Persian Rug Kashmar 145×101 cm Wool Hand-knotted (Sold)

Kashmar Persian Rug

Material and Craftsmanship

This Kashmar Persian rug is hand-knotted. Its pile is made of 100% wool, while the warp consists of 100% cotton. In a hand-knotted rug, the warp forms the supporting foundation to which the pile knots are attached one by one. The visible surface is therefore created through the gradual work of knotting rather than through a printed or mechanically applied pattern. The stated knot density is 250000/Qm, describing the number of knots within a square metre and indicating a finely structured weave.

Wool has long been used for the pile of Oriental rugs because it provides a natural textile surface. Pure new wool has a pleasantly soft feel and can help to soften sound within a room. It can also assist in regulating indoor humidity. These are general properties of wool as a rug fibre. In this piece, wool is used for the entire pile, giving the surface its material character, while cotton is used for the warp beneath it.

Cotton is well suited to a rug’s warp because it is durable and can be spun finely and closely. A firm, finely arranged foundation allows the pile knots to be secured in an orderly way. Hand knotting requires training, concentration and patience. Each knot is made by hand, and the design takes shape gradually as rows of knots are added. The process gives the finished textile a structure that comes directly from the work of the knotter.

The combination of a wool pile and cotton warp is a clearly defined construction. The two fibres perform different roles rather than serving as interchangeable materials. Wool forms the tactile upper layer; cotton provides the underlying framework. Together with hand knotting, this construction belongs to the established technical tradition of Persian rug making. The individual components can be identified without adding any material that is not stated for this rug.

Origin and Tradition

This rug comes from the city of Kashmar in Persia. Kashmar rugs are known for a broad range of designs, and their appearance has changed over time. The city’s weaving tradition is not confined to one permanent ornament. Different generations and workshops have worked with different visual ideas, allowing floral, geometric and representational elements to appear within Persian compositions. Kashmar consequently represents a regional tradition with several design directions rather than a single fixed pattern.

In earlier Kashmar production, the Herati pattern was frequently used. Herati is one of the familiar pattern families of Persian weaving and is associated with a rhythmic arrangement of leaves, vines and related vegetal forms. Repeated ornaments can fill a field with movement while retaining a clear internal order. The historical presence of Herati places Kashmar within the wider Persian vocabulary of classical floral ornament, even though the city’s designs later developed in other directions.

The Zirkhaki design is more dominant in contemporary Kashmar production. Its distinguishing subject is the representation of ancient archaeological finds. Vases, weapons and bowls appear as recurring objects and are arranged around a central medallion. Rather than treating these objects as isolated pictures, the design incorporates them into the ordered structure of a rug. The result is a composition in which historical artefacts function as decorative motifs within a Persian layout.

Persian rugs are made through demanding manual work and are recognized for complex floral and geometric designs. Wool is often coloured with natural plant dyes in Persian rug production. Well-known Persian weaving regions include Nain, Sarough, Tabriz, Isfahan, Kashan, Bidjar and Qom. Kashmar belongs to this broader Persian tradition while maintaining its own range of motifs. For this rug, Kashmar identifies the city of origin; it is not merely the name of a decorative pattern.

Regional rug traditions are preserved through the transmission of drawing methods, knotting skills and pattern knowledge. A design is not simply placed on a completed textile. It is built into the rug as the knotting progresses. The weaver must maintain the intended relationships between the central field, surrounding motifs and the larger composition. This makes hand knotting both a technical process and a method through which regional design traditions are continued.

The changing preference from Herati to Zirkhaki illustrates how a weaving centre can retain its identity while adapting its visual language. The earlier pattern draws on vegetal ornament, whereas Zirkhaki gives archaeological objects a central decorative role. Both are connected to the Persian tradition of organizing motifs into a coherent field. Kashmar’s design history therefore includes continuity in craft alongside change in subject matter.

Design and Pattern

The pattern of this one-of-a-kind rug is identified as a vase motif – Zirkhaki. The Zirkhaki approach takes ancient archaeological finds as its subject. Vases, weapons and bowls are the characteristic objects named for this design. Their forms introduce a representational element into the rug, distinguishing the composition from a pattern based only on flowers, leaves or abstract geometry. The objects remain part of the ornamental structure rather than becoming separate images outside it.

A central medallion provides the main point of organization. The vases, weapons and bowls are placed around it, creating a relationship between the centre and the surrounding field. This arrangement gives the eye a clear route through the design. The medallion establishes the centre, while the archaeological motifs supply the surrounding visual rhythm. Their placement allows the objects to be read both individually and as parts of one connected composition.

Vases contribute rounded and enclosed shapes to the pattern. Weapons introduce longer, more directional lines, while bowls add further vessel forms with their own curved outlines. These different silhouettes create variation across the field. Their value in the Zirkhaki design is not only their historical association but also their ability to provide contrasting shapes within an ordered arrangement. The reference to archaeological finds gives the pattern its particular subject and visual vocabulary.

The distinction between Herati and Zirkhaki also explains the development of Kashmar design. Herati is associated with repeated vegetal ornament, while Zirkhaki foregrounds objects such as vases, weapons and bowls. The move from one emphasis to the other demonstrates that Persian rug design can incorporate new subjects without abandoning the principles of balance, repetition and central organization. On this rug, the stated pattern is the vase motif – Zirkhaki, so the archaeological imagery is the defining design feature.

Because the rug is hand-knotted, its pattern is formed from individual knots rather than printed onto a finished surface. Lines, contours and colour areas are built gradually. Fine knotting permits the drawing to be divided into many small elements, allowing a motif to be integrated into the surrounding field. The central medallion and the objects placed around it are therefore connected through the construction of the textile itself. The design is simultaneously an image and a woven structure.

Persian composition traditionally relies on relationships between central and surrounding areas. A medallion can act as an anchor, while repeated motifs distribute attention through the rest of the field. In the Zirkhaki vocabulary, archaeological objects take the role of the repeated surrounding signs. This creates a pattern with a historical subject but an organized ornamental structure. The result remains recognizably tied to Persian rug design through its balance and arrangement.

Special Features

This rug is described as one of a kind. Its named design, the vase motif – Zirkhaki, gives it a specific position within the varied Kashmar tradition. The motif refers to ancient archaeological finds and includes vases, weapons and bowls arranged around a central medallion. The rug is also described as being in like-new condition. Its pile is 100% wool and its warp is 100% cotton, so the materials have clearly defined functions in the construction.

The rug is hand-knotted and has a knot density of 250000/Qm. These details bring together the stated technique, the stated fibre composition and the stated structural density. The origin is the city of Kashmar in Persia. The piece is marked as sold. No additional provenance, age or signature is assigned to it here. Its particular character comes from the combination of Kashmar origin, wool pile, cotton warp, hand knotting and the Zirkhaki archaeological motif.

FAQ

Which pattern was common in older Kashmar rugs, and which design is dominant today?

Older Kashmar rugs were often made with the Herati pattern. Today, the Zirkhaki design is more dominant. Zirkhaki depicts ancient archaeological finds, including vases, weapons and bowls. These objects are arranged around a central medallion. This rug is identified specifically by the pattern name vase motif – Zirkhaki.

What are characteristic features of Persian rugs in their making and design?

Persian rugs are produced through demanding handwork, and wool is often dyed with natural plant colours. Their designs commonly include complex floral and geometric forms. Recognized Persian rug regions include Nain, Sarough, Tabriz, Isfahan, Kashan, Bidjar and Qom. This particular rug comes from Kashmar and is hand-knotted with a wool pile and cotton warp.

Why is a rug made from pure new wool considered a comfortable addition to a room?

Pure new wool has a pleasantly soft feel and can create a comfortable atmosphere in a room. It can also help dampen sound and regulate indoor humidity. These properties can contribute to a greater sense of comfort where a wool rug is used. The pile of this rug is made from 100% wool.