Persian Rug Tabriz approx. 353×252 cm hand-knotted (Sold)

Täbriz Persian Rug

Material and Craftsmanship

This Täbriz Persian rug is hand-knotted. Its pile is described as approximately eighty-five percent kurk wool and approximately fifteen percent silk, while the warp is entirely cotton. The material information therefore distinguishes the visible pile from the structural warp. Kurk wool and silk make up the pile, and cotton forms the foundation into which the pile is hand-knotted. Silk is part of the pile itself and contributes directly to the appearance and feel of the surface.

The rug is specified with a knot density of approximately six hundred and forty thousand knots per square metre and is described as sixty Radj. In Täbriz terminology, the Radj designation refers to a fine level of knotting and to the close arrangement of the knots. Such a construction is suited to precise drawing and detailed ornament. The handwork allows the pattern to be built through many small decisions in contour, spacing and connection between motifs.

Wool and silk have different visual and tactile roles within the pile. Wool provides the principal textile body, while silk is associated with a fine handle and a noticeable sheen. The combination allows colours and outlines to appear with differing degrees of light reflection. The cotton warp supports the knotted structure. These materials and this construction are the defining technical information given for this individual Täbriz rug.

The condition is stated as like new. This condition description belongs to the individual piece and complements the information about its materials and knotting. The description does not list repairs or signs of wear. Its documented features are the hand-knotted technique, the kurk wool and silk pile, the cotton warp and the fine knotting designation. Together they provide a clear account of how the rug is made and presented.

Origin and Tradition

The rug comes from Täbriz in Persia. Täbriz is one of the established centres of Persian carpet weaving and is associated with carefully drawn, highly organised designs. Located in the north-west of historic Persia, the city developed through connections between craft, trade and the movement of artistic ideas. These conditions helped shape a weaving tradition in which a planned layout and detailed execution are closely linked.

Täbriz carpets are often recognised for their precise graphic structure. Workshops have traditionally worked with central compositions, articulated borders and carefully distributed filling motifs. The design is planned before and during the weaving process so that the many individual elements remain balanced. This approach allows a carpet to contain considerable ornament without losing the overall clarity of its arrangement.

Here, Täbriz identifies the rug’s origin rather than merely naming a decorative theme. The regional tradition is connected with fine drawing, controlled proportions and the use of detailed floral or geometric vocabulary. A medallion design especially benefits from this precision: flowers, leaves, vines and outlines must relate to the central form as well as to the surrounding field. Fine knotting supports the ability to render these relationships in a small scale.

Persian carpet making is also a tradition of transmitted knowledge. Weavers learn how to prepare the structure, select and combine materials, follow a design and maintain an even sequence of knots. Workshop practice passes these skills through generations. A hand-knotted Täbriz therefore represents both a regional identity and a method of textile production in which the drawing and the physical construction develop together.

The Täbriz tradition frequently brings floral ornament into a geometrically ordered framework. A central medallion may be balanced by corner pieces, while borders contain and frame the inner field. Vines and blossoms connect separate areas and prevent the composition from appearing fragmented. The resulting structure is orderly without being lifeless: the geometry provides a framework, and the floral vocabulary introduces rhythm and variation.

The Persian origin should be kept distinct from any place name used to describe a motif. In this rug, Täbriz is given as the provenance, while Lachak Toranj Floral Medallion Täbriz names the pattern. The materials are also part of the regional craft context: kurk wool, silk and cotton are combined in a hand-knotted Persian carpet. Origin, technique and design terminology therefore describe different but related aspects of the piece.

Design and Pattern

The pattern is identified as Lachak Toranj Floral Medallion Täbriz. The wording brings together several design terms. Lachak refers to the corner areas of a medallion layout, Toranj to the central medallion, Floral to the botanical ornament, and Täbriz to the regional design association. The result is a structured composition built around a centre, corner elements and floral forms.

The medallion establishes the visual centre of the field. It may be developed through a rounded, oval or more articulated outline; its essential role is to provide a focal form around which the remaining ornament is organised. Floral details can enliven the medallion with blossoms, leaves and scrolling stems. These elements do more than fill empty space: they connect the central form to the surrounding field and create continuity across the design.

The Lachak elements occupy the corners and help complete the overall balance. They act as a transition between the inner field and the border system. In Persian carpet design, corner pieces are often related in shape or rhythm to the central medallion. This correspondence creates a visual dialogue between centre and edge. The four corners frame the composition without turning it into four separate decorative panels.

Floral ornament in Persian carpets is generally stylised rather than a botanical illustration of one specific plant. Blossoms can provide repeated accents, leaves can establish direction, and vines can link motifs across the field. Repetition gives the design order, while variation in scale and contour keeps the surface from becoming mechanical. In a hand-knotted rug, the character of these forms is also shaped by the careful handling of the knotting and the drawing.

The fine construction noted for this rug is relevant to the treatment of its pattern. Small outlines can separate petals, leaves and scrolling stems, and closely placed knots allow a design to be drawn with considerable definition. Silk within the pile can catch light along selected areas of the ornament. This does not alter the pattern; it gives certain contours and floral passages a changing textile presence as the surface is viewed from different directions.

The design is therefore more than a collection of isolated motifs. The central Toranj, the Lachak corners, the floral vocabulary and the surrounding borders belong to one planned arrangement. The supplied pattern name defines these elements, while the description does not provide a full colour list or an exhaustive inventory of every individual flower and border detail. The rug’s identity rests on the relationship between its named components and the Täbriz drawing tradition.

A floral medallion can function as both a clear focal point and a connecting device within a room. Its centre gives the eye a place to settle, while the repeated plant forms lead the view outward. From a distance, the composition reads as a unified field. Up close, the fine outlines and smaller ornaments reveal the labour involved in translating a drawn design into a hand-knotted textile surface.

Special Features

The individual rug combines a hand-knotted construction with a pile of kurk wool and silk, a cotton warp and the fine knotting designation of sixty Radj. Its pattern is specifically named Lachak Toranj Floral Medallion Täbriz, linking a central medallion with corner elements and floral ornament. The origin is Täbriz in Persia, so the rug is a Persian rug rather than an Indian or merely Persian-style piece.

Its condition is described as like new. The source also connects the dense knotting with durability and describes the rug as suitable for frequently used living areas. Care should be gentle: vacuum without a brush, dab spills with a damp cloth, and use professional carpet cleaning when a thorough cleaning is needed. Direct sunlight should be avoided to help preserve the colours. These points belong to the documented handling and condition information for this rug.

FAQ

How should this Täbriz rug be cared for?

Regular vacuuming without a brush attachment is recommended for routine care. The aim is to remove loose dirt while treating the fine silk fibres gently. Spills should be dealt with promptly by dabbing the affected area with a damp cloth rather than rubbing it. Rubbing can work a mark further into the pile and can place unnecessary stress on the surface. If the rug requires a complete or intensive cleaning, professional carpet cleaning is an appropriate option. Direct sunlight should also be avoided where possible, because protecting the rug from strong, continuous exposure helps retain its colours. Care should always take account of the wool and silk pile.

How can the authenticity of a Täbriz rug be assessed?

Authenticity is assessed by considering several characteristics together rather than relying on one visible detail. Knot density, materials and method of manufacture are important points. This rug is described as hand-knotted, with a kurk wool and silk pile, a cotton warp and a fine knotting quality identified as sixty Radj. The named Täbriz origin and the Lachak Toranj Floral Medallion Täbriz pattern are further parts of its description. Original Täbriz rugs are associated with fine knotting and natural materials. Documentation or certificates can also be requested to support the stated origin. A specialist examination should compare the front, back, knots, structure and materials as a complete group.

Can the rug be used in different rooms?

The Täbriz rug is described as durable and suitable for frequently used living spaces, while its detailed floral medallion gives it a defined decorative role. It can therefore be considered for a living room, dining room or business setting. The best placement depends on a level floor, a suitable underlay and careful protection of the surface. Direct sunlight should be avoided in order to help preserve the colours. Because silk is present in the pile, the rug should not be exposed to unnecessary rough treatment. Appropriate placement and regular gentle care allow the hand-knotted construction and the floral Täbriz design to remain clearly visible in different kinds of interiors.