Persian Rug Isfahan 222 x 146 cm Silk Hand-knotted

Isfahan Persian Rug

Material and Craftsmanship

This Isfahan Persian rug is hand-knotted and is not industrially manufactured. Each part of the structure is created through a traditional manual process in which knots are placed by hand and secured row by row. This method distinguishes the rug from machine-made goods and calls for experience, concentration and careful handling of the fibres. The work is carried out as an individual textile process rather than as an industrial reproduction.

The stated pile materials are cork wool and silk. The warp is silk. Silk is valued in rug making for its fine fibre and for its suitability to detailed knotting. Cork wool can contribute a soft yet resilient character to the pile. The combination of these materials is part of the specific construction recorded for this one-off rug and should be considered together with its knotting technique.

The warp and weft have been worked in the traditional manner. The warp forms the supporting framework to which the knots are attached, while the weft helps secure the rows and stabilise the woven structure. Consistent tension and an orderly relationship between knots and weft are important to the shape and cohesion of a hand-knotted rug. In this piece, the dense knotting complements the selected materials and the traditional construction.

The rug was professionally cleaned after production. It is described as being in very good condition. These statements refer to the recorded care and condition of this particular piece. They are not a general claim about every Isfahan rug or every hand-knotted rug.

Origin and Tradition

The stated origin is the Issfahaan region in Iran. Isfahan, also written Issfahaan, is one of the recognised centres of Persian rug making. The city and its surrounding area have long been associated with workshops producing carefully drawn and finely executed rugs. Knowledge of design, colour arrangement and knotting has been passed through generations within the wider Persian weaving tradition.

Isfahan’s place in Persian rug history is associated with the close relationship between design and workmanship. Workshops have used inherited ornaments while also adapting them to changing artistic influences and periods. A design is usually organised before it is transferred to the loom or knotting foundation. The field, borders and smaller motifs are arranged in relation to one another, allowing the finished composition to retain a sense of order.

Isfahan rugs are often associated with a high level of detail. This applies to the drawing of individual ornaments as well as to the balance between lines, fields and borders. Fine knotting can support the rendering of small shapes and carefully controlled contours. Such craftsmanship depends on more than knot placement alone. It requires knowledge of fibres, colour, tension, weft insertion, pile finishing and the handling of the completed textile.

The regional tradition also reflects the importance of the workshop as a place where design and practical skill meet. Persian ornament may include vegetal forms, scrolling vines, medallions and geometric arrangements. The precise appearance varies between workshops and individual pieces. For this reason, Isfahan is a designation of origin and regional tradition within Persian rug making; it does not by itself identify a particular workshop or named maker.

Pattern drawings have historically served as an aid in many Persian weaving traditions. A prepared design can indicate the position of major forms, the rhythm of repeated ornaments and the relationship between central and surrounding elements. The weaver translates this plan into coloured knots and adapts it through the manual process of making the rug. Accurate transfer supports clear outlines and controlled transitions, while the hand-made process preserves the character of an individually produced textile.

The origin supplied for this rug is Issfahaan. This places it within the Iranian, and therefore Persian, rug tradition. No further information is provided about a specific workshop, designer, weaver or exact production date. Those details are not added here. The regional attribution remains the factual basis for describing the rug’s origin and its relationship to the long history of Persian carpet making.

Design and Pattern

Isfahan rugs are known for designs in which floral and geometric elements may be combined. Floral ornaments can take the form of blossoms, leaves, scrolling vines or stylised botanical shapes. Geometric components may organise medallions, borders, corner solutions or repeated details. This is background about the Isfahan design tradition, not an additional claim that a particular unrecorded motif appears in this rug.

A Persian design often gives the composition a clear hierarchy. One arrangement may place a central medallion within a field framed by several borders, while another may distribute ornaments across the entire surface. Secondary motifs can connect the main elements and fill open areas. The relationship between the field, border and smaller details is what gives the design its visual structure. Isfahan workshops are traditionally associated with coordinating these parts with considerable precision.

The colour range found in Isfahan rug traditions can extend from quiet pastel tones to strong and vivid shades. Colour is considered not only as an isolated hue but also in relation to adjoining areas. Contrasts may clarify a contour, while related tones can create a gentler transition. In Persian rug design, colour arrangement commonly serves the readability of the ornament and the balance of the overall composition.

Symmetry is important in many Persian compositions. It may appear in the arrangement of a central medallion, in mirrored corner motifs or in the regular repetition of a border. Symmetry does not mean that every detail must look mechanically identical. A hand-knotted rug retains signs of manual translation, and minor variations are part of its making. This is one of the distinctions between an individually knotted textile and an industrially reproduced surface.

The fine knotting recorded for this rug is technically suited to detailed drawing. Numerous small knots work together to form the outlines of leaves, blossoms, lines and geometric figures. The more differentiated the design, the more important an even working rhythm and disciplined colour placement become. Knot density is one technical feature among several; it should be considered alongside the materials, the construction and the organisation of the pattern.

Within the Isfahan tradition, ornament can appear both formally ordered and richly articulated. Vines may link floral elements, repeated borders can frame the field, and small fillers can close the spaces between larger forms. Geometric lines may give a floral composition a firm structure. This balance between order and ornament is central to the regional vocabulary. The supplied information does not include a more specific pattern name for this individual rug.

Special Features

The specifically recorded features include the fine knot density, hand-knotted production and the use of cork wool and silk in the pile with a silk warp. The dense construction is associated with detailed and precise pattern rendering. The supplied description also connects it with a particular level of durability. This is a technical description of the construction, not a guarantee of how the rug will perform under every future use.

The rug has been professionally cleaned and is described as being in very good condition. Professional cleaning is part of the care history stated for the piece. Further care should be gentle and appropriate to the fibres. Silk requires particular attention, so any future washing should be entrusted to a specialist familiar with delicate materials and hand-knotted construction.

An authenticity certificate can be issued by Teppichcenter-Stuttgart on request. This is offered as additional documentation of authenticity. The information does not state that a certificate is already included; it states that one can be arranged if requested.

FAQ

What makes a hand-knotted rug special?

A hand-knotted rug is made through an individual process in which knots are tied by hand and the rows are secured with the warp and weft. The work requires time, experience and consistent attention to the structure. Unlike a machine-made rug, it can show the character of manual execution and support a highly differentiated drawing. Small variations are part of the way a hand-knotted textile is made. This Isfahan Persian rug is additionally described by a fine knot density and a pile made from cork wool and silk, with a silk warp. Together, these details define its recorded craftsmanship and material construction.

How should I care for my Oriental rug?

An Oriental rug should be cleaned regularly but handled with care. Vacuuming should be carried out gently so that the fibres are not unnecessarily strained or damaged. Strong rubbing, unsuitable cleaning agents and incorrect wet cleaning can affect delicate materials and the structure of a hand-knotted rug. When more intensive care is needed, professional washing is recommended. Because this rug has silk in the pile and a silk warp, a specialist should select a method appropriate to that material combination. The rug has already been professionally cleaned and is recorded as being in very good condition.

Can the rug be shipped internationally?

Yes, worldwide shipping is possible. International delivery involves the shipping costs and conditions applicable to the destination country, which may vary from one country to another. Please contact the dealer before purchase for information about the shipping charges and the delivery process. Shipping arrangements do not alter the rug’s stated origin in Issfahaan, Iran, or its hand-knotted construction. The item remains a one-off Persian rug with the materials and condition described above.