Persian Rug Tabriz 195 x 195 cm Wool Hand-knotted

Tabriz Persian Rug

Material and Craftsmanship

This round Tabriz 50 rag is hand-knotted from virgin wool and silk. The pile consists of 95% virgin wool and 5% silk. Wool has long been used in rug making for its resilient and flexible fibres. It gives a pile a substantial textile character and is suitable for a rug intended to be part of a living space. Silk contributes a finer, smoother fibre to the composition and can give outlines and selected areas of a pattern a more delicate surface and a different response to light.

Hand-knotting means that individual knots are tied into the foundation one row at a time. After the knots have been placed, the pile is trimmed and the surface is finished. Unlike an industrially uniform textile, a hand-knotted rug is built gradually by the person making it. The relationship between knot, pile, foundation and design develops throughout the weaving process. This method allows the pattern to be followed closely while preserving the character of a crafted textile.

The stated knot density is 550,000 knots per square metre. A dense knotting structure supports the precise rendering of blossoms, leaves, lines and small ornamental transitions. It also helps keep the design legible across the surface. Within the pile, wool and silk can produce different tactile and visual impressions: wool appears softer and more substantial, while silk can form smoother accents. The pile is described as approximately 8 mm high, giving the surface a defined presence without changing the hand-knotted construction.

The rug is in perfect, unused condition. Its material composition, hand-knotted technique and knot density describe the way this individual piece was made. The product information recommends regular vacuuming for care. If a mark occurs, it should be dabbed with a damp cloth. Professional rug cleaning is also named as an option when a more thorough cleaning is required.

Origin and Tradition

This rug comes from Tabriz in Persia. Tabriz is located in the north-west of present-day Iran and is one of the established centres of Persian rug production. Its position as a historic cultural and trading city allowed designs, materials and weaving knowledge to circulate through the region. Tabriz rugs have therefore developed within a broad tradition rather than a single, narrowly defined pattern family.

The city is associated with finely drawn compositions and a wide range of subjects. Workshops from Tabriz have produced floral layouts, medallion designs, prayer rugs, hunting scenes and pictorial works. What unites many examples is the attention given to drawing, balance and controlled colour relationships. A design may first be prepared as a detailed plan. The weaver then uses that plan as a guide, translating the image into rows of individual knots.

The name Tabriz identifies a regional connection to Persian rug making, not merely a decorative look. In rug terminology, an origin name can refer to a combination of local workshop practice, drawing conventions, materials and technical habits. At the same time, every hand-knotted rug remains an individual object. The exact arrangement of its flowers, the balance of its colours and the execution of its knots can differ from one workshop or piece to another.

The designation Tabriz 50 rag forms part of the product name. In specialist rug language, “rag” or “Raj” may refer to a knot-counting system used to classify fineness. Such terminology is useful for placing a weaving in relation to other levels of knot density. For this rug, the concrete knot density is given as 550,000 knots per square metre. The origin name and the technical description therefore provide two different kinds of information: Tabriz connects the rug with a Persian weaving centre, while the knot density describes the fineness of this particular construction.

Tabriz weaving is supported by knowledge of wool preparation, silk use, colour placement, tension, trimming and pattern transfer. Floral designs require careful coordination over many rows. A curve must remain readable, leaves must relate to the stems around them, and repeated elements must retain a coherent rhythm. Dense knotting makes the rendering of small transitions possible, but it does not make every Tabriz rug identical. The workshop, the drawing and the maker all influence the finished surface.

Persian rugs have traditionally served both practical and decorative purposes. They define areas within a room, soften a floor and introduce a structured textile design. A round rug creates a different spatial effect from a rectangular one. It can gather a table or seating arrangement around a centre and can establish a visual focus without directing the room along a long axis. The circular shape is an explicit feature of this Tabriz rug.

Design and Pattern

The pattern of this rug is floral, and its stated colour is beige. Floral rug designs draw on forms associated with plants, including blossoms, leaves, stems and scrolling vines. In Persian ornament, these elements are generally stylised rather than copied as a botanical illustration. They are arranged, repeated and balanced to create a continuous textile composition. The result can be read through individual details at close range and as an integrated field when viewed from farther away.

A floral Tabriz composition depends on the relationship between its motifs and the whole surface. A flower may act as a visual accent, while a stem or vine connects it with neighbouring forms. Leaves can fill intervals and guide the eye through the design. Such an arrangement gives the pattern rhythm without requiring a literal scene. The source identifies the motif as floral; individual flowers or plant species are not specified and should not be assigned to the rug.

Beige is a restrained, neutral colour. In a rug, it can serve as a calm ground for floral ornament or help separate one motif from another. Its understated character makes it compatible with a wide range of interior palettes. The floral design retains a traditional Persian reference, while the beige colour allows the rug to sit alongside contemporary, Scandinavian or more classic furnishings. This flexibility comes from the combination of colour and pattern rather than from any additional claim about the room in which it must be used.

Plant motifs have carried symbolic associations in many textile traditions. Blossoms are often connected with growth, life and natural beauty. These associations form part of the wider cultural background of floral ornament, but they do not add a specific symbolic meaning to this individual rug. What is established here is the floral character of the design and its beige colouring. The precise meaning of every motif cannot be identified because the product information does not name the individual botanical forms.

The dense knotting supports the clear execution of fine pattern lines. Many knots placed within a limited area allow contours and small colour changes to be built with control. Wool gives the pile a softer, fuller visual presence, while silk can introduce smoother details and subtle variations in how parts of the pattern catch light. These material effects enrich the reading of the surface without changing the stated floral design.

The circular format also affects how the pattern is perceived. A rectangular rug often establishes a strong direction through its length and border. A round rug encourages the eye to move around a centre and to read the ornament as a turning composition. Floral elements can appear to radiate or circulate across the field. This makes the rug suitable for visually gathering a defined area, whether that area contains a table, seating or another central arrangement.

The product description places the rug within a traditional Oriental and Persian style. This stylistic classification complements, but does not replace, the specific facts: the rug is from Tabriz in Persia, it has a floral pattern, and it is beige. Together, regional tradition, plant-based ornament, round format and the combination of wool with silk create its identifiable design language.

Special Features

The circular shape is one of the defining features of this rug. Round rugs differ from the more common rectangular format and can be used to organise a central area within a room. This Tabriz 50 rag also has a knot density of 550,000 knots per square metre. Its hand-knotted construction, composition of virgin wool and silk, floral pattern and beige colour are further stated characteristics of the piece.

The rug is in perfect, unused condition and is suitable for use with underfloor heating. For everyday care, the product information recommends regular vacuuming. Marks should be dabbed with a damp cloth rather than rubbed forcefully. Professional rug cleaning can be used when a more comprehensive treatment is needed. These care instructions relate to the information provided for this rug and do not replace an individual assessment by a specialist.

FAQ

How should I care for this Tabriz rug?

Regular vacuuming helps remove dust and loose dirt from the pile. If a stain occurs, dab the area with a damp cloth. Avoid vigorous rubbing, which can place unnecessary stress on the surface. Professional rug cleaning is an option for a more thorough clean and is particularly appropriate when ordinary surface care is not sufficient.

Can this round rug work in a modern interior?

Yes. Beige is a neutral colour, while the floral pattern brings a traditional Persian reference into the room. The round Tabriz rug can therefore be combined with modern, Scandinavian or traditional furnishings. Its shape can also help gather a table, seating group or other part of a room into a visually coherent centre.

How long can a hand-knotted Persian rug last?

With suitable care and regular maintenance, a hand-knotted Persian rug such as the Tabriz 50 rag can remain in use for decades. Rugs of this kind are often regarded as textiles that can be passed down within a family. Their service life depends on use, care and appropriate professional cleaning.