Persian Rug Tabriz 400 x 300 cm Wool Hand-knotted

Tabriz Persian Rug

Material and Craftsmanship

This Tabriz Persian rug is hand-knotted with a pile made of 97% virgin wool and 3% silk. Virgin wool is the principal pile material, while silk forms a smaller complementary component. The composition therefore combines the established use of wool in Persian rug making with a fine silk element. These specifications describe the pile of the rug; no separate additional pile material is stated.

The knot density is 550,000 knots per square metre. A dense knot structure permits closely spaced lines, small ornaments and carefully controlled transitions. In a hand-knotted rug, the pattern is created through the placement of individual knots rather than printed onto a completed surface. The floral medallion is consequently part of the woven pile structure itself.

Hand-knotting builds a rug row by row. Individual pile knots are tied into the foundation in a planned sequence and then compacted with the surrounding rows. The process requires regular tension, precise colour placement and continuous attention to the design. Detailed flowers, leaves and ornamental lines can be separated more clearly when the weaver follows the drawing accurately. The visual pattern and the technical construction are therefore closely connected.

The rug has a thickness of approximately 8 mm and a weight of approximately 3 kg per square metre. These figures give a factual description of its physical construction. The wool-dominant pile, the silk content and the high knot density determine the character of the textile surface. Together they support the detailed execution of the stated medallion and floral design.

Wool is widely used in rug making because it can form a durable and workable pile. Silk is traditionally valued for its ability to contribute fine accents and a more delicate definition within an ornament. In this rug, the proportions are specified precisely: 97% virgin wool and 3% silk. Its craftsmanship is defined by this wool-and-silk pile, the stated dense knotting and the hand-knotted production method.

Origin and Tradition

This rug is from Persia and belongs to the Tabriz tradition. Tabriz is a city in Iran and the capital of East Azerbaijan Province. It is one of the important centres of Iranian carpet weaving. The city is associated with a regional design language that combines exact drawing, ordered composition and detailed ornament.

The recorded carpet tradition of Tabriz reaches back to the sixteenth century. Over many generations, knowledge about foundation preparation, pile construction, colour arrangement and the execution of complex designs was passed through workshops and families. The craft therefore extends beyond the act of tying knots. It also involves planning the field, positioning the medallion, coordinating borders and maintaining proportion throughout the composition.

Tabriz is often called the heart of the Iranian carpet industry. This description reflects the city’s historical role in the production and development of Persian carpets. Tabriz workshops have created a broad range of designs, including floral fields, central medallions and carefully organised ornamental borders. Their compositions are generally planned as connected systems in which the centre, surrounding field and outer framing work together.

The regional tradition depends on the interaction between technical skill and an established vocabulary of forms. A design is not placed randomly into the woven surface. Axes, repetitions and mirrored elements give the composition structure. At the same time, the weaver must maintain consistent foundation tension and an even progression of rows. Following a complex drawing while preserving the regularity of the construction requires experience and concentration.

Dense knotting supports the fine drawing associated with Tabriz rugs. Small flowers, leaves and scrolling branches can be positioned close to one another while remaining distinguishable. Narrow contours and transitions between adjacent ornaments can also be developed with greater control. This explains the connection between the technical quality of a Tabriz rug and the detailed character of many designs from the region.

Carpet-making knowledge in Iranian weaving regions is often transmitted through practical instruction within families and workshops. The skills include handling the tools, reading a design, balancing colours and repeating established motifs. The weaver learns through observation and sustained practice. Traditional pattern systems can thereby be preserved while individual rugs still differ in their specific compositions, colour arrangements and distribution of ornament.

The term Persian rug identifies the Persian or Iranian origin of this piece. Tabriz refers not only to a place, but also to the regional tradition associated with its weaving. Classical Tabriz designs may unite medallions, floral forms, scrolling vines and structured borders. Regional identity is expressed through the combination of precise technique and organised ornament rather than through one single fixed pattern.

Persian rug history includes many centres, each with its own methods and design emphases. Tabriz is particularly associated with finely drawn compositions and a controlled relationship between the central field and its surrounding details. Even richly ornamented surfaces depend on proportion, spacing and repetition. This historical and technical background explains the place of Tabriz within Persian carpet culture without adding a separate provenance claim about this individual rug.

Design and Pattern

The pattern of this rug is a medallion with a floral design in beige tones. A medallion establishes the visual centre of a composition and organises the field around it. Flowers, leaves, vines and ornamental lines can relate to the central form and continue its movement outward. The result is a structured arrangement in which the principal motif and the smaller details remain connected.

Beige gives the design a restrained colour impression. Within a medallion composition, a subdued palette can keep the central form legible while allowing the floral drawing to remain visible. Colour works together with outlines, spacing and repetition; it does not create the pattern on its own. The beige tones provide a unified background for the stated floral ornament and its central organisation.

Floral ornament has a long history in Persian carpet design. The flowers and leaves in such compositions are generally stylised rather than literal botanical copies. They are adapted to the woven field, repeated in measured rhythms and linked by branches or scrolling lines. Plant forms are thus transformed into a formal ornament that can be distributed across a rectangular surface. A high knot density helps preserve distinctions between small leaves, flower heads and connecting lines.

The medallion introduces a relationship between geometric order and organic-looking ornament. The centre establishes an axis, while floral motifs extend into the surrounding field. Symmetry and repetition provide stability, and changes in scale create variation within the overall structure. The composition can therefore appear both clearly organised and richly detailed.

In the Tabriz tradition, the inner field and the border are commonly considered parts of one planned design. A medallion gives the centre its focus, surrounding forms may echo its lines, and borders can frame the composition. The distribution of ornament and open areas affects how the eye reads the rug. Fine spacing allows individual motifs to remain recognisable while connected vines and repeated forms create visual continuity.

The beige colour range connects a classical floral vocabulary with a quieter overall presentation. This allows the pattern to be read alongside traditional furnishings as well as more contemporary forms. The point concerns the design rather than an additional claim about use: the medallion remains a recognisable classical element, while the soft beige tones reduce strong colour contrast and keep the composition visually cohesive.

Knot density is important for the reproduction of fine ornamental drawing. Closely placed knots provide more opportunities to shape narrow lines, small petals and detailed transitions. This is particularly relevant to floral medallion designs, where many individual forms must remain distinct within a connected composition. The pattern of this rug is therefore defined by the interaction of its medallion, floral ornament, beige colouring and dense hand-knotted surface.

Persian floral patterns are not simply collections of decorative symbols. They use proportion, repetition and balance to create a complete visual system. Flowers and leaves are simplified, rhythmically arranged and adapted to the geometry of the rug. In a Tabriz medallion, these stylised plant forms meet the clear orientation of a central motif. The result is a design language that combines regional tradition with a readily identifiable centre.

Special Features

The rug is new and hand-knotted. Its pile consists of 97% virgin wool and 3% silk. The knot density is 550,000 knots per square metre, the thickness is approximately 8 mm and the weight is approximately 3 kg per square metre. These details describe the material, construction and physical characteristics of this individual piece.

Its floral medallion and soft beige tones give it a traditional Tabriz design character with a restrained colour presentation. The rug is also suitable for use over underfloor heating. Its specifically described features therefore combine hand-knotted workmanship, a wool-and-silk pile, dense detailed patterning and the stated suitability for heated flooring.

FAQ

How should I care for my hand-knotted Tabriz Persian rug?

Regular gentle vacuuming or sweeping helps remove loose dust from the surface. If a stain occurs, treat it immediately with a damp cloth and a mild cleaning agent. Avoid vigorous rubbing, since unnecessary friction can put stress on the pile and its colours. The rug should also be kept out of direct sunlight, which can cause colours to fade. Careful routine cleaning is preferable to allowing dust or stains to remain in the textile.

Can the rug be washed?

Hand-knotted rugs should not be cleaned in a washing machine. Mechanical movement, moisture and cleaning agents can affect the knotting and the intensity of the colours. For heavy soiling, professional cleaning is recommended. A specialist can choose a treatment suited to a hand-knotted construction and reduce the risk of damage to the pile, the pattern and the colours. Machine washing should therefore be avoided.

Where can I use the rug?

The Tabriz Persian rug is suitable for living rooms, dining rooms and foyers. Its floral design, central medallion and beige colour scheme can be combined with different interior styles. It may be used as a floor covering or considered as a decorative textile for wall display. The rug is also suitable for underfloor heating, which is an explicitly stated aspect of its intended use.