieces could be useful in everyday life because they are light and versatile, while decorative textiles also served as a form of visual and material expression. A kilim can therefore represent both practical weaving and the transmission of regional design practices.

In the rug trade, Oriental rug is a broad term for handmade rugs and flat weaves from a range of regions. It does not by itself identify one city, one motif or one uniform production method. Here, the regional origin is Fars near Shiraz, while kilim identifies the weaving technique. These terms provide two different kinds of information: Fars names the geographical area, and hand-woven describes how the textile was made.

Flat weaving has an established place in many Oriental textile traditions. Patterns can be built directly through the interaction of warp and weft, with changes in colour, rhythm and shape incorporated into the woven field. The precise appearance varies between regions, communities and workshops. For this rug, the documented pattern characteristic is that it is identical on both sides. No narrower motif classification is added.

The reference to Shiraz places the piece within the wider Fars region without making a claim about a particular workshop. Regional rug traditions are often shaped by inherited techniques, available fibres and design ideas passed from one generation to the next. In a hand-woven kilim, that relationship is especially visible in the way the surface is constructed. Origin and technique should therefore be kept distinct: Fars refers to the place, while hand-woven refers to the process.

Design and Pattern

The specific pattern of this kilim is described as identical on both sides. This establishes a consistent visual effect whether the textile is viewed from one side or the other. It can consequently be positioned without being tied to one designated face. Terms such as Boteh, Herati, geometric or floral are not supplied for this piece and are not used as additional pattern claims.

In Oriental flat weaving, patterns are often created through the ordered placement of colours and forms within the textile. Depending on the tradition, possible devices include geometric rows, repeated compartments, stripes or stylised plant forms. These are general possibilities of kilim design, not a description of the present rug. The defining pattern information here remains the same appearance on both sides.

The flat structure gives the woven field a direct and readable character. In a kilim, changes in colour and the passage of the weft can form visible outlines, bands and transitions. Different weaving traditions treat these transitions in different ways and may make them part of the design itself. When a pattern is identical on both sides, the reverse can provide the same overall visual impression. No colour list or individual colour names are stated for this rug.

Oriental patterns are often connected not only with decoration but also with regional visual languages and inherited forms. Repetition and symmetry can create order, while individual motifs may be understood as abstractions related to nature, daily life or cultural narratives. Such interpretations belong to the broader history of Oriental textiles. They do not establish a specific motif for this kilim, because the source identifies only the identical pattern on both sides.

Used as a rug, the textile can be integrated into interiors with traditional or contemporary elements. Used as a wall hanging, it becomes a textile display rather than solely a floor covering. In both applications, the central design feature remains unchanged: the pattern is identical on the front and back. The textile is therefore not dependent on one viewing direction.

Special Features

The kilim is new and can be used either as a rug or as a wall hanging. Its flat weave makes cleaning easier because dust and dirt have less pile in which to settle. Regular vacuuming is recommended. Direct sunlight should be avoided to help prevent the colours from fading. If a stain occurs, it should be treated as soon as possible with a damp cloth and a mild cleaning spray.

The identical pattern on both sides is another practical feature. Since both sides show the same pattern, the kilim can be turned or positioned without changing its documented appearance. On the floor it functions as a rug; on the wall it serves as a textile decorative element. Its flat structure is also suitable for rooms with underfloor heating, as it allows heat to pass through effectively.

Living rooms and bedrooms are named as suitable areas of use. Areas with lower foot traffic are preferable because they place less stress on the textile. Highly frequented areas should be avoided in order to help extend the kilim’s service life. The appropriate placement therefore depends on both the intended function and the level of use in the room.

FAQ

How should I care for the hand-woven kilim?

Regular vacuuming helps remove dust and loose dirt from the flat woven surface. Direct sunlight should be avoided so that the colours do not fade. Stains should be addressed promptly. A damp cloth and a mild cleaning spray can be used for this purpose. The cloth should not be excessively wet, since unnecessary moisture can affect the textile. Vigorous rubbing should also be avoided because it can place additional strain on the surface. If the kilim has heavier soiling, professional rug cleaning is the appropriate solution.

Can I use the kilim over underfloor heating?

Yes. Hand-woven kilims are suitable for homes with underfloor heating. Their flat construction allows heat to pass through effectively without reducing the comfort of the rug. The kilim should lie flat, without disruptive folds, so that it rests evenly over the heated floor. It should also not be placed where continual movement or heavy rubbing would impose unnecessary stress. These points support a stable and careful use of the textile in a heated room.

Where is the best place to put the kilim?

The kilim is suitable for living rooms or bedrooms and can be used there as a rug. It can alternatively be displayed as a wall hanging. Areas with lower traffic are particularly suitable because they expose the textile to less wear. Highly frequented areas should be avoided to help extend its service life. For wall display, a suitable and even fastening method is important so that the kilim hangs securely and is not placed under concentrated strain at only a few points.