Persian Rug Tabriz ca 360 x 252 cm Hand-knotted (Sold)

Tabriz Persian Rug

Material and Craftsmanship

This Tabriz Persian rug is hand-knotted, with a pile made of approximately 85% kurk wool and 15% silk. The warp is 100% cotton. These are the materials specified for the individual rug: wool and silk form the pile, while cotton provides the warp structure. The reference to silk therefore describes a component of the pile rather than a surface made entirely from silk.

Hand-knotting is carried out one knot at a time. The knots are tied into the warp and secured with weft work as the rug develops row by row. The design is consequently built into the textile rather than printed or mechanically applied to it. In a hand-knotted Tabriz rug, pile material, knotting and drawing work together as parts of one construction. The short description gives a density of approximately 640,000 knots per square metre and identifies the rug as 60 Raj.

Kurk wool is combined with silk in the pile. Wool has long been a traditional pile fibre in Persian rug making, while silk is often used where fine lines and closely differentiated pattern details are required. The cotton warp forms the underlying framework to which the knots are attached. The source does not provide further details about pile height, dyeing methods, edge treatment or finishing, so none of those characteristics are attributed to this particular rug.

Origin and Tradition

The rug comes from Tabriz in Persia. Tabriz is located in north-western Iran and is one of the important centres of Persian rug weaving. The city has a long-established tradition with a broad range of designs. Tabriz workshops produce finely drawn medallion layouts as well as all-over patterns, floral scrolling designs and more geometric compositions. The name Tabriz therefore covers a regional weaving tradition rather than one single fixed pattern.

The history of Tabriz weaving is connected with the city’s cultural and commercial importance. Tabriz stood on major routes linking different parts of the region, allowing materials, design ideas and technical knowledge to circulate. Local workshop practice developed alongside this wider exchange. This combination helped establish Tabriz as a significant centre of Persian rug production. Its rugs are associated with careful drawing, ordered compositions and the ability to render both floral detail and structured geometry within a coherent field.

Persian rug designs are commonly transferred through drawn patterns, workshop cartoons or trained familiarity with established design systems. A medallion composition requires the weaver to coordinate the central form, the corner pieces and the surrounding borders. Each area has to relate to the others as the knotting progresses. The craft therefore involves more than tying individual knots: it also requires control of proportion, spacing and repeated ornament. In Tabriz weaving, these skills are used to translate a design into a durable pile surface.

The place name and the pattern name should be read separately. The origin given for this rug is Tabriz, while the pattern is identified as “Lachak Toranj floral medallion Tabriz”. Tabriz describes the place of origin here. Lachak Toranj and floral medallion describe the arrangement of the design. This distinction matters in oriental rug terminology, since a place name may sometimes indicate a style or motif rather than actual manufacture. In this case, the source explicitly gives Tabriz as both the origin and part of the pattern designation.

Within Persian culture, rugs have served practical, architectural and decorative purposes. Their layouts can organise a room, define a central area and create a visual relationship between furniture and floor. At the same time, the patterns preserve established forms of ornament. Tabriz is part of this wider tradition and is known for maintaining a varied design vocabulary. Medallions, floral scrolls, corner elements and borders can be combined in many ways while retaining the ordered character associated with Persian composition.

Design and Pattern

The pattern of this rug is named “Lachak Toranj floral medallion Tabriz”. The composition is therefore centred on a floral medallion. In Persian design terminology, toranj refers to a central medallion, often conceived as an oval or almond-shaped form. Lachak refers to the corner sections that correspond with the central layout. Together, these elements establish a structured arrangement consisting of a central field, coordinated corners and a surrounding border system.

A floral medallion design combines geometric organisation with plant-based ornament. Vines, leaves, blossoms and arabesque forms may be arranged around the centre or extended outward into the field. Such motifs are generally stylised rather than botanical illustrations. Persian carpet drawing uses rhythm, repetition and controlled variation to make the pattern readable across the pile. The designation of this rug expressly identifies both the floral character and the medallion structure.

In a Lachak Toranj composition, the corner pieces echo the language of the central medallion. This creates a visual connection between the middle of the rug and its outer areas. Borders contain the composition and provide a framework for vines, flowers and secondary motifs. In finely drawn Persian designs, a main border is often accompanied by narrower guard borders, with lines separating the different zones. The source does not state which colours or individual floral forms appear on this rug, so those details remain unspecified.

Tabriz designs are broadly associated with disciplined line work and carefully balanced division of space. A medallion may be drawn with restrained symmetry or surrounded by more animated floral detail. The visual result depends on the relationship between the central form, the corner sections, the border widths and the scale of the secondary motifs. Fine knotting allows a weaver to reproduce narrow contours and small transitions in the drawing. The pattern is thus expressed through the construction of the pile rather than merely placed on top of it.

Persian ornament frequently relies on repetition, reflection and proportion. These principles provide a clear order while allowing individual motifs to vary in direction and scale. In a floral medallion, vines can guide the eye around the centre, while leaves and blossoms fill the spaces between the main forms. The design remains framed but not static. The Tabriz designation connects the pattern with a regional weaving school, while Lachak Toranj floral medallion specifies the particular design family used for this rug.

Special Features

The stated features of this one-off rug include its hand-knotted construction, a pile of approximately 85% kurk wool and 15% silk, and a warp of 100% cotton. The knot density is approximately 640,000 knots per square metre, and the rug is identified as 60 Raj. Its pattern is given as a Lachak Toranj floral medallion from Tabriz. The condition is described as like new. These are the specific characteristics supplied for this individual piece.

The combination of kurk wool and silk in the pile brings together two established materials of Persian rug making. The hand-knotting and fine knot count are also explicitly stated characteristics. No information is supplied about the rug’s age, signature, dyes, fibre origins, restoration history or exact colour palette. Those points are therefore not presented as features of this rug. The description remains limited to the documented materials, construction, origin, pattern and condition.

FAQ

How should a Tabriz Persian rug be cleaned?

For routine care, vacuum the rug gently and avoid using a rotating brush attachment. This removes loose dust while reducing unnecessary mechanical stress on the pile. Spills should be blotted promptly with a damp cloth rather than rubbed across the surface. Cleaning products should not be applied without testing, since wool and silk can react differently to moisture and chemicals. For a full wash or persistent staining, a professional rug cleaner is the appropriate choice. A specialist can inspect the fibre content, knotting and colours before selecting a suitable treatment and drying method.

Where can this Tabriz rug be used?

A Tabriz rug can be used in living rooms, dining rooms or offices. Its floral medallion layout suits interiors that benefit from a clearly organised textile design. The placement should take account of door swings, furniture edges and heavily used walkways. A level, clean floor is advisable, and a non-slip underlay can improve stability on a smooth surface. The precise visual effect will depend on the furnishings, the available light and the colours of the individual rug, which are not described in detail in the source.

How can the authenticity of a Tabriz rug be assessed?

Authenticating a Tabriz rug involves considering several features together: the knotting method, the fibres, the drawing of the design and the quality of the workmanship. For this rug, the documented points are hand-knotting, a kurk wool and silk pile, a cotton warp, the stated fine knot density and a Lachak Toranj medallion. A specialist can also examine the reverse, the structure of the knots, the handling of the pile, the borders and the colour transitions. A certificate or purchase through a reputable dealer can support the identification. No single feature should be treated as a complete proof of authenticity in isolation.