Persian Rug Kashmar 379 x 313 cm Wool Hand-knotted

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. The combination of a wool pile and cotton warp is part of the established structure of Persian rug making. Each knot is placed by hand, creating a textile surface in which the pile, warp and weft work together. Such construction depends on steady handling of the yarns and on the experience required to keep the rows and the design coherent throughout the rug.

The rug is described as being made from hand-spun wool. In Persia, Afghanistan and Pakistan, wool has traditionally been spun by hand before the knotting process begins. Wool has remained important in rug production because it is a natural and durable fibre. It is also stain resistant and thermally insulating, while offering a soft feel and a natural lustre. These qualities explain its long-standing role in hand-knotted rugs.

Hand-knotting allows the design to be built in small, controlled areas. The more finely and firmly a rug is knotted, the more detail can generally be represented in its pile. Knot density is therefore an important technical value when hand-knotted rugs are assessed, but it is not the sole measure of quality. A comparatively coarse rug can also be made to a high standard. The workmanship must be considered together with the structure, the material and the character of the pattern.

This rug was restored by our company and is described as being in very good condition, close to as-new. That condition statement belongs to this individual piece. Restoration is noted separately from the original construction: it records work carried out by our company, while the rug remains a hand-knotted Persian rug with a wool pile and cotton warp.

The material and construction also explain why traditional rugs are evaluated as complete textile objects rather than only as pictures. The warp provides the underlying framework, the weft helps secure the rows, and the knotted wool forms the visible surface. Colour, texture and line are therefore produced within the structure of the rug itself. In a hand-knotted Kashmar rug, the craft lies in maintaining this structure while translating the chosen design into a durable pile.

Origin and Tradition

This rug comes from Persia and is identified as a Kashmar Persian rug. The origin information names Markazi Province, Kashmar, Farahan and Kashan. These places belong to the wider Persian rug-making landscape and represent connected but distinct regional traditions. Persian rugs are commonly named after the city, district or region associated with their production. A name such as Kashmar, Farahan or Kashan therefore carries geographical and stylistic meaning rather than referring only to a colour or decorative element.

Kashmar is in northeastern Persia and is associated with rugs whose designs can be developed with considerable ornamental detail. Regional production depends on the knowledge of the weavers, the preparation of the wool and the transmission of designs from one generation to the next. A hand-knotted rug begins with the warp being set up. Knots are then tied by hand, with weft threads helping to secure the rows. The pile is subsequently worked so that the intended drawing becomes visible. Every stage contributes to the finished textile.

The Zir-Khaki pattern connected with this rug was designed in Markazi Province before the Iranian Revolution, between 1960 and 1975. The pattern therefore belongs to a clearly defined period in twentieth-century Persian design. Most examples were produced in Kashmar, Kashan and Farahan in central Persia. Its history links a design developed in Markazi Province with several production centres that became important for its execution.

Persian rug making has a long and varied regional tradition. Differences in knotting methods, wool preparation, colour relationships and ornament have allowed individual centres to develop recognisable identities. The name of a place can consequently indicate more than a workshop location: it can point to a body of knowledge involving patterns, construction and working methods. Nain, Qom and Isfahan are further examples of Persian place names used for rugs associated with their respective cities.

The strength and durability of Persian knots are part of the established reputation of Persian rugs. Their resilience comes from the interaction of knot, warp, weft and pile rather than from a single feature. Knot density is relevant when the technical structure is considered, but it should not be treated as an isolated definition of quality. A rug’s material, construction, drawing and regional tradition all contribute to its character and to the way it is classified.

The Zir-Khaki design occupies a particular position within this history. The source description states that the pattern has no reproductions from India, Pakistan and Kashmir, unlike certain other Persian pattern groups that may be copied in those areas. Those countries are mentioned in relation to reproductions and are not the origin of this rug. The piece described here remains a Persian rug from the Persian production context named above.

The reference to the period before the Iranian Revolution also helps distinguish the pattern’s design history from the age classification of this individual rug. The rug is called semi-antique, while the pattern itself is associated with a design developed between 1960 and 1975. Both statements belong to the catalogue description, but they answer different questions: one concerns the rug’s age category, the other the history of the motif.

Design and Pattern

The pattern is described as Kashmar vase Zir-Khaki. Vase designs are a longstanding idea in Persian decorative art. A vase can hold flowers, branches or stylised vegetation, allowing the ornament to rise vertically through the field. It may appear as a single focal form or as part of a repeated arrangement. Together with leaves, blossoms, stems and scrolling lines, vase motifs can create an organised botanical composition while keeping the underlying geometry of the rug legible.

Zir-Khaki was designed in Markazi Province between 1960 and 1975 and was produced mainly in Kashmar, Kashan and Farahan. It is therefore a twentieth-century Persian pattern tradition with a clearly named regional history. The design name does not identify another country of manufacture. It describes the ornamental language associated with the Persian centres where the pattern was created and used.

Kashmar rugs often have a central medallion. A medallion establishes a visual centre and creates a relationship between the central field, the surrounding ornaments and the border system. Botanical forms can grow around or from this central arrangement, while borders frame the composition and keep the design connected to the rectangular format. In a vase composition, the vessels and the vegetation emerging from them can provide both vertical direction and a rhythm across the field.

The strong colour combination is specifically noted for this rug. Colour strength in Persian design depends on the relationship between the field, the ornament and the outlines that separate individual forms. Contrasting colours can make vases, flowers and leaves easier to distinguish. Related shades can then link separate parts of the composition, allowing the medallion, field and borders to read as one design. The result is described as striking and modern, even though its pattern belongs to a Persian regional tradition.

Because the rug is hand-knotted, the pattern is built knot by knot rather than printed onto a finished surface. Small changes in the placement and colour of the knots shape the contours of flowers, branches and vessels. Fine details depend on careful execution, while larger motifs gain their effect from the balance of the entire field. The pile is therefore both the visible material and the medium through which the design is made.

The design combines several levels of identification: the vase motif gives the ornament its pictorial theme, Kashmar connects it with a place of production, and Zir-Khaki names the specific pattern tradition. These levels should be kept distinct. Kashmar, Kashan and Farahan refer to Persian production centres, while the vase and Zir-Khaki references describe the visual language. Together they provide a precise account of how the pattern is situated within Persian rug design.

The pattern also illustrates how regional rug traditions can develop without losing their connection to older forms. The vase is a familiar decorative image, while the Zir-Khaki design belongs to a more recent period. The resulting composition can therefore combine recognisable Persian ornament with a design history rooted in the twentieth century. Its strong colour relationship contributes to the modern appearance noted in the description.

Special Features

A defining feature of this piece is the combination of a vase design with the Zir-Khaki pattern. The design was created in Markazi Province between 1960 and 1975 and was produced mainly in Kashmar, Kashan and Farahan. This gives the pattern a specific regional and historical context. Its strong colour combination is described as striking and modern, placing a clear contemporary visual effect within a Persian design tradition.

The rug is in very good condition, close to as-new, and was restored by our company. It is also classified as a semi-antique Zir-Khaki rug. At the customer’s request, our company can prepare certificates of authenticity for all our rugs. Such a certificate can bring together the recorded details about the individual piece, its pattern, origin and construction.

The material specification is equally clear: the pile is 100% wool and the warp is 100% cotton. The hand-knotted construction and the use of hand-spun wool connect the rug to traditional Persian textile production. These details distinguish the physical making of the rug from the history of its pattern and from the later restoration work.

FAQ

Where does this Persian rug come from?

This Persian rug comes from Persia and is identified with Kashmar. The origin description also names Markazi Province, Farahan and Kashan. The Zir-Khaki pattern was designed in Markazi Province and was mainly produced in Kashmar, Kashan and Farahan. These places describe the Persian origin and production context. India, Pakistan and Kashmir are mentioned only in connection with reproductions of certain patterns; they are not the origin stated for this rug.

What materials are used in the rug?

The pile is 100% wool and the warp is 100% cotton. The rug is hand-knotted and is described as being made from hand-spun wool. Wool is a natural, durable material that is stain resistant and thermally insulating. It can also provide a soft surface and a natural lustre. The cotton warp forms the supporting foundation into which the wool pile is knotted, giving the hand-made construction its textile structure.

What does the Zir-Khaki pattern mean?

Zir-Khaki is a pattern designed in Markazi Province before the Iranian Revolution, between 1960 and 1975. Most examples were produced in Kashmar, Kashan and Farahan. On this rug, the pattern is associated with vase motifs. Kashmar rugs often feature a central medallion, and the strong colour combination is described as striking and modern. Zir-Khaki is therefore the name of a Persian pattern tradition, not an indication of manufacture in another country.