Persian Rug Isfahan 215x145cm Wool Hand-knotted (Sold)

Isfahan Persian Rug

Material and Craftsmanship

This Isfahan Persian rug is hand-knotted. Its pile is made from 100% wool, while the warp consists of 100% cotton. The recorded knot density is 500000 knots per square metre. These details define the construction described for this individual rug: wool forms the visible pile, and cotton provides the warp foundation into which the knots are worked.

In hand-knotting, pile threads are tied individually around the prepared warp. The weaver builds the textile surface row by row, with the pattern emerging from the placement and colour of many separate knots. This careful manual process belongs to the established weaving tradition of Isfahan. The high knot density recorded for this rug indicates a finely structured construction, without requiring any additional claims about qualities that are not specified for the piece.

The rug is used, has been professionally washed, and is described as having patina. Professional washing is therefore part of its documented care history. Patina refers to the visible character that can develop in a used textile through the passage of time and use. It is included here as part of the stated condition, alongside the classification of the rug as used.

Origin and Tradition

The rug comes from Isfahan in Persia. Isfahan is one of the important centres of Persian carpet making. Located in central Iran, the city developed within a cultural setting shaped by architecture, courtly arts, trade and skilled workshops. These connections also influenced local carpet design. Isfahan rugs are therefore understood through both their technical workmanship and their place within a broad regional history of textile production.

Persian carpet making has a long tradition in which drawing, materials and manual execution are closely related. In Isfahan, a highly developed approach to pattern design emerged over time. Designs were carefully planned before being translated into rows of knots by weavers. Each knot contributes to a larger image, so the work requires attention to colour sequence, the outlines of ornaments and the continuity of the drawing across the field.

The history of Isfahan weaving includes both formal and everyday textiles. Regional design traditions encompass floral decoration as well as compositions built around medallions, scrolling vines and geometric divisions. Such forms were handed down, adapted and combined in successive generations of weaving. A floral rug consequently belongs to a tradition in which plant forms are stylised, arranged and repeated to create a coherent textile surface.

Persian carpet history also demonstrates the close relationship between a drawn design and the knotting technique used to realise it. A design must be organised so that leaves, flowers and lines remain legible when converted into coloured knots. The weaver does not paint the image onto the finished rug; instead, the image is created through the ordered placement of knots. The more finely a design is divided, the more carefully contours and colour changes must correspond. This rug’s recorded knot density is a specific technical fact about the piece, while the wider significance of fine knotting lies in its capacity to render detailed designs.

The name Isfahan therefore identifies a place within the Persian carpet tradition rather than merely a colour scheme or decorative mood. It connects the rug with a regional history of drawing, knotting and transmitting textile knowledge. This particular rug is identified as originating in Isfahan and is described as a historical rarity. That classification forms part of its presentation as a used, patinated individual rug.

Design and Pattern

The pattern of this rug is floral. Floral Persian carpet designs draw on forms associated with plants and arrange them into a decorative composition. Flowers, leaves, vines and stylised stems may appear as separate ornaments or as connected elements. The purpose is not necessarily botanical representation of one identifiable plant, but the transformation of organic forms into a repeatable visual language suited to a woven or knotted surface.

Within the Isfahan tradition, floral elements are often organised with clear contours and a carefully considered distribution across the field. A design may distinguish a central area, side sections and a border, or it may distribute ornaments throughout the entire field. These are general possibilities within the regional design vocabulary. For this individual rug, the stated pattern is floral; no further claim is made here about a particular medallion, border arrangement or named flower.

The visual structure of a floral rug depends on the relationship between outline, repetition and open space. A vine can guide the eye across the field, while smaller leaves and flowers provide rhythm and variation. Repeated motifs create continuity, while changes in scale or direction keep the composition from becoming purely mechanical. In a hand-knotted rug, these relationships are built knot by knot. The design is therefore both a drawn concept and the result of a practical craft process.

Persian pattern traditions frequently use stylised natural forms because they can be repeated and balanced within a defined format. The word floral describes this family of motifs; it does not claim that every flower must be botanically identifiable. Depending on the design, forms may be highly abstract, arranged symmetrically or linked by fine scrolling lines. Isfahan’s regional tradition is associated with the combination of ordered decoration and detailed drawing. This background places the concrete floral description of the present rug within its wider design history.

The classification as a historical rarity adds another aspect to the description of this piece, together with its visible patina. It indicates that the rug is regarded as historically rare; it does not provide a specific date or state a precise age. Combined with the floral pattern, the term describes a used Isfahan rug whose textile surface brings together a regional decorative tradition and the traces associated with its use.

Special Features

The expressly recorded features are its origin in Isfahan, its floral pattern and its classification as a historical rarity. The rug is used, professionally washed and described as having patina. Its construction is specified as a 100% wool pile with a 100% cotton warp, and its knot density is 500000 knots per square metre. These details belong to this one-off rug and provide its factual product description.

Patina is presented here as part of the stated condition rather than as a separate defect description. At the same time, the rug remains clearly classified as used. Professional washing is also specifically recorded. No additional statements are made about repairs, fringes, edges, exact age, colour changes or other aspects of preservation.

FAQ

What distinguishes this Isfahan rug?

It is hand-knotted, originates in Isfahan in Persia and has a floral pattern. It is described as a historical rarity with patina. The pile is 100% wool and the warp is 100% cotton. Its knot density is 500000 knots per square metre. The rug is used and has been professionally washed.

What does the craftsmanship of an Isfahan rug involve?

With hand-knotting, pile threads are tied individually into a prepared warp. The textile surface and its pattern are formed through the accumulation of many separate knots. This careful method has a long tradition in Isfahan. The recorded density of 500000 knots per square metre describes the fine technical structure of this particular rug.

Which materials were used in this rug?

The pile is made from 100% wool. The warp is made from 100% cotton. These material details apply to this specific rug. Its condition is additionally described as used, professionally washed and showing patina.