Persian Rug 210×133 cm Wool Hand-knotted

Persian Rug

Material and Craftsmanship

This Persian rug is hand-knotted and identified as Kork Beige. Its pile consists of 95% virgin wool and 5% silk, while the warp is made entirely of silk. The materials are therefore specified separately: virgin wool forms the principal pile fibre, silk is also present in the pile, and silk makes up the full warp. The beige colouring belongs to the Kork Beige designation.

Hand-knotting is one of the established methods of Persian rug making. Each knot is inserted individually into the prepared foundation. The weaver builds the surface row by row, connecting the pile with the warp and securing the structure with weft passages. Unlike a machine-made rug, the design is formed through a large number of separate knots. The stated density is 950,000 knots per square metre. Knot density describes how closely the individual knots are placed and how many separate working steps are represented within the surface.

Virgin wool is a traditional pile material in Persian rug production. It can be spun, dyed and worked into a firm textile surface. In this rug, silk is added to the pile and is also used throughout the warp. The warp forms the longitudinal foundation on which the knots are tied. Silk in the foundation and pile belongs to the construction described for this particular rug; it should not be confused with a cotton foundation, which is not stated here.

The rug is described as approximately 8 mm thick and approximately 3 kg per square metre in weight. It is suitable for use over underfloor heating. These details complement the information about its fibres and construction. Its condition is given as perfect, new with tag. It is also described as 15 years old and unused. It is therefore an unused rug with its tag retained, rather than a piece described as showing signs of use.

The hand-knotted technique requires concentration and a controlled sequence of operations. The warp is set up first, knots are tied along it, and weft elements stabilise successive rows. Once the knotting is complete, the pile is finished so that the design can be read across the surface. The fine density recorded for this rug is a technical property of its making. It does not, by itself, identify a particular workshop or Iranian province.

Origin and Tradition

The rug is described as Persian, with Persia and Iran given as its origin. Iran has a long and varied tradition of rug making. Numerous weaving centres developed their own approaches to layout, ornament, colour relationships and construction. The term Persian rug therefore refers to a broad cultural and technical field rather than to one single design. The specific origin recorded for this piece is Iran or Persia; no individual province is assigned to it.

Persian rug making developed through generations of textile knowledge. Weavers passed on methods for preparing foundations, organising pattern repeats, combining colours and balancing the central field with its borders. Designs could be adapted to local workshop practices while retaining familiar Persian principles of symmetry and ornament. Regional traditions are often distinguished by the treatment of flowers, vines, geometric forms, border sequences and the degree of detail in the drawing. Those traditions provide useful context without turning an unspecified workshop into a claimed provenance.

The source text refers to Kerman and Tabriz as regions where Persian rug art has been cultivated. Here, those names describe the wider tradition of Iranian weaving rather than the origin of this individual rug. Both places are associated with established design vocabularies and workshop histories. Persian weaving centres have produced compositions ranging from orderly, centrally planned fields to flowing botanical arrangements. A rug may share elements with such traditions without being identified as a Kerman or Tabriz rug.

In hand-knotting, the foundation is prepared before the visible design is built. Knots are placed according to a drawing or a memorised pattern, rows are secured, and the pile is gradually shaped. A denser knotting allows more small transitions and finer outlines to be represented, although visual character also depends on the drawing, fibres, colours and finishing. The high density recorded for this rug is consequently part of its technical description, while it does not supply a province or workshop name that is absent from the source.

Persian rugs are commonly discussed through several connected categories: origin, construction, materials, pattern family, colour and condition. These categories should be kept distinct. A place name may describe a regional design tradition, while a pattern name may describe the organisation of the field. In this case, Persia or Iran is the origin statement, hand-knotting is the technique, wool and silk define the material structure, beige defines the recorded colour, and the medallion pattern defines the principal design. No narrower provenance is stated.

The long history of Persian rug making is also a history of practical knowledge. Preparing yarn, maintaining even tension, following a complex layout and finishing the pile all require different skills. Workshops and families could preserve recognisable approaches over time, but individual rugs remain textile objects with their own combination of materials and design. The present rug is described through its Persian origin, high knot density, silk warp, wool-and-silk pile and medallion layout. These details place it within Persian rug tradition without adding an unsupported regional attribution.

Design and Pattern

The design is identified as a medallion pattern. In Persian rug design, a medallion is a central ornament that gives the inner field a focal structure. It may be circular, oval, polygonal or composed of interlocking forms, depending on the drawing and workshop tradition. The exact outline, internal decoration and surrounding elements of this rug are not specified beyond the medallion designation. The pattern name should therefore be read as the recorded design category, not as a claim about a particular regional school.

The Kork Beige name records a beige colour character. Beige is a restrained neutral tone that can sit alongside a range of furnishings and room materials. In a hand-knotted rug, colour is experienced through the interaction of fibres, knot density, light and neighbouring areas of the design. Wool and silk can respond differently to light, so the silk content in the pile and the silk warp belong to the material description as well as to the way the surface may be perceived. No additional colour palette is specified for this rug.

Many Persian compositions are organised through the relationship between a central field and enclosing borders. The field carries the principal ornament, while borders frame the composition and establish a transition toward the edge. A medallion arrangement normally places emphasis on the centre and can be balanced by corner areas or secondary motifs. Whether this particular rug includes floral scrolls, corner pieces, repeated blossoms or geometric details has not been stated. The confirmed pattern information is the medallion design.

Floral and geometric forms are recurring tools in Persian ornament. Floral drawing may use leaves, blossoms, stems and vines in naturalistic or highly stylised ways. Geometry may appear through lines, angles, repeated units and symmetrical divisions. Across Persian traditions, such forms can carry associations with nature, order, continuity or prosperity, but their meaning depends on the specific composition and context. General knowledge about these design languages does not establish that every such motif is present in this rug.

The combination of a central medallion, a fine hand-knotted structure and beige colouring places the rug within a traditional Oriental and Persian design setting. “Traditional Oriental/Persian” is the style description provided for the piece; it is not a substitute for a more precise origin. The drawing is physically created through individual knots, so the design and the textile structure are closely connected. Silk in the pile may interact with the wool surface in its light response, while the silk warp remains part of the foundation beneath the visible pattern.

Pattern traditions are not fixed templates. The same broad medallion principle can be interpreted with different proportions, line weights, border systems and levels of detail. Weavers may work from a cartoon, a workshop layout or learned pattern knowledge, and the final surface reflects the relationship between plan and handwork. This explains why medallion rugs belong to a recognisable family while still differing from one another. For this one-off piece, the documented design remains the beige medallion composition without an added regional label.

Special Features

The recorded special features include the high knot density, the wool-and-silk pile and the full silk warp. The rug is hand-knotted and has a medallion pattern in beige. Its density is given as 950,000 knots per square metre, a technical description of the closely worked surface and the number of individual knots used in the construction.

The condition is described as perfect, new with tag. The piece is also described as 15 years old and unused, combining an indicated age with an unused condition. It is suitable for underfloor heating. Further recorded details are its approximate thickness of 8 mm and approximate weight of 3 kg per square metre.

For care, the description recommends regular vacuuming at a low setting. Spills should be dabbed immediately with a clean, damp cloth. Professional rug cleaning is recommended when a more thorough refresh is required, helping to protect the fibres and revive the colours. These are care recommendations for a hand-knotted rug and do not indicate that any cleaning has already been carried out on this piece.

FAQ

How should I care for this Persian rug?

Regular vacuuming on a low setting is recommended. If something is spilled, dab the area promptly with a clean, damp cloth rather than rubbing it. Improper treatment can put unnecessary stress on wool and silk fibres and may affect the appearance of the surface. For a more extensive refresh, professional rug cleaning is advisable. A specialist can take the combination of virgin wool, silk in the pile and a silk warp into account when selecting a suitable treatment. Since the rug is described as new, unused and supplied with its tag, these instructions are intended to help preserve that recorded condition.

Where can the rug be used?

The rug is suitable for living rooms and bedrooms. It can also be placed in a hallway or used as a focal element in a dining room. Its beige colouring works with many furnishing approaches, including modern and classic interiors. The central medallion gives the surface a defined visual centre, while the traditional Oriental and Persian style provides a decorative framework for different furniture and materials. The rug is suitable for underfloor heating. The final placement should still take account of the room layout, the amount of daily traffic and the risk of spills or heavy soiling.

What determines the value of a Persian rug?

The value of a Persian rug is influenced by several factors, including knot density, material quality, origin, age and condition. The hand-knotted technique, the precision of the design and the way the piece has been preserved may also be considered. For this rug, the recorded characteristics include high knot density, a pile of virgin wool with silk, a full silk warp, a medallion pattern, and a perfect, new and unused condition with tag. Hand-knotted Persian rugs may increase in value over time, but these characteristics do not establish a specific future price or investment return.