Persian Rug Kashan 350 x 245 cm Wool Hand-knotted

Kashan Persian Rug

Material and Craftsmanship

This Kashan Persian rug is hand-knotted. Its pile is made of 100% new wool, while the warp is made of 100% cotton. These materials define the basic construction of the piece: the wool forms the visible, walkable surface, and the cotton warp provides the foundation into which the knots are secured. A pile height of approximately 10 mm is also recorded. The result is a clearly textured wool surface suited to the practical character of a floor rug.

The rug has a knot density of 350,000 knots per square metre. In hand-knotting, each knot is tied individually around the stretched warp. Weft threads are then inserted between rows and the structure is compacted as the work advances. This is a manual process carried out at the loom rather than a mechanically reproduced surface. A dense construction allows fine outlines, small floral details and the ordered arrangement of a central medallion to be rendered with precision.

New wool is valued in rug making for its resilient fibre and comfortable handle. It accepts colour effectively and gives the pile a natural, slightly matte depth. Cotton warp provides a stable ground for the knotting. In a hand-knotted rug, the combination of fibre, knot density and pile height influences the feel, structure and visual definition of the surface. This rug is suitable for use with underfloor heating.

The condition is described as very good and like new. Its age is given as 15 to 20 years. The piece therefore combines an established traditional technique with a condition indicating very limited signs of use. Careful placement and gentle maintenance help preserve the wool pile and the integrity of the woven foundation over time.

Origin and Tradition

Kashan is one of the recognised carpet centres of Persia and is located in Iran. The city and its surrounding area have a long history of rug production reaching back to the sixteenth century. Kashan carpets occupy an important place in Iranian weaving culture because their designs bring together central compositions, floral ornament and carefully organised borders. The name Kashan identifies a regional tradition of weaving and design, not simply a particular colour.

Persian rug production developed distinctive local practices in many cities and regions. In Kashan, knowledge of design and knotting was passed from one generation to the next. Drawings were refined, motifs adjusted and colour relationships developed to suit the composition. Hand production requires patience, but also a precise understanding of proportion, row alignment and the distribution of colour. A design may guide the weaver, yet the finished surface is built knot by knot at the loom.

The history of Kashan rugs is closely associated with Persian ornament. Vines, leaves, blossoms and palmettes are often arranged within an ordered field. A medallion can act as the visual centre, with surrounding motifs organised in relation to it. The border frames the main field and creates a transition between the central design and the outer edge. This division gives many Kashan compositions their clear and balanced structure.

The region is also associated with colour arrangements in which strong tones and quieter shades are balanced across the design. Beige is specified as the ground colour of this rug. Beige and related earth tones belong to a restrained palette that can accommodate a variety of interiors. Persian dyeing traditions have used plant-based and other durable colourants over time. The character of a palette depends not only on the individual shade, but also on its relationship to outlines, ornaments and the border surrounding the field.

Kashan weaving includes more than one design family. Alongside floral medallion rugs, the regional tradition includes all-over floral layouts, prayer designs and more formal ornamental arrangements. The shared point is often the careful ordering of the pattern and the attention given to a coherent overall field. Kashan should therefore not be reduced to one fixed motif. It describes a broad Iranian design tradition shaped by controlled ornament and detailed handwork.

The knotting method maintains a direct link between cultural continuity and practical manufacture. Every row is formed by hand, and small differences in wool, warp tension or execution are part of the nature of an individually made rug. The high knot density recorded for this piece supports the detailed rendering of smaller forms. Its Persian origin and Kashan attribution place it within a long-established Iranian weaving landscape.

Design and Pattern

The pattern of this rug is described as a floral motif with a medallion. These are two established elements of Persian rug design: plant-based ornament and a central organising shape. The medallion gives the field a visible focal point. Floral vines and related natural forms can be arranged around it, directing the eye from the centre towards the sides. The design is consequently read as a unified field rather than as a collection of unrelated decorations.

Beige sets the overall colour impression. As a neutral shade, it can be combined with lighter or darker outlines and accompanying earth tones. In a Persian composition, a light ground does more than provide decoration. It gives the contours of leaves, blossoms and the medallion room to remain legible, while also creating visual calm within the field. Earth-related shades can link separate ornaments without weakening the central structure.

Floral ornament in Persian rugs is based on stylised representations of blossoms, leaves, vines and palmettes. It is not a literal depiction of one particular garden, but an organised decorative language. Forms may be repeated, mirrored, rhythmically spaced or carried along curved stems. This creates a pattern that is organic in its references yet disciplined in its arrangement. The lines can lead across the field and connect the central area with the surrounding sections.

A medallion composition generally works through a distinct centre and a pattern related to that centre. Depending on the design, the medallion may be rounded, oval, stepped or built from interlocking ornaments. Only the presence of a medallion combined with floral ornament is specified for this rug, so a more exact geometric description would go beyond the available information. What is clear is the use of a central structure joined to plant-inspired decoration.

In this type of composition, the border provides visual order. It encloses the field and gives the design a defined finish. Main borders and narrower guard borders may be separated by lines or repeated smaller motifs. The exact border drawing of this rug is not specified. In general, the framing helps establish the medallion field as a complete composition and relates the ornament to the rectangular form of the rug.

The fine resolution of a floral design is closely connected with the knotting. A high knot density permits small blossoms, narrow vines and differentiated outlines to be represented more precisely than a coarse construction would allow. Knot count alone, however, does not create the design. The drawing, colour selection and careful alignment of the rows are equally important. Here, the dense hand-knotting, the wool pile and the floral medallion arrangement work together as the defining visual and technical elements.

In an interior, a beige Kashan with a medallion can connect classical Persian ornament with a quieter colour scheme. This describes the interaction of the stated design elements rather than a particular furnishing style. The rug may be read in a light room or alongside natural materials. Its relevant characteristics remain the beige ground, the floral pattern and the central medallion structure.

Special Features

The notable characteristics of this rug include its hand-knotted construction, its pile of 100% new wool and its 100% cotton warp. The recorded knot density is 350,000 knots per square metre, and the pile height is approximately 10 mm. Together, these details describe the structure and surface of the piece without separating its construction from its design.

The condition is listed as very good and like new. The rug is 15 to 20 years old and is suitable for underfloor heating. On a heated floor, proper installation, an even base and moderate room conditions are advisable. For routine care, vacuum regularly without a brush attachment. Strong direct sunlight should be avoided, while heavier soiling can be handled with an appropriate rug-cleaning service.

The combination of Persian origin, Kashan attribution, dense knotting and a floral medallion gives this one-off piece a clearly defined profile. No signature, special provenance or claim of future appreciation is provided, so none is added here.

FAQ

How should I care for this Persian rug?

Regular vacuuming without a brush attachment removes loose dirt while reducing unnecessary stress on the wool fibres. Strong direct sunlight should be avoided so that the colours remain even. For larger stains, a suitable rug cleaner or professional cleaning is preferable. Rubbing, excessive moisture and harsh household products can affect the pile and colour. A suitable underlay can also help keep the rug stable and reduce movement during use.

Where can I find good Oriental rugs?

Oriental rugs are available from specialist rug dealers, at art and antiques fairs, and directly from craftspeople in countries with established weaving traditions. When comparing pieces, clear information about origin, material, technique, knot density and condition is useful. Quality labels and certificates may provide additional information about authenticity, but their content should be checked carefully. For a one-off rug, a precise description of its construction is more informative than a broad label alone.

What are typical features of a Kashan rug?

Kashan rugs are often associated with fine floral designs, an ordered composition and medallion arrangements. Natural and earthy colour families occur within the regional tradition, although individual rugs can vary considerably. Dense knotting supports the detailed rendering of complex ornament. Kashan rugs have traditionally been made with wool and, in some examples, other materials; the pile of this piece is 100% new wool and its warp is 100% cotton. The design vocabulary commonly includes transitions between floral, geometric and medallion-based forms.