Persian Rug 100 x 100 cm Wool Hand-knotted

Persian Oriental Rug

Material and Craftsmanship

This Persian rug is made from virgin wool and silk. The pile contains 90 percent virgin wool and 10 percent silk. Wool forms the larger share of the composition and therefore defines much of the pile’s body, touch and textile character. Silk adds a finer fibre to the wool surface and can contribute a restrained, satin-like shimmer. Combining these two natural materials is a familiar principle in Oriental rug making: wool provides a substantial and resilient pile, while silk allows for finer visual accents within the overall surface.

Virgin wool is traditionally used for rugs because its natural fibre structure creates a durable pile. It can retain warmth while also supporting a breathable textile surface. This gives the rug a characteristic soft handle that differs from a synthetic finish. Silk has a smoother fibre structure and can refine the appearance of the pile through more delicate reflections. In a wool-and-silk rug, therefore, two distinct natural qualities meet in one hand-worked textile surface.

The rug is hand-knotted. In this process, individual knots are tied into the prepared foundation and secured with rows of weft. Maintaining an even tension and guiding the knotting tool carefully are essential parts of the work. A knot density of approximately 300,000 knots per square metre indicates a finely structured pile. It allows contours and motifs to be built from many small units. The rug has a pile height of approximately 8 millimetres, leaving a clearly defined hand-made surface that remains perceptible under the hand.

Hand-knotting is different from a printed or mechanically produced surface. The pattern is formed within the pile rather than being applied afterwards. As a result, the design has a genuine textile depth, while minor variations belong to the character of a manually made one-off piece. The combination of high knot density, virgin wool and silk describes the principal technical features of this rug. Its construction is therefore understood through the work of the knotter and the structure of the fibres, rather than through industrial mass production.

Origin and Tradition

The rug comes from Persia, present-day Iran. Persian rug making is one of the most established traditions in Oriental textile art. It developed across many cities, districts and workshops, each contributing particular approaches to materials, colour, ornament and construction. Persian rugs have long been made for both everyday use and formal interiors. From this combination of utility and design emerged a craft in which a rug can serve as a practical floor covering while also functioning as a carefully organised textile composition.

Persian weaving centres are often associated with central layouts, repeating vines, flowers, medallions or geometric fields. Other rugs use an all-over arrangement in which motifs are distributed across the surface without a single dominant centre. Designs may be based on a drawn plan, an inherited pattern or the experienced judgement of the maker. During the work, colours and knots are coordinated to form a coherent whole. The Persian tradition includes both highly symmetrical compositions and freer interpretations of established forms.

Kerman is one of the recognised regions in the history of Persian rugs. In general rug scholarship, Kerman rugs are often associated with carefully developed floral compositions, scrolling vines and nuanced colour arrangements. These are characteristics of a regional tradition and do not automatically establish the origin of every rug with a Persian or Oriental appearance. Places such as Tabriz, Isfahan, Kashan and Nain have also shaped Persian rug history, each with its own stylistic vocabulary. The variety of these centres explains why the term Persian rug can cover many different pattern structures and forms of craftsmanship.

Iranian rug making has been passed down through generations. Knowledge of stretching the foundation, inserting the wefts, arranging the knots and finishing the pile forms part of a working process that requires time and experience. Selecting and balancing wool and silk is also part of that tradition. Natural fibres respond differently to light and contact than artificial fibres, so they influence how the surface is perceived in terms of texture and lustre. Hand-knotting consequently joins practical technique with a long-established form of textile design.

Historically, Persian rugs were more than household objects. They could communicate regional identity, social position, workshop expertise and the preferences of their owners. Motifs were inherited, adapted and recombined. Floral ornaments could suggest a cultivated garden or a structured natural world, while geometric forms relied on axes, angles and repetition. Many designs bring both principles together. Today, Persian rug tradition is still understood as a combination of regional knowledge, natural materials and manual production. Through its Persian origin and hand-knotted construction, this rug belongs to that broader tradition.

The history of the Persian rug also explains why pattern names and regional references need to be considered carefully. A motif may be inspired by a place without indicating where a particular rug was made. Likewise, a traditional design can be reproduced in different weaving areas. Origin, construction and design are related but separate aspects of a rug’s identity. For this piece, the stated origin is Persia, while the design is described as traditional Oriental Persian with a round arrangement.

Design and Pattern

The design is described as traditional Oriental Persian. It also has a round design and a white colour. A circular format creates a different visual rhythm from a rectangular rug: the composition relates to a continuous perimeter, and the eye is guided either towards a centre or around the outer line. In such an arrangement, ornaments may be distributed radially, repeated around a central point or organised as a balanced circular field. The particular sequence of motifs is not specified for this rug, so the description remains with the documented design qualities.

Traditional Persian patterns often depend on the relationship between a field, a border and the ornaments placed within them. A border can contain the composition and separate it from the surrounding floor. The interior may be structured with flowers, vines, leaves, medallions or geometric elements. In many Oriental designs, repetition is not merely duplication; it creates rhythm and order. Smaller details echo larger forms, lines lead the eye through the field, and open spaces help the pattern remain readable.

Floral motifs are among the recurring visual languages of Persian rugs. Flowers and vines may be stylised with clear outlines or drawn as fine, interlaced details. In rug tradition, they are often associated with an ordered plant world and can evoke gardens, growth or a harmonious natural setting. Geometric motifs, by contrast, depend on angles, axes and measured repetition. Numerous Persian designs combine both approaches by placing floral detail inside a clearly organised framework.

The white colour gives the design a light foundation. A pale ground can make outlines, contours and changes in the direction of the pile easier to notice. In a wool-and-silk pile, light may also be reflected in different ways: wool tends to appear calm and softly matte, while silk fibres can create finer points of lustre. This effect comes from the materials and is part of how the surface is perceived. It does not imply additional colour information; apart from white, no other colour is specified for this rug.

The fine knot structure supports detailed contour work. When the individual knotting units are small, lines and forms can be arranged with greater differentiation within a design. In a circular composition, even distribution is particularly important so that the visual balance remains stable from one side to the other. Hand-knotting combines this technical precision with the natural variation of wool and silk. The result is a pattern that belongs to the structure of the pile rather than sitting on top of it as a printed image.

The combination of traditional Persian styling, a white ground and a round format can be read within a range of interior settings. The Oriental Persian classification refers to a cultural and design tradition, not to one single named motif. This allows the rug to be described accurately without assigning an unrecorded pattern or province. Its documented visual identity rests on its traditional Persian character, circular layout and white colour.

Special Features

The rug is new and in very good condition. As a hand-knotted one-off, it combines a fine knot structure with a pile made from virgin wool and silk. Its white colour and round design define its visible appearance. The rug is suitable for rooms with underfloor heating. When used over underfloor heating, the temperature should not be set too high so that the wool fibres are not unnecessarily stressed.

The rug is described as suitable for homes with pets and children. This makes it applicable to everyday household areas where different types of use come together. As with any natural-fibre rug, regular and gentle care remains appropriate. Vacuuming with an upholstery attachment helps remove loose dust while avoiding unnecessary strain on the pile. Spills should be treated promptly with a damp cloth and mild cleaning product. Professional cleaning is recommended every few years.

The combination of Persian origin, hand-knotting and natural fibres gives the rug a clear material and craft identity without reducing its design to one unrecorded regional style. It can be used as a floor covering or as a textile element in a living room, bedroom or hallway. Its circular shape is particularly suited to areas where a rounded organisation of the space is desired. The documented condition, floor-heating suitability and pet- and child-friendly description are practical features alongside its traditional appearance.

FAQ

How should I care for the rug?

The rug should be vacuumed regularly and gently. An upholstery attachment is recommended so that the pile made from virgin wool and silk is treated with as little strain as possible. This removes loose dust without working the surface unnecessarily hard. Spills and stains should not be left to soak in. Treat the affected area promptly with a damp cloth and a mild cleaning product. Vigorous rubbing, aggressive chemicals and excessive moisture are not suitable approaches for natural fibres. Professional cleaning is recommended every few years. A specialist can adapt the cleaning method to the hand-knotted construction and the combination of wool and silk.

Can the rug be used over underfloor heating?

Yes. This rug can be placed over underfloor heating. The temperature should not be set too high, so that the wool is not unnecessarily damaged. Even, moderate warmth is more appropriate than a very high setting. The floor should be clean and dry before the rug is laid out. During use, it is sensible to avoid conditions in which excessive heat becomes trapped beneath the rug. Suitability for underfloor heating is a practical feature that supports its use as a textile floor covering in a variety of living spaces.

Is the rug suitable for allergy sufferers?

The rug is described as suitable for allergy sufferers. Its materials are natural fibres: virgin wool and silk. These materials are considered less susceptible to dust and dirt and are therefore described as hypoallergenic. Nevertheless, dust can settle on any textile surface, so regular cleaning remains important. Gentle vacuuming with an upholstery attachment supports a clean surface. Anyone with a particular allergy or individual sensitivity should also take personal tolerance of the materials into account. The general suitability statement does not replace individual medical advice or a personal assessment of sensitivity.