Oriental Rug Tabriz 306 x 240 cm Wool Hand-knotted

Tabriz Oriental Rug

Material and Craftsmanship

This red Oriental rug is hand-knotted with a pile made from 98% virgin wool and 2% silk. Wool forms the principal material, while silk is present as a smaller component of the pile. The rug’s structure is created knot by knot rather than through an industrial production process. That method gives the piece its individual character and makes it a one-off item. The combination of a wool-based pile and a silk proportion is part of the rug’s stated material specification.

The listed knot density is 325,000 knots per square metre. Such a dense construction supports the precise rendering of the Mahi design and allows lines, outlines and small ornamental details to be drawn with definition. Knot density is an important technical feature in a hand-knotted rug because it describes how closely the knots are set within the pile. This rug is approximately 12 mm thick, giving it a clearly present textile pile.

Virgin wool is widely used in Oriental rugs because it offers a resilient and tactile pile. It feels warm underfoot and contributes to the practical character of the rug in living spaces. Here, the wool is accompanied by a small silk content. The stated material describes the pile; no separate warp composition is provided. The hand-knotted construction remains visible as the basis of the rug’s workmanship.

The rug is suitable for use over underfloor heating. It can therefore be placed in rooms where this type of heating is installed. Its hand-knotted construction, wool and silk pile, high knot density and stated thickness together describe the principal craft and material features of this particular piece.

Origin and Tradition

The rug was made in India. It is therefore an Oriental rug rather than a Persian rug. The name Tabriz identifies the design reference and the Mahi pattern; it does not identify the country of manufacture. This distinction matters in Oriental rug terminology. A rug may use a recognised Persian design language while being woven in another country. For this piece, India is the actual place of manufacture and Tabriz is the stylistic designation.

Tabriz is a city in north-western Iran and one of the established centres of Persian carpet weaving. Tabriz designs are known for carefully organised compositions, fine drawing and the combination of floral, curving and geometric elements. Traditional Tabriz carpets often depend on a strong relationship between field, border and repeated ornament. Their visual order comes from controlled spacing, balanced symmetry and the clear definition of individual forms.

The Tabriz tradition has been preserved through transmitted patterns and workshop practices. Designs may be adapted from established compositions and interpreted by weavers in different regions. When a Tabriz-inspired pattern is produced in India, the reference is to this inherited vocabulary rather than to an Iranian origin for the finished rug. This Indian rug brings together an Indian place of production and a Persian Tabriz design tradition.

Indian workshops have long produced hand-knotted Oriental rugs using a wide range of established patterns. Such workshops can interpret designs associated with Persian weaving centres while applying their own production methods and material choices. The term Oriental rug describes this broader geographical and craft context. It does not imply that every pattern was first developed in the country where a particular rug was made.

In the Tabriz tradition, an ornamental design is treated as a structured composition rather than as a collection of unrelated decorations. Floral details, vines, stylised leaves and repeated motifs can be arranged around a central logic. The Mahi pattern belongs to this ordered tradition. The present rug should therefore be read on two levels: it is an Indian hand-knotted rug, and it uses a Tabriz Mahi design associated with Persian carpet art.

The history of Tabriz weaving also explains why the name is used for designs with detailed drawing and closely organised ornament. The city’s carpet language includes both botanical and geometric tendencies, with colour and line working together to create a coherent surface. These features can be carried into rugs made elsewhere. In this case, the regional reference describes the visual tradition, while the product’s origin remains India.

Design and Pattern

The defining pattern is Mahi, a fish motif found in Persian and wider Oriental carpet design. Mahi means fish, but the motif is generally rendered as a stylised ornament rather than as a naturalistic animal image. It may be repeated, mirrored or combined with curving botanical lines. Through repetition, the fish form becomes part of a larger rhythmic arrangement. Individual motifs and the overall field are consequently read as one connected design.

Red is the dominant colour of this rug. Blue and gold are also specified as part of the colour combination. The red ground establishes a warm base, while blue passages provide contrast and gold accents add a lighter tonal element. Together these colours support the traditional Oriental character described for the rug. The colour palette is not separate from the pattern; it helps distinguish the outlines, repetitions and internal details of the Mahi composition.

Fish imagery has been associated in many cultural traditions with water and life. In carpet design, this idea is transformed into a decorative symbol. The Mahi motif can therefore be understood both as a visual ornament and as a form carrying traditional associations. Its effect comes from repeated shapes, balanced placement and the relationship between the motif and the surrounding lines. It is not presented as a single isolated fish, but as a pattern integrated into the carpet’s overall structure.

The high knot density is particularly relevant to a design with fine internal drawing. Closely placed knots can support sharper contours, smaller transitions and more differentiated ornamental details. In a Mahi composition, this precision helps the fish forms remain legible while they interact with other elements. The hand-knotted technique records the many individual steps required to build that detailed surface.

The rug is described as having a traditional Oriental and Persian style. This describes its visual language and historical design reference, not its manufacturing origin. Its Indian production is combined with a Tabriz-inspired Mahi pattern. The title therefore brings together the design tradition and the central motif, while the classification as an Oriental rug accurately reflects where the piece was made.

Mahi designs can vary in scale, colour balance and the density of their surrounding ornament. The specific version here is identified by its red ground and the additional blue and gold tones. The Tabriz reference places the composition within a tradition of orderly, finely drawn carpet designs. The result is a clearly defined pattern identity based on the fish motif, the colour arrangement and the detailed hand-knotted execution.

Special Features

A key feature is the knot density of 325,000 knots per square metre. In this rug, that dense construction is connected with the detailed rendering of the Mahi design. It supports precise outlines and a fine ornamental surface. The rug is hand-knotted and is described as a one-off, so it is an individual piece rather than a uniform factory product.

The pile consists of 98% virgin wool and 2% silk. Its red colour, Mahi fish motif and Tabriz-inspired design establish its visual identity. At approximately 12 mm thick, the rug has a clearly noticeable textile presence. It is also suitable for underfloor heating, which makes this particular piece compatible with rooms using that heating system.

The condition is new and perfect. The rug is therefore offered as an unused piece. Its role can be both practical and decorative: it is made for use on the floor while also presenting a traditionally organised Oriental pattern. The stated material composition, knot density, construction, condition and heating suitability define the specific features without changing its Indian origin.

FAQ

How should I care for this Tabriz Oriental rug?

Regular vacuuming helps remove loose dust and dirt from the pile. Care should be gentle so that the hand-knotted structure and the fibres are not subjected to unnecessary stress. For deeper stains or a more thorough cleaning, a professional rug cleaner or a suitable specialist care product is recommended. Prolonged direct sunlight should be avoided because strong exposure can cause colours to fade over time. The pile is primarily virgin wool with a silk content, so careful treatment is appropriate. These basic measures help preserve the red ground, the blue and gold details and the definition of the Mahi pattern.

Where does the Tabriz Mahi pattern come from?

The name Tabriz Mahi refers to a Tabriz-inspired design tradition and to the Mahi fish motif. Tabriz is a city in Iran and a recognised centre of Persian carpet art. The particular rug, however, was made in India. It is therefore an Indian Oriental rug using a Tabriz Mahi design. The fish motif belongs to a long-established Oriental visual vocabulary and is rendered as a stylised ornament within a larger composition. The origin of the pattern and the country where this rug was made must be kept distinct.

How can I assess the workmanship of a hand-knotted rug?

Knot density, material composition and the precision of the pattern are useful points of reference. This rug has a listed density of 325,000 knots per square metre. Its hand-knotted construction combines a pile of 98% virgin wool and 2% silk. A dense knot structure can support the clear rendering of fine contours and ornamental transitions. The new, perfect condition, the approximate thickness of 12 mm and suitability for underfloor heating provide further information about this specific rug. These details should be considered together rather than using a single feature in isolation.