Persian Rug Kashan 353 x 263 cm Wool Hand-knotted

Kashan Isfahan Najafabad Persian Rug

Material and Craftsmanship

This hand-knotted Persian rug has a pile made from high-quality wool and a cotton warp. These two materials serve different but complementary purposes: wool forms the tactile surface, while cotton provides the supporting foundation beneath the knots. The wool takes up the colours of the floral design with a natural textile character. The cotton warp gives the construction a stable basis and helps the rug retain the ordered structure created during knotting.

Hand knotting means that the pile is built knot by knot into the prepared warp. Each successive row adds to the textile structure, joining the visible pile to the underlying foundation through manual work. This rug belongs to the quality range identified in the product information by its knot density. That density supports a clearly organised surface and allows traditional ornament to be rendered with definition while retaining the solid character expected of a durable hand-knotted rug.

Wool is well suited to rug pile because it combines resilience with a naturally pleasant handle. With appropriate use, it can retain its surface character over a long period. The cotton warp contributes the necessary stability below the pile and supports the integrity of the woven foundation. This pairing is established within Persian rug making, where the choice of pile and foundation material is part of the practical and visual construction rather than a separate decorative detail.

The rug has been professionally washed. Its pile therefore presents a clean and carefully maintained appearance, while the hand-knotted structure remains part of its character. The condition is very good. The specific details of this individual rug are its wool pile, cotton warp, hand-knotted construction, professional washing and very good condition. No additional material or treatment is assigned to the piece beyond these stated characteristics.

Origin and Tradition

This rug comes from Iran, from the Kashan / Isfahan area, and Najafabad is also used in its designation. Kashan and Isfahan are established Persian rug regions with long traditions of organised drawing, careful knotting and balanced ornamental composition. Najafabad belongs to the cultural surroundings associated with Isfahan and is included here as part of the named regional context. The origin describes where the rug is placed geographically; the floral wording describes its design rather than replacing that origin.

Kashan developed a major tradition of hand-knotted rugs in which the finished textile could serve both a practical purpose and a decorative one. A controlled overall arrangement is often combined with individual flowers, leaves and scrolling lines. Such compositions may be centrally organised or distributed through repeating ornament. The important principle is the relationship between the whole field and its details: the pattern remains coherent, while individual plant forms retain their visual identity.

Isfahan also has a distinguished history of Persian rug weaving. Regional workshop traditions have placed emphasis on measured drawing, careful proportion and the precise execution of ornament. Floral scrolls, symmetrical organisation and articulated borders are part of the wider vocabulary associated with classical Isfahan design. These are general features of the regional tradition. They provide context for this rug without adding specific motifs that are not named in its description.

Persian regional names and pattern descriptions should be kept distinct. This piece is identified as originating in Iran, in the Kashan / Isfahan area, with Najafabad included in its designation. Its pattern is described as floral. Across the history of Oriental rugs, similar plant-based design ideas have appeared in more than one weaving centre. A floral pattern can therefore reflect a broad design tradition, while the place name identifies the regional framework in which the rug is presented.

Traditional weaving knowledge is preserved through workshop practice, repeated working methods and the transmission of drawing conventions from one generation to the next. Preparing the warp, setting the pile, maintaining the alignment of the rows and checking the developing design all require continuous attention. A hand-knotted rug is consequently built as a textile through a sequence of manual operations, not reproduced as a mechanically printed surface. Regional tradition is visible both in the finished ornament and in this relationship between material, knot and composition.

The Kashan / Isfahan tradition also illustrates how Persian rugs can combine technical order with a botanical design vocabulary. The structure gives the composition its framework, while flowers, leaves and connected lines establish its visual rhythm. The rug offered here belongs to that Iranian context and is specifically described as floral. The regional background explains the vocabulary surrounding the piece; it does not turn any unlisted design element into a claim about this particular rug.

Design and Pattern

The pattern of this rug is floral. In Persian rug design, a floral pattern is formed from botanical elements such as blossoms, leaves, stems and scrolling vines. These may be arranged as individual accents or linked into an all-over ornamental rhythm. The term floral accurately identifies the visible design category of this rug. It does not, however, specify a particular flower, border arrangement, medallion or secondary motif that has not been stated in the product information.

Plant forms in Persian ornament are often arranged so that the eye can move continuously through the composition. A vine may connect separate flowers, leaves can fill or frame a space, and repetition can create a steady rhythm across the field. Small variations prevent the drawing from appearing mechanically uniform. On a hand-knotted rug, this design is translated into the pile one knot at a time. The result is a textile interpretation of the drawing, with the pile giving the pattern its tactile surface.

Floral designs connected with Kashan and Isfahan are commonly discussed in terms of balance, order and careful distribution across the available field. Regional design history includes compositions with controlled central organisation, ornamental borders and finely articulated plant forms. These general conventions explain the background of the present floral design. They should not be read as a list of unconfirmed details about this individual rug, whose stated pattern category is simply floral.

The visual character of a floral rug depends on the proportion between ornament and quieter areas. When flowers and leaves are placed with enough separation, their outlines remain legible. When vines and related forms are repeated, they connect the different parts of the composition and create continuity. The pile and knotting add another dimension: the design is not merely coloured onto a flat ground, but appears as a pattern formed within a hand-built textile surface.

Classical floral designs can sit within different furnishing contexts because their ornament is not tied to one single period of interior design. In a traditional room, the pattern can relate to the historical language of Persian textiles. In a contemporary setting, the same type of botanical drawing can provide a structured ornamental counterpoint to simpler furniture and open surfaces. This is general design context. The concrete statement for this rug remains that its pattern is floral and that it belongs to the named Iranian Kashan / Isfahan context.

The design therefore brings together a regional Persian tradition and a botanical ornamental theme. Kashan, Isfahan and the named Najafabad area provide the geographic setting, while the floral pattern defines the visual subject. The construction supports the design: wool creates the pile in which the forms are seen, cotton provides the warp, and hand knotting builds the surface through individual knots. These elements describe how the rug’s material and pattern exist together without adding an unrecorded pattern name.

Special Features

The individual features of this rug are its hand-knotted construction, wool pile and cotton warp. It is identified as a Persian rug from Iran, associated with Kashan / Isfahan and additionally designated Najafabad. The design is floral. The rug has been professionally washed and is in very good condition. These details concern the offered piece itself and define its material, regional designation, appearance and current presentation.

The product description characterises the format as generous and states that the rug is suitable for large living areas and representative rooms. Its robust construction supports that practical positioning, while the classic floral design can be used with both traditional and modern interiors. A video on the dealer’s YouTube channel presents this quality class using a similar rug; it is not a video of this exact piece. The video should therefore be understood as general class information, not as an additional description of the offered rug.

FAQ

What is a Kashan / Isfahan rug?

A Kashan / Isfahan rug is a hand-knotted Persian rug associated with the Iranian Kashan / Isfahan region. The area is known for classical Oriental rugs with balanced compositions, traditional ornament and frequent use of floral design. This particular rug is additionally designated Najafabad. It is hand-knotted, has a wool pile on a cotton warp and is described as having a floral pattern.

How high is the knot density?

The knot density of this rug is approximately 120,000–160,000 knots per square metre. This level supports a clearly structured rendering of ornamental details while maintaining a solid and durable textile construction. Knot density is one characteristic of this individual rug and complements the information about its hand-knotted technique and materials.

Which materials were used?

The pile is 100% wool and the warp is 100% cotton. Wool forms the visible surface and gives it a pleasant tactile quality, while cotton provides the stable foundation into which the knots are worked. This combination is established in hand-knotted Persian rug making and joins a resilient pile with a supportive base. The rug has also been professionally washed and is in very good condition.