Persian Rug Moud 254 x 193 cm Wool Hand-knotted (Sold)

Moud Persian Rug

Material and Craftsmanship

This Moud Persian rug is hand-knotted. Its pile is made of 100% wool and silk, while the warp is 100% cotton. This combination reflects an established feature of Moud weaving. Wool provides a durable pile and accepts colour with clarity. Silk is often introduced into Moud rugs to bring added sheen to the pile and to make small ornamental details stand out. The cotton warp forms the foundation on which the knots are built.

Moud rugs are made with the Persian asymmetrical knot. For the weaver, this knot allows precise handling when working on intricate floral compositions. The knot density of this rug is 360000/Qm. Such density supports a detailed rendering of flowers, leaves, vines and the smaller forms associated with the Herati pattern. Moud rugs are also made with two wefts, another element of their traditional construction.

The result is a structure that combines a wool and silk pile with a cotton foundation and a Persian knotting method. This rug was renovated in our workshop and professionally washed. It is in top condition. These details describe both the materials used in this one-off piece and the work carried out on it.

Origin and Tradition

Moud rugs are woven in Moud in the province of Khorassan. Moud lies south of Birdjan and Mashad and has a long weaving tradition. In the carpet trade, these rugs are also associated with the Mesched area. Mashad, an important city in Khorassan, is both a major weaving centre and a trading centre. Carpets made in the surrounding towns and villages are brought into this wider commercial region as well.

The Moud tradition therefore belongs to a regional network rather than to a single workshop. Most Moud rugs are woven in urban workshops, although examples made on home looms can also be found. This combination of workshop production and domestic weaving accounts for the variety found within Moud carpets. Designs, execution and quality may differ from piece to piece, while the connection with floral Persian ornament and traditional knotting remains central.

Moud rugs have been known in the antiques trade since the turn of the twentieth century. They were produced in substantial quantities for the domestic middle class and for western markets. Early examples are described as being of secondary quality when compared with Meshad-Khorasan rugs. At the same time, quality varies considerably within Moud production, so the individual rug must be considered on its own terms. Knot density, material choice and the accuracy of the drawing are useful points of reference.

After the Second World War, some Moud weavers moved away from strictly traditional designs. They also produced rugs resembling those made in other Persian weaving regions. This change responded to demand from domestic and foreign export customers. Birdshand and Kashmar are named alongside Moud as other rug-producing places in this part of Persia. Khorassan’s long commercial history allowed regional designs to circulate between workshops and to be adapted without losing their connection with local weaving practice.

Moud rugs are recognised through the combination of careful knotting, floral ornament and a regional colour language. Their traditional framework includes the Persian asymmetrical knot, a cotton foundation and a wool pile; in finer work, silk is added to the pile. Within this framework, each Moud rug develops its own arrangement of motifs and colours. The tradition is broad enough to include medallion and allover designs while retaining a recognisable regional identity.

Design and Pattern

The pattern of this rug is described as a floral fish design with a medallion. The fish design refers to the Herati ornament that is particularly associated with Moud carpets. Herati is one of the dominant Moud patterns and often occupies much of the field. It combines leaves, vines and small floral forms with the characteristic fish motif. In Persian carpet vocabulary, the fish is a stylised ornamental element rather than a naturalistic image.

A central medallion is another established Moud design option. It may suggest a star or a hexagon and gives the field a clear centre surrounded by connected pattern areas. Other Moud rugs are arranged as allover compositions without a strongly emphasised centre. In this piece, the floral Herati theme is combined with a medallion. The description also identifies the colour as very rare, giving the design a distinctive place within the broader Moud palette.

Traditional Moud field patterns include Boteh, or paisley, as well as Herati, lattice and Minakhani designs. In Minakhani compositions, rosettes are linked by trellis-like structures, while lattice patterns organise the field through repeated geometric divisions. The Shah Abbas palmette, with leaves and scrolling vines, is another popular Moud motif. These floral elements may appear separately or be woven into connected ornamental systems.

The border carries the regional visual language of Khorassan. Large palmettes, leaves and vines are traditional border subjects. Some Moud rugs also place Persian garden motifs in small rectangular borders. Such garden imagery is otherwise particularly associated with Bakhtiari rugs. A border does more than frame the field: it continues the movement of the central ornament toward the outer edge and gives the composition a measured transition between interior and exterior.

Pomegranate red, associated with cochineal, is the colour most commonly cited for the field of a Moud rug. A smaller proportion has a dark blue field instead. Other shades of red, blue, beige, gold, green, cinnamon, brown and grey appear in borders, design elements and outlines. Strong blues and reds are often set against an ivory background to sharpen their contrast. The colour of this rug is described as very rare, so its visual effect differs from the more familiar Moud combinations while remaining within the tradition’s interest in floral colour contrast.

Special Features

This rug is a one-off and is marked as sold. It is in top condition, having been renovated in our workshop and professionally washed. Its recorded features include a pile of 100% wool and silk, a warp of 100% cotton, a knot density of 360000/Qm and a floral fish pattern with a medallion.

The combination of a Herati fish motif and a central medallion is a recognisable possibility within Moud design. The rare colour gives the arrangement an individual appearance. Silk may be used in Moud weaving to increase the sheen of the pile and to emphasise selected details; silk is expressly part of the pile in this rug. The renovation and professional washing complete the description of its present condition.

FAQ

What are the characteristic features of Moud rugs?

Moud rugs are hand-knotted in Mashad and Khorassan and use the Persian asymmetrical knot. Floral designs such as the Shah Abbas palmette and the dominant Herati pattern are characteristic. Pomegranate red is a common field colour, while dark blue also occurs. The tradition includes small rugs as well as large room carpets. Cotton is used for the foundation, and the pile may be wool, with silk added in finer examples or for additional sheen.

Which traditional patterns are used in Moud rugs?

The field may contain Boteh or paisley forms, Herati fish, lattice designs and Minakhani compositions in which rosettes are connected by trellis structures. Shah Abbas palmettes with leaves and vines also belong to the Moud vocabulary. Borders show Khorassan designs with large palmettes, leaves and scrolling vines. The rugs are made on a cotton foundation with a wool pile and the Persian asymmetrical knot.

What is the importance of Moud in carpet production?

Moud, south of Birdjan and Mashad, has a long weaving tradition and is known for its distinctive designs. Production includes urban workshop weaving and occasional work on home looms. Moud rugs vary in colour, execution and quality, while the Herati pattern remains an important identifying feature. Silk elements can add lustre to the pile. After the Second World War, some weavers adapted their designs to meet demand in domestic and foreign markets.