Persian Rug 240 x 160 cm Wool Hand-knotted

Persian Rug

Material and Craftsmanship

This Persian rug is hand-knotted, with a pile made from virgin wool and silk. The two fibres shape both its surface and its visual character. Virgin wool has long been used in Oriental rug making because its resilient, flexible fibres create a durable textile surface. It also has a naturally warm feel and a structure that gives the pile a comfortable, substantial touch.

Silk introduces a smoother fibre and a restrained play of light. Depending on the angle of the light, the silk content can create a subtle sheen in the surface. The combination therefore brings together the practical character of wool and the more refined appearance associated with silk. The pile composition is specified as 90 percent virgin wool and 10 percent silk.

Hand-knotting means that the individual knots are made by hand and inserted into the foundation one at a time. The process requires a steady pace, close attention to the design and experience with the selected fibres. Unlike a machine-made carpet, a hand-knotted rug is shaped through a sequence of manual decisions. This makes each piece an individual work and gives the finished surface its own textile character.

The rug is new and in perfect condition. Its thickness is approximately eight millimetres, and it is suitable for use with underfloor heating. These practical details complement its traditional construction. The wool and silk pile can be felt as a soft, tactile surface, while the hand-knotted technique gives the rug the distinct construction associated with Persian weaving.

Origin and Tradition

The rug comes from Persia and belongs to the Persian tradition of carpet making. The historic Persian world, now primarily associated with Iran in the history of rug production, developed a rich culture of weaving, dyeing and design over many centuries. Carpets were made for everyday interiors as well as for settings where their craftsmanship and visual order could be appreciated. Skills were passed from one generation to the next, allowing methods and design principles to remain part of a living textile tradition.

Persian rug making brings the plan of a design together with the physical process of making it. A finished pattern depends on more than colour alone. The foundation, knot structure, border arrangement and distribution of motifs all influence how the surface reads. A weaver follows a design plan or an established pattern while placing knot after knot. The result is a coherent field built through repeated manual work rather than through an industrially uniform process.

Different Persian weaving areas have developed their own preferences over time. Some traditions are associated with finely articulated floral compositions, while others are recognised for stronger geometry, pronounced central layouts or more open fields. Borders may be narrow or broad, and the relationship between the central field and surrounding ornament can vary considerably. These regional differences are part of Persian carpet culture as a whole; they do not mean that every Persian rug can be assigned to a named province without a specific origin statement.

For this piece, the stated origin is Persia. No individual province or workshop is identified. The term Persian rug therefore describes its Persian origin and its place within that broader tradition, rather than making a claim about a particular local school. Its traditional Oriental style, hand-knotted construction and combination of wool and silk are the relevant features for understanding it as part of Persian carpet culture.

Hand-knotting also explains why Persian rugs are treated as individual textiles rather than identical factory products. Even where a design follows a clearly organised plan, the manual process gives each completed rug its own surface and construction. The design remains ordered, while the making preserves the evidence of skilled handwork. This balance between a repeatable visual language and an individually produced object is central to the history of Persian rugs.

Design and Pattern

The design is described as traditional Oriental in style. Its white colouring creates a light visual ground and gives the composition a calm appearance. White can make a room feel more open and can allow the outlines of surrounding ornaments to appear clearly. It also provides a versatile basis for interiors with different materials and furnishings, without tying the rug to one particular decorating scheme.

The traditional Oriental vocabulary includes both floral and geometric motifs. Floral designs may use flowers, leaves, vines and stylised plant forms. These elements are generally arranged as ornament rather than presented as literal botanical pictures. Repeated branches, balanced spacing and controlled changes in scale can connect the various parts of a field. Such arrangements give the surface rhythm and help the eye follow the design across the rug.

Geometric forms contribute a clearer framework. Lines, angles, panels and symmetrical divisions can establish a central axis or separate the inner field from the border. Floral and geometric devices are often used together: a winding vine may be organised within a regular structure, while a geometric border can contain and frame more fluid plant forms. This combination is one reason Oriental designs can appear both decorative and carefully ordered.

Motifs in Oriental rugs may also carry associations beyond their ornamental role. Plant forms are commonly connected with nature, growth and renewal. Balanced layouts can suggest order, while repeated elements evoke continuity. These are broad interpretations belonging to the visual language of the tradition. They should not be read as a claim that one specific, unnamed motif on this rug has a single fixed meaning.

A high knot density generally allows a weaver to render small details and delicate contours with greater precision. It can support fine transitions in a floral drawing or maintain crisp edges in a geometric arrangement. The knot count does not itself determine whether a rug is floral or geometric; it describes the fineness of the construction. In this case, the dense hand-knotted structure is consistent with a design intended to show a detailed Oriental surface.

The rug brings together this established design language, a white colour effect and the individual character of hand craftsmanship. Its pattern can function as a decorative focal area or as a quiet foundation for a room. The overall impression remains connected to Persian and Oriental rug tradition while the light colour makes the piece adaptable to different interiors. The result is a traditional composition presented through a refined wool-and-silk pile.

Special Features

The rug has a high knot density of approximately 300,000 knots per square metre. A dense construction permits a more finely articulated surface than a much looser knot structure and supports the clear rendering of complex ornament. Knot density is a technical feature of the construction; it should be considered alongside the material, the hand-knotting and the finished condition.

The wool-and-silk pile is another defining feature. Virgin wool gives the surface its natural textile body, while silk contributes a subtle sheen. The rug is new and in perfect condition, is hand-knotted and is a one-off piece. It is also suitable for rooms with underfloor heating, adding a practical option to its traditional Persian construction.

FAQ

How should I care for this Persian rug?

Regular, gentle vacuuming helps remove loose dust and everyday surface dirt from the pile. Avoid vigorous rubbing and do not use cleaning products that are not intended for wool and silk. A professional rug cleaner is recommended for a thorough wash or for more difficult marks. Prolonged, intense direct sunlight should also be avoided where possible, as it can cause colours to fade unevenly. Care should always take account of the properties of both virgin wool and silk.

What does knot density mean?

Knot density indicates how many individual knots are made within a defined area of a rug. A higher density gives the weaver more scope to reproduce fine outlines, small details and controlled transitions in the design. This rug has approximately 300,000 knots per square metre. Knot density is an important construction detail, but it is best assessed together with the fibre composition, the hand-knotting technique and the quality of the finished surface.

Can the rug be used in different rooms?

Yes. It is suitable for living rooms, entrance areas and bedrooms. The wool-and-silk pile creates a comfortable textile surface, while the white colouring can be coordinated with a range of interior styles. Since the rug is suitable for underfloor heating, it can also be used in appropriately equipped living spaces. Regular care and sensible placement help preserve its appearance during everyday use.