Persian Rug Qashqai 32 x 34 cm Wool Hand-knotted

Ghashghai Persian Rug

Material and Craftsmanship

This Ghashghai cushion is hand-knotted, with a front made from 100% virgin wool. The back is made from 100% cotton and uses old Jajim, identified in the description as Kelim. Jajim is associated with a flatwoven textile tradition, so the cushion brings together two different textile methods. Its front has a wool pile created by knotting, while its reverse is formed from an older flatwoven textile rather than from the same pile construction.

The piece is described as elaborately produced and finished with hand-overcast edges. Hand overcasting provides the edging that closes and defines the sides of the cushion. The front has a pile height of 12 mm and the materials are clearly assigned to their respective parts: virgin wool for the pile and cotton for the back. The surface is hand-knotted and the design is not described as a printed industrial decoration.

The cushion is listed as new and perfect, and also as new with a label. High colour fastness is specified. It is suitable for use with underfloor heating. These details describe the particular construction and condition of this cushion. The combination of a knotted wool front, hand-finished edges and a back made from old Jajim gives the object a textile character on both sides without treating the two surfaces as identical.

Origin and Tradition

Ghashghai, also written Qashqai, refers to a nomadic people of Iran. The Ghashghai have traditionally lived in a broad nomadic area of Persia and are known for their carpet weaving. This cushion is described as originating in Persia and as coming from a nomadic region. Its name therefore places it within a textile culture closely connected with mobile households, seasonal movement and the transmission of craft skills within a community.

Nomadic carpets and cushions occupy both practical and decorative roles. A textile may serve daily life while also carrying a carefully organised pattern language. Knotting, weaving and edge finishing are skills passed on through practice. The work is not only a technical sequence; it also preserves regional habits of drawing, colour selection and composition. A hand-made object can therefore express a shared tradition while retaining the decisions of the person who made it.

Ghashghai carpets and cushions are associated with vivid colours, geometric designs and traditional symbols. These signs may relate to animals, plants, the natural environment, everyday life or ideas held within the culture. Their meaning is not necessarily identical in every object and should not be reduced to one fixed interpretation. The character of the tradition lies in the combination of inherited forms, individual arrangement and the way the weaver balances colour, outline and space.

Iranian nomadic weaving has developed over centuries. Motifs and colour relationships have changed over time, while fundamental knowledge of knotting and textile making has remained part of the craft. The hand-knotted front of this cushion belongs to that tradition. Its old Jajim back adds a flatwoven element related to Kelim work, creating a direct connection between a knotted surface and an earlier woven textile.

Nomadic Persian textiles often have a different visual character from highly formalised court or urban carpets. Their structures may be bold, geometric and strongly coloured, while the execution remains personal and manual. Repetition does not always mean mechanical sameness. Small variations can result from the working process and from the maker’s choices. In a Ghashghai object, the relationship between a recognised design vocabulary and individual workmanship is an important part of its cultural context.

Design and Pattern

The pattern of this cushion is described as Oriental. This places its appearance within the broad decorative language of Oriental textiles without assigning a more specific historical pattern name to the individual piece. Ghashghai identifies the cultural setting, while Oriental describes the general visual classification supplied for this cushion.

Geometric forms are familiar elements in Ghashghai carpet design. Diamonds, medallions, stepped outlines, hooked details and bands can organise a woven field. Floral motifs and simplified references to nature may also occur. In nomadic textiles, such subjects are often transformed into an ornamental vocabulary rather than rendered as naturalistic pictures. A form can remain recognisable while being reduced to lines, angles and repeated contours.

Colour helps create structure as well as decoration. It separates fields, strengthens outlines and gives repeated motifs a sense of rhythm. Vivid colour effects are commonly associated with Ghashghai textiles. High colour fastness is also stated for this particular cushion. The colour description therefore combines a regional design association with a specific property given for the piece itself.

Traditional symbols can preserve references to stories, memories and the surrounding life of nomadic communities. A cushion does not need to be read like a literal picture. Its signs may suggest animals, plants, routes, protective ideas or the natural landscape, without every detail having one universally fixed meaning. The visual effect comes from the interaction of symbol, repetition, colour and the handwork used to place each element.

A cushion makes the meeting of tradition and present-day interiors especially clear. Its patterned front functions as a textile surface, while its form remains useful in the home. The old Jajim back introduces a flatwoven Kelim-related structure and gives the object a second textile face. The front and reverse are therefore part of one cushion but express different methods of making and different surface qualities.

Each cushion is described as a unique piece. The particular combination of colours, symbols and hand-worked details is therefore not presented as an identical mass-produced series. Traditional forms provide the cultural framework, while their arrangement distinguishes the individual object. The Oriental pattern remains connected with Ghashghai weaving and at the same time carries the irregularities and decisions associated with a hand-made one-off piece.

Special Features

A defining feature of this cushion is the pairing of a hand-knotted front with a back made from old Jajim, identified as Kelim. The hand-overcast edges and elaborate production are further stated details. Together they make the construction visible on both sides: the front carries a virgin-wool pile, while the reverse presents an older flatwoven textile.

The cushion is offered as new and perfect, and as new with a label. High colour fastness is specified, and the cushion is suitable for underfloor heating. It is intended for indoor settings such as a living room, bedroom or study. Use in a sheltered outdoor area is described as possible when the cushion is protected from direct sunlight and moisture.

FAQ

How should I clean the Ghashghai cushion?

Use a mild soap solution and a soft cloth for cleaning. Work carefully over the hand-knotted front and treat the Jajim reverse with the same restraint. Avoid aggressive chemicals, as they can affect the textile and its colours. Strong sunlight should also be avoided during cleaning and drying because it can contribute to fading. The cushion should not be exposed to unnecessary moisture.

What makes Ghashghai cushions distinctive?

Their distinctiveness comes from the combination of traditional knotting, natural materials and the cultural connection with Ghashghai carpet art. This cushion has a front of 100% virgin wool, a back of 100% cotton incorporating old Jajim and hand-overcast edges. It is described as a hand-made unique piece. Oriental patterning, traditional symbols and its nomadic Persian context connect the decorative surface with a long-established textile tradition.

Can Ghashghai cushions be used outdoors?

Ghashghai cushions are designed for indoor use. They may be used in a sheltered outdoor area if they are protected from direct sunlight and moisture. This care helps preserve the colours, materials and hand-worked construction. The cushion should not be left outside in open weather, damp conditions or prolonged sun.