Persian Rug Tabriz 203 x 140 cm Wool Hand-knotted

Tabriz Persian Rug

Material and Craftsmanship

This Persian rug is hand-knotted and has a pile made of pure new wool. In hand-knotting, individual knots are placed according to a design, creating a textile surface whose pattern is part of the construction rather than a printed image. The product information describes the knot density as hand-knotted; it does not provide a numerical knot count. The pile height is given as 6 mm in the short description and as a range from 5 mm to 9 mm in the detailed description. Both source figures are retained here without replacing one with an estimate.

New wool is traditionally valued in rug making for its natural fibre structure and its ability to receive colour. It provides the pile through which the design is seen and felt. A hand-knotted surface also records the work of the weaver in the placement of each knot. This rug is described as an example of traditional carpet craftsmanship, with pure new wool as the named pile material and hand-knotting as the stated technique.

The wool specification applies to the pile. No separate material is stated for the warp, so no warp fibre is added here. The source also gives no numerical knot density, no information about the selvedge, and no statement about a particular back construction. The material and construction facts are therefore limited to pure new wool in the pile, hand-knotting, and the stated pile-height information.

Origin and Tradition

The rug is identified as a Tabriz Persian rug from the Tabriz region of Iran. Tabriz is one of the established centres of Persian rug production. Located in north-western Iran, the city has long been associated with urban design traditions, trade, and the exchange of weaving knowledge. Through such networks, wool, dyes, drawing conventions, and technical experience moved between different parts of the Persian rug world.

Tabriz weaving is associated with carefully organised compositions. A design may be planned around a central field, a principal motif, and one or more borders. This approach creates a visible relationship between the middle of the rug and its outer framing. Medallion designs are one expression of this structure: the centre provides an anchor while the surrounding field and border establish balance and direction.

Persian rug names can refer to different kinds of information. They may identify a place of manufacture, a regional school, a design language, or a motif used by weavers in more than one location. Tabriz is the stated origin of this rug. Kerman and Isfahan are mentioned in the product text as related examples of Persian traditions known for artistic patterns and quality wool, but those names do not change the rug’s stated Tabriz origin.

The short description also calls the regional design “Rosen Bijar”. Bijar is another Persian rug tradition with its own established methods and visual vocabulary. Here, the phrase is presented as a design designation, while Tabriz is presented as the region of origin. Keeping those two roles separate is important: a motif name or design reference does not by itself establish where an individual rug was made.

The term Persian rug is appropriate because the product is described as originating in Iran. Persian weaving includes many regional approaches, from village production to urban workshops, and each can use different combinations of colour, drawing, and structure. For this one-off piece, the specific facts are its Tabriz origin, hand-knotted construction, pure new-wool pile, medallion composition, and narrow red border. Broader regional history provides context without adding unrecorded provenance.

Design and Pattern

The main visual feature is a medallion. In a medallion composition, the central form gives the field a clear focus and establishes an axis for the surrounding ornament. The medallion may be read together with the field around it, since the balance of empty and decorated areas affects the whole design. In this rug, the medallion is identified as the central pattern element.

A narrow red border frames the design. Borders serve both a practical and a visual role in traditional rugs: they mark the transition from the inner field to the edge and help contain the composition. The border on this piece is specifically described as red and narrow. It therefore acts as a defined perimeter around the medallion rather than as a separate, unrelated decorative panel.

The colour description refers to warm reds and soft earth tones. Warm reds can connect a border with details in the inner field, while earth tones provide a more subdued range for the surrounding design. The combination creates a palette based on warmth and natural-looking shades. No additional exact colour names or dye recipes are stated, so the description remains with the colours identified in the product text.

The regional design name “Rosen Bijar” indicates a rose-related Bijar design vocabulary. Floral motifs, including stylised roses, are common subjects in Persian rug design. They may be arranged as repeated ornaments, curved stems, or more geometric floral forms, depending on the drawing tradition. The name alone does not establish the precise shape or distribution of every flower on this rug. What is specifically recorded is the Rosen Bijar design designation together with the medallion and red border.

Tabriz design traditions are often discussed in connection with controlled drawing and elaborate pattern planning. Fine outlines can separate a central medallion from its field and keep floral details legible within a border system. On a hand-knotted rug, those lines are interpreted through rows of individually placed knots. The resulting design is therefore both visual and structural: colour, contour, rhythm, and pile surface work together. This rug is categorised in the description as traditionally Persian and Oriental in style.

A medallion gives a room a recognisable centre, while a restrained border provides a visual edge. The source describes this design as suitable for both modern and traditional interiors and as adaptable to different rooms. That statement concerns the relationship between the pattern and interior settings. It does not add a different place of origin, age, or material to the documented details of this rug.

Special Features

The rug is listed as new with a label and assigned to the 21st century. At the same time, the product title calls it antique; no historical age beyond the stated period is supplied. The description also states that it is suitable for underfloor heating. Its pile height is listed as 6 mm in one product section and as 5 mm to 9 mm in another. Other recorded features are the hand-knotted construction, pure new-wool pile, medallion, narrow red border, and Rosen Bijar regional design.

This one-off piece combines the stated Tabriz origin with a design reference to Rosen Bijar. The two details describe different aspects of the rug and should not be treated as interchangeable. No signature, exact numerical knot density, production year, or separate warp material is provided. Those details are therefore not inferred from the design or from the regional name.

FAQ

How should I care for this Tabriz Persian rug?

Vacuum the rug regularly to remove dust and loose particles from the surface. If a deeper cleaning is needed, professional rug cleaning is recommended. Direct sunlight should be avoided because prolonged exposure can cause colours to fade. These instructions are relevant to the hand-knotted new-wool pile and to the warm red and earth-tone palette described for this rug. Further treatments should be selected by a specialist familiar with hand-knotted wool rugs.

What sizes are available for Tabriz Persian rugs?

Tabriz Persian rugs are made in a range of sizes, from small runners to larger rugs intended to cover substantial areas. The appropriate size depends on the room layout, the area to be defined, and the visual role of the central medallion. This individual rug has its own documented size. General size ranges describe the broader Tabriz category and should not be read as additional measurements for this particular piece.

What makes a Tabriz Persian rug a valuable purchase?

Several qualities contribute to the appreciation of a Tabriz Persian rug: hand craftsmanship, a distinctive design, and the use of wool as the pile material. In this piece, the medallion, narrow red border, and Rosen Bijar design reference give the pattern its specific identity. Hand-knotting joins the visual design to the making process, while the product description presents the combination of craftsmanship, design, and material as a basis for long-term appreciation and use.