Persian Rug Kashmar 386 x 294 cm Wool Hand-knotted

Kashmar Persian Rug

Material and Craftsmanship

This Kashmar Persian rug is hand-knotted and made from 100% wool and 100% cotton. Wool forms the pile, while cotton is named as the other material used in its construction. Fine wool gives the surface a distinct textile handle and is traditionally valued for pile-making in hand-knotted rugs. In this technique, individual pile knots are tied into the foundation and secured as the work progresses. The design is therefore built into the structure of the rug rather than applied as a printed surface. Each row contributes to the finished field, and the relationship between knot, colour and outline determines how the pattern appears. The rug has a knot density of over 1 million knots per square metre. Such a dense construction allows lines, contours and colour transitions to be arranged with a high level of definition. It supports the detailed presentation of the pattern and helps the colours appear vivid and clearly articulated. Hand-knotting is a traditional textile craft in which the maker advances gradually across the foundation, checking the placement of each section as the design develops. Wool is widely used in rug making because its fibres provide a substantial pile and are suitable for hard-wearing surfaces. Cotton is also commonly associated with a firm and evenly tensioned foundation in Oriental rug construction; here it is expressly listed as part of the rug. The combination of these natural materials follows a familiar structure within hand-knotted rug making. The description identifies high-quality materials, fine wool, durability and resistance to wear. It also states that the rug is allergy-friendly and suitable for use with underfloor heating. These are practical properties given for this piece and stand alongside its traditional hand-knotted construction. The material information distinguishes the pile from the foundation material without adding any material that is not stated.

Origin and Tradition

The rug comes from Iran and was made between 1980 and 1989. It is therefore a Persian rug in the geographical sense used for Iranian carpets. Kashmar is a recognised Iranian rug region associated with its own design tradition, and the product is specifically described as carrying a traditional Kashmar design. Regional identity in Persian rug making is shaped by more than a place name. It includes the interaction of knotting practice, material knowledge, drawing conventions, colour arrangement and the way a field is framed by its borders. Across Iran, different towns, provinces and weaving communities developed distinctive approaches while sharing a broader cultural vocabulary. These approaches were preserved through workshops, family practice and practical instruction. A design could be passed on over many years while still allowing individual makers to vary its proportions and details. Hand-knotted Persian rugs have served both useful and decorative purposes. They have been made for domestic interiors, for wealthy households and for courtly settings, where rugs could also express status and refinement. Their patterns preserve information about regional taste and the technical abilities required to execute them. A rug is consequently more than a floor covering: it is also a textile record of a particular craft tradition. Kashmar design belongs within this wider Iranian history. The regional character is created by the combined effect of the composition, the treatment of the ornament and the method used to knot the surface. The supplied description presents the region as known for traditional weaving techniques, distinctive designs and high rug quality. It also refers to the use of natural dyes as part of the region’s tradition. No particular dye or colourant is assigned to this individual rug, so the reference remains historical and regional rather than a specification of its colouring. Iranian rug culture has long relied on natural textile fibres and on the transmission of pattern knowledge from one generation to the next. The vocabulary of floral forms, geometric order, medallion arrangements and border systems differs from one regional tradition to another. These elements enable a rug to communicate its place within Persian weaving without making every piece identical. The rug itself was produced in Iran during the period from 1980 to 1989, giving it a specific production date within the continuing history of that craft. It is also described as an original licensed reproduction. That designation identifies the piece as an authorised reproduction made in Iran and does not alter the fact that it is hand-knotted. Ethical manufacturing practices are stated as part of its production, with the aim of ensuring fair working conditions. This places the rug’s manufacture within a modern framework while retaining the regional and technical vocabulary of Kashmar weaving.

Design and Pattern

The rug is described as having a traditional Kashmar design, a unique pattern and an Oriental style. These terms place its appearance within the Iranian tradition of organised fields, ornamental borders and repeated or balanced motifs. Persian rug design often brings together floral elements, geometric structures and medallion-based compositions. Leaves, blossoms, vines and stylised plants may be arranged as continuous ornament, while angular forms can establish rhythm and order. A medallion can provide a visual centre, although many Persian compositions distribute their motifs across the field instead. Borders commonly frame the central area and may contain a principal ornament supported by narrower secondary bands. These design principles are part of the wider pattern language of Persian rugs; they do not mean that every rug follows one identical layout. The individual rug is specifically said to have a unique pattern, but the source does not identify particular flowers, symbols, colours or a specific medallion shape. Its pattern should therefore be described as traditional Kashmar design rather than assigned an unlisted motif. Because the rug is hand-knotted, its drawing is formed through the placement of differently coloured knots. The image develops together with the structure, and the density of the knots allows fine contours and detailed transitions to be set out across the pile. This connection between construction and design is central to the character of a hand-knotted rug. General Persian pattern traditions can also carry symbolic associations. A motif may refer to vegetation, order, continuity or other ideas depending on the region, period and context. Interpretations are not fixed across all rugs, so no specific symbolic meaning is assigned to the unnamed pattern of this piece. The description does state that the pattern reflects the cultural variety and rich history of the region from which the rug comes. In this sense, design functions as cultural continuity as well as decoration. The repeated arrangement of a border, the balance of a field and the careful rendering of small details all depend on knowledge transmitted through the weaving tradition. The product description further says that the pattern and colours appear vivid and richly detailed. Here that statement is connected to the rug’s knot density of over 1 million knots per square metre. The Oriental style makes the design suitable for different rooms and age groups, as stated in the product information. Its visual identity combines a named regional tradition, Kashmar, with the broader vocabulary of Persian and Oriental rug design. The result is a patterned hand-knotted surface whose regional reference is clear, while the precise individual motifs remain unique to the piece.

Special Features

This rug is described as an original licensed reproduction made in Iran between 1980 and 1989. Its condition is stated to be excellent, and it was carefully washed so that it arrives in immaculate condition. The product information records a knot density of over 1 million knots per square metre and identifies wool and cotton as its materials. It describes the rug as allergy-friendly and suitable for underfloor heating. Robustness and durability are also stated, with high-quality materials named as the basis for these properties. Ethical manufacturing practices are part of the offer and are intended to support fair working conditions. The sales information includes delivery within 3 to 5 working days, free shipping to Germany and a 14-day right of return with a satisfaction guarantee. These points concern the service attached to the offer rather than the physical construction of the rug. Taken together, the specified features establish a clear profile: Iranian origin, Kashmar design, hand-knotted construction, a very high knot density, wool and cotton materials, an excellent washed condition and production in the period from 1980 to 1989.

FAQ

What is the history behind hand-knotted Persian rugs?

Hand-knotted Persian rugs have a long history reaching back to antiquity. They were made in historic Persia, present-day Iran, for practical use and for the decoration of interiors. In palaces and affluent homes, rugs could also signify rank and prosperity. Over time, different regions developed their own approaches to drawing, colour, borders and knotting. This knowledge was preserved through families, workshops and hands-on training. The Kashmar rug belongs to this Iranian tradition, while its own production is dated specifically to the period from 1980 to 1989. Its hand-knotted construction and traditional Kashmar design connect an established craft form with a late twentieth-century Iranian manufacture.

Which patterns are typical of Persian rugs?

Persian rugs are often associated with floral ornament, geometric structure and medallion compositions. A central field may be framed by one or more borders, with vines, leaves, blossoms or stylised plants providing repeated detail. Angular forms can add order and rhythm. Regional traditions determine how these elements are combined, so there is no single pattern shared by every Persian rug. This piece is identified with a traditional Kashmar design and a unique pattern. No individual motif, colour scheme or medallion form is specified. Its knot density of over 1 million knots per square metre supports the detailed rendering of the pattern that is present.

How does culture contribute to rug making?

Culture shapes rug making through inherited techniques, regional patterns and the continued use of natural textile materials. Knowledge of preparing the foundation, placing knots and organising borders is often passed from one generation to the next. Natural dyes are also mentioned as part of the tradition of the region, although no specific dye is identified for this rug. In this way, a rug preserves craft knowledge as well as a decorative image. The Kashmar rug expresses that connection through its Iranian origin, hand-knotted construction and traditional Kashmar design. The stated ethical manufacturing practices add a contemporary concern for fair working conditions to the continuing regional craft tradition.