Persian Rug Nain 300 x 190 cm Wool Hand-knotted (Sold)

Nain Persian Rug

Material and Craftsmanship

This Nain rug is hand-knotted. Its pile is made of 97% virgin wool and 3% silk, while the warp is 100% cotton. These specifications distinguish the visible pile from the structural foundation of the rug. The pile is the knotted surface that carries the design. The warp forms the longitudinal framework to which the knots are attached during weaving.

The knot density is stated as 12la. Here, 12la means 12 yarn layers, with an indicated density of approximately 250,000-300,000 knots/sqm. In hand-knotting, each knot is inserted individually around the warp and secured as the rows are built up with weft threads. The resulting surface is a textile structure rather than a printed image. Knot density describes the fineness of the construction and is separate from the percentage of wool, silk, or cotton.

Virgin wool is a natural fibre suited to rug pile because it has a resilient, flexible character. Silk is present here as a smaller share of the pile composition. In a rug surface, silk can contribute fine definition and a restrained variation in the way light is reflected. Cotton is specified for the warp, where it provides the underlying framework of the knotting. These comments describe the role of the listed materials in rug construction, not an additional material claim about this piece.

Hand-knotting connects the material choice directly with the making process. The 12la designation identifies a fine Nain construction, and the listed knot density records its technical specification. The rug has been professionally washed and is in very good condition. No further construction details are given, so none are added here.

Origin and Tradition

This rug comes from the city of Nain in Persia. Nain is located in central Iran and is recognized as an important centre of Persian rug weaving. Its tradition is associated with precise knotting, carefully controlled drawing, and compositions in which field, border, and ornament are arranged in a clear relationship. The name Nain therefore identifies a weaving origin as well as a regional design tradition.

Nain developed a particularly distinctive reputation during the twentieth century. Local weaving drew on established Persian methods while shaping them into a recognizable Nain vocabulary. Designs were often planned with close attention to line, balance, and the legibility of small elements. The result is a tradition in which technical regularity and disciplined ornament work together rather than competing with one another.

Hand-knotting has a long history in Persia. A weaver works across the warp, placing knots row by row and adding weft threads to hold the structure together. The pattern is built into the fabric through the placement of differently coloured knots. It is not applied afterward as a surface decoration. Fine work requires careful counting, a stable tension, and continual reference to the design scheme.

Nain rugs are commonly discussed in connection with wool pile and the use of silk for fine accents or detailed drawing. Wool gives the surface body and a durable textile quality, while silk can sharpen small contours and create subtle changes in sheen. For this rug, the specific pile composition is 97% virgin wool and 3% silk, with a 100% cotton warp. The regional tradition provides context for these techniques, while the stated composition belongs to this individual rug.

A motif name should not be confused with a place of origin. Persian designs can be adapted in different weaving centres, but the origin of this rug is identified as the city of Nain. Its Lachak-Toranj medallion pattern can therefore be considered within the Nain tradition without assigning it to another province or city. This distinction is important when describing an individually made rug.

Persian rugs are examined through several related but separate qualities: origin, structure, material, and design. The 12la designation and the approximate knot density describe the technical side of this rug. The hand-knotted construction describes how it was made, while Nain identifies its origin. Together these facts provide a precise framework for understanding the piece without turning general regional history into an unverified claim about its production.

Design and Pattern

The pattern is identified as a Lachak-Toranj Nain medallion. This name describes a composition centred on a Toranj medallion and accompanied by Lachak corner pieces. A medallion design organizes the field around a central form. The corner pieces help relate that centre to the four corners of the field, creating a balanced and usually symmetrical layout.

The medallion is one of the established organizing principles of Persian carpet design. A central ornament may act as the visual anchor, while floral branches, leaves, and secondary forms connect it to the surrounding field. In Nain work, such drawing is often treated with fine control and close spacing. The design is understood as a complete relationship between the centre, the corners, the border, and the smaller details.

Lachak refers to the corner elements that complement the Toranj. Their role is not merely decorative; they help distribute the visual weight of the composition. The border then frames the field and gives the design an outer boundary. Depending on the individual drawing, floral scrolls, blossoms, and geometric contours may be brought together within this structure. The source identifies the pattern by name, but does not specify every individual ornament, so no additional motif is assigned to this rug.

The Nain design language is often associated with restrained order and finely articulated lines. Botanical forms may appear as part of a continuous rhythm of scrolling branches rather than as isolated pictures. Geometric structure and floral detail can consequently operate at the same time. Repetition, symmetry, and proportion create coherence across the field. These are characteristics of the design tradition and should not be read as a claim that every Nain rug has an identical drawing.

The relationship between pattern and knotting is central to a hand-knotted medallion rug. The design must be translated into individual coloured knots. Curves, narrow outlines, and small floral forms are created by the sequence and placement of those knots. A finer knotting can support more detailed drawing in general, while the particular density recorded for this rug is approximately 250,000-300,000 knots/sqm. The technical figure complements the pattern name but does not replace a visual description of the actual design.

Nain medallions can be woven in many different colour arrangements. No complete colour list is provided for this rug, so no particular field or border colour is stated here. The established facts are its Lachak-Toranj Nain medallion pattern, its Nain origin, and its hand-knotted construction. This gives the design a clear regional and structural context while avoiding details that have not been recorded for the individual piece.

Special Features

The rug is from Nain in Persia and is hand-knotted. Its pile contains 97% virgin wool and 3% silk, and its warp is 100% cotton. The designation 12la means 12 yarn layers. The knot density is approximately 250,000-300,000 knots/sqm. The pattern is listed as a Lachak-Toranj Nain medallion. The condition is very good, and the rug has been professionally washed.

Its combination of Nain origin, fine 12la construction, and medallion design defines the main features of this one-off piece. The pile and warp materials should be read as separate parts of the rug’s construction. Since every hand-knotted rug is made individually, these details apply to this rug alone and are not a general specification for all Nain rugs.

FAQ

What does 12la mean in a Nain rug?

12la is a designation used for the fineness of the yarn construction in Nain rugs. On this piece it means 12 yarn layers. The rug is also listed with an approximate density of 250,000-300,000 knots/sqm. This is a technical description of the knotting and should not be confused with the material percentages. The pile is 97% virgin wool and 3% silk, while the warp is 100% cotton.

What is a Lachak-Toranj Nain medallion?

A Lachak-Toranj Nain medallion is a pattern arrangement built around a central Toranj medallion with Lachak corner pieces. The central form organizes the field, while the corner elements create a visual connection between the centre and the four corners. A border can frame this arrangement and reinforce its symmetry. The pattern name places this composition within the Nain tradition. For this rug, the listed design is specifically a Lachak-Toranj Nain medallion; no further individual motifs are assumed.

How is this rug described and treated?

This rug is described as a hand-knotted Nain Persian rug from the city of Nain in Persia. The pile consists of 97% virgin wool and 3% silk, and the warp is 100% cotton. Its condition is very good, and it has been professionally washed. These statements cover the origin, construction, materials, condition, and treatment recorded for this particular rug. No additional restoration or treatment is specified.