Persian Rug Tabriz 280 x 197 cm Wool Hand-knotted

Tabriz Persian Rug

Material and Craftsmanship

This Tabriz Persian rug is hand-knotted and made from 95% virgin wool and 5% silk. The two fibres define the material composition of the piece. Virgin wool is valued for its resilience, comfortable handle, and insulating qualities. It gives the pile a soft textile feel while contributing warmth underfoot. The silk content forms part of the stated construction and adds another refined fibre to the wool-based material blend.

The rug has a knot density of 550,000 knots per square metre. It is also identified as Tabriz 50 Rag. In the Tabriz tradition, a fine knot structure supports the clear rendering of outlines, floral details, and medallion forms. Hand-knotting builds the design knot by knot. The pattern is therefore integrated into the textile structure rather than applied as a printed surface.

The listed thickness is approximately eight millimetres, and the listed weight is approximately three kilograms per square metre. The rug is new and unused. Its manufacture combines the hand-knotting method with a blend of virgin wool and silk. The source also describes the raw materials as high quality and the workmanship as elaborate. These details belong to the stated execution of this individual rug.

Origin and Tradition

Tabriz is located in Iran and is the capital of East Azerbaijan province. The city is one of the established centres of Persian carpet weaving. Its weaving tradition reaches back to the sixteenth century. Over time, Tabriz became an important place for producing and trading finely worked Oriental rugs. The name Tabriz therefore refers not only to a visual style, but also to a distinct regional craft tradition.

Persian rugs from Tabriz are known for carefully drawn designs, developed ornament, and the combination of floral and geometric elements. Regional workshop traditions often organise a rug around a central field, a principal motif, and framing borders. The exact arrangement can differ from one rug to another. The broader tradition is marked by attention to proportion, orderly drawing, and controlled manual execution.

Tabriz developed in a setting shaped by varied cultural contacts. This history contributed to the range of forms associated with its carpets. Classical Persian ornament may appear alongside clearly structured compositions, while floral scrolls, leaves, blossoms, and medallions can be arranged in balanced repeats. Some designs emphasise symmetry; others create movement through linked branches and changing scale. These are general features of the regional vocabulary, not additional claims about details absent from this rug.

Planning is an important part of the weaving tradition. A design is prepared as a guide and then translated into the work of the knotter. Field, medallion, and borders must remain related as the composition develops. A dense knot structure allows small shapes and fine contours to be reproduced with greater distinction. This technical background helps explain why Tabriz designs can accommodate detailed floral drawing without losing the clarity of the overall arrangement.

The stated origin is Persia, so this rug is classified as a Persian rug. Tabriz identifies its regional association and the craft tradition connected with it. Iran, Persia, and Tabriz here describe the cultural and textile background of the rug rather than a decorative motif alone. The piece joins that established origin with a new, unused execution and a hand-knotted technique.

Design and Pattern

The pattern is described as both medallion and floral. In Persian carpet design, a medallion provides a central point of orientation. It may be formed from curved lines, layered contours, or a more geometric outline. The surrounding field is arranged in relation to that centre, with secondary ornaments and borders helping to establish visual order. On this Tabriz rug, the central medallion is combined with floral ornament.

The floral vocabulary is based on flowers, leaves, stems, and scrolling plant forms. In Persian ornament, these elements are not necessarily literal botanical pictures. They are stylised and arranged into a decorative system of repetition, balance, and rhythm. Branches may turn back into the composition, leaves may frame a central shape, and blossoms may mark transitions within the field. A high knot density supports the careful definition of such contours and small ornamental passages.

The colour description names beige as the principal visual impression and also refers to coloured accents. Beige can provide a restrained ground on which the medallion and floral details remain legible. The coloured elements create variation within that quiet base. The resulting design language depends on the relationship between a calm overall tone, a recognisable centre, and the detailed botanical drawing associated with traditional Persian carpets.

Floral motifs have a long symbolic history in Persian culture. Flowers may suggest growth, abundance, and creation. Leaves and continuous scrolls are often read as images of ongoing development and an ordered natural world. These meanings form part of the wider cultural context of the pattern. They do not replace the visual description: the concrete characteristics named for this rug remain its floral design, beige colouring, and medallion arrangement.

The composition can be understood through both its colour balance and its structure. The beige field establishes a composed direction, while the medallion gives the eye a central anchor. Floral forms bring movement into that organised framework. Tabriz designs often combine an easily read overall layout with small, carefully placed details. The connection of central motif, plant ornament, and precise knotting defines the pattern tradition represented here.

The style is listed as traditionally Oriental and Persian. This classification refers to the medallion layout, floral ornament, and Persian origin. It does not require every detail to reproduce one historic design exactly. Instead, it describes the continuation of established Persian visual principles in a hand-knotted Tabriz rug.

Special Features

The rug is new and unused. Its explicitly described features include hand-knotting, the combination of virgin wool and silk, a beige floral medallion design, and suitability for rooms with underfloor heating. The listed thickness and weight describe its textile form. They do not alter its identification as a hand-knotted Persian rug from the Tabriz tradition.

Every hand-knotted rug is a one-off because the knotting is carried out by hand and the execution bears the weaver’s individual touch. The source also states that the artistic workmanship can support room acoustics. Together with wool’s warm feel, this makes the rug a traditional textile furnishing element that can be placed in both classic and modern interiors.

FAQ

How should I care for my Persian rug?

Vacuuming regularly on a low setting helps remove dust and loose dirt from the pile. Spills should be treated promptly with a damp cloth and a mild soap solution. Vigorous rubbing should be avoided so that the textile surface is not unnecessarily stressed. Direct sunlight should also be avoided, as prolonged exposure can encourage the colours to fade. Gentle, consistent cleaning and regular airing help preserve the stated appearance and material qualities.

Can the rug be used in a room with underfloor heating?

Yes. This Tabriz Persian rug is suitable for rooms with underfloor heating. Wool conducts heat while still providing comfortable textile coverage. The temperature should not be set excessively high, however, so that the material is not unnecessarily strained or damaged. Even heat and appropriate care are consistent with the rug’s stated suitability for underfloor heating.

Is the rug suitable for allergy sufferers?

Yes. Wool has natural antimicrobial properties that can help reduce allergens, and it is naturally resistant to dirt. Regular cleaning and good ventilation are nevertheless advisable for maintaining pleasant indoor air quality. The wool content supports the stated suitability for allergy sufferers, while individual sensitivities should always be considered separately. No material can replace personal medical advice where a specific allergy or respiratory condition is involved.