Persian Rug Qashqai 35 x 37 cm Wool Hand-knotted

Ghashghai Persian Rug

Material and Craftsmanship

The Ghashghai cushion has a front made from 100% virgin wool. Wool is used in hand-knotted textiles for its robustness and durability. It can also help regulate temperature, creating a comfortable feel in different settings. The reverse is made from 100% cotton and incorporates old Jajim. Jajim is a traditional flat-woven textile and belongs to the wider weaving tradition associated with kilims.

The front was made by hand knotting. In this process, individual knots are placed into the foundation and built up into a patterned pile surface. The source describes the knot density of this cushion as particularly high. Knot density is connected with durability and with the ability to work out fine details in a design. Hand knotting also means that each cushion is an individual piece. Its construction therefore combines a virgin-wool pile with a cotton reverse and old Jajim.

A zip fastening is fitted for easy filling. The filling can therefore be inserted or removed without opening the textile reverse. The condition is described as new and perfect. Each cushion is signed, and that signature is one of the stated characteristics of this individual piece. Together, the hand-knotted front, the signed execution and the specified condition define the cushion as a one-off textile object.

Origin and Tradition

The cushion comes from Persia and from a nomadic area. The name Ghashghai is associated with the Ghashghai nomads of southern Iran. The nomads are connected with Fars, a region known for its long tradition of carpet and textile making. Their craft developed within a nomadic way of life, where textiles have served both practical and decorative purposes and where techniques have been passed through generations.

Nomadic weaving traditions developed around materials that could be processed and used in changing circumstances. Wool was particularly important because it can be spun, dyed and made into resilient textile surfaces. Hand knotting grew from this material knowledge and from the need to create useful objects with a distinct visual identity. The result is a craft tradition in which the available fibre, the method of construction and inherited patterns work together.

Ghashghai carpets and related textiles are associated with distinctive colours and patterns. Their designs often draw on nature, everyday life and the surroundings of nomadic communities. These references are not necessarily rendered as literal pictures. Natural forms may be simplified, repeated or transformed into signs and geometric structures. This combination of observation and abstraction gives the tradition a recognisable textile language while leaving room for individual workmanship.

Fars also has varied landscapes and a long history. For understanding Ghashghai textiles, the important context is the relationship between southern Iranian origin, nomadic life and the transmission of manual skills. Carpets, cushions and flat-woven pieces are made within this cultural setting. Traditional forms can be retained while each hand-made piece receives its own arrangement through the choices made during weaving or knotting.

The old Jajim on the reverse adds a second aspect of this textile heritage. Jajim is woven on a loom and is therefore structurally different from a knotted pile. A cushion can bring both methods together: the front presents a hand-knotted pile, while the reverse carries the surface and history of an older flat-woven textile. This pairing connects two established areas of Persian textile work within one practical object.

Design and Pattern

The pattern is described as floral. Floral designs take forms from plants as the basis for the surface. Flowers, leaves, stems and simplified botanical elements may be arranged in repeated rhythms or in a more open composition. In Ghashghai design, natural references often appear alongside geometrically reduced forms. A floral motif therefore does not need to resemble a botanical illustration; it can use lines, angles and repetition to translate nature into a woven or knotted structure.

Ghashghai pattern traditions are closely related to the nomadic environment and to daily experience. Natural motifs may be placed within a larger organisation of borders, central fields and recurring symbols. This creates a visual order that can carry references to the maker’s surroundings without depicting them literally. The floral theme of this cushion belongs to that broader relationship between nature, memory and the abstraction required by textile work.

In a hand-knotted piece, the design is built knot by knot. Knot density influences how finely lines, transitions and small areas of a motif can be represented. The cushion is described as having a particularly high knot density. That characteristic is relevant to the level of detail possible in floral forms and to the structured appearance of the pile. At the same time, the visible result remains connected to the irregularities and manual character of hand production.

The colour given for the cushion is dark blue. Dark blue provides a deep, quiet field or accent against which floral elements can be read. In traditional Ghashghai textiles, colour is part of the organisation of the pattern rather than an isolated feature. Its effect depends on the relationship between the ground, the motifs and their surrounding borders. Here, the specified dark-blue colouring forms part of the cushion’s floral visual identity.

A cushion offers a compact field in which a pattern can be concentrated. The floral design, the hand-knotted front and the old Jajim reverse make the piece both a functional textile and a carrier of traditional forms. Each cushion is signed and described as a one-off, so this particular piece represents an individual execution rather than a completely identical production series. The design is consequently read together with its construction and its personal, hand-made character.

Special Features

The stated special features include the hand-knotted front in 100% virgin wool, the reverse in 100% cotton and the use of old Jajim on the back. The combination of a knotted pile and a flat-woven reverse makes the construction of the cushion distinctive. Other specified characteristics are the particularly high knot density, the signature on each cushion and the condition described as new and perfect.

The zip fastening makes filling straightforward and supports practical use. The cushion can be placed as a decorative element on a bed or sofa, or used as a textile accessory in a reading corner. Its function remains connected with its craft: it is a cushion, while its dark-blue floral front presents a hand-knotted expression of Ghashghai textile tradition. The reverse contributes an additional woven surface through the old Jajim.

FAQ

How should I care for my Ghashghai cushion?

Gentle hand washing with a mild detergent is recommended. Cleaning should be carried out carefully so that the hand-knotted wool front and the textile reverse are treated with respect. Direct sunlight should be avoided to help prevent the colours from fading. If necessary, the cushion can be lightly shaken to help it retain its shape. The zip makes access to the filling easier, but it does not remove the need for careful handling. Both the virgin wool on the front and the cotton and old Jajim on the reverse should be taken into account when caring for the cushion.

Where does the Ghashghai cushion come from?

The Ghashghai cushion comes from Persia, from a nomadic area in southern Iran. The Ghashghai nomads are associated with the Fars region, where carpet and cushion making have a long tradition. Their textile work includes hand-knotted pieces as well as other traditional methods. Patterns are often connected with nature and the everyday life of nomadic communities. This cushion brings that background together with a hand-knotted front, a floral pattern and a reverse made from old Jajim. Knotted and flat-woven traditions are therefore present in one individual textile piece.

Can I use the cushion as a decorative element?

Yes. The Ghashghai cushion can be used decoratively in different living areas. It may serve as a colour accent on a sofa, as a textile accessory in a reading corner or as an addition to a bedroom. The dark-blue floral front presents the stated design, while the old Jajim reverse adds another textile surface. Its hand-knotted construction, signature and one-off character ensure that it functions not only as a practical furnishing item but also as a visible example of Ghashghai handcraft and textile tradition.