Persian Rug Tabriz 330 x 238 cm Wool Hand-knotted

Tabriz Persian Rug

Material and Craftsmanship

This Tabriz Persian Rug is hand-knotted with a pile made from 100% virgin wool. Its warp is made from 100% cotton. Wool is traditionally used for rug pile because it combines a soft handle with a durable structure. It gives the surface a pleasant texture and creates a comfortable feel underfoot. The cotton warp forms the foundation into which the individual knots are secured.

The rug has a knot density of approximately 160,000 knots per square metre, giving the construction a finely worked character. A dense knot structure allows outlines and ornaments to be rendered with greater definition. In a medallion composition, this supports the clear presentation of the central form, the borders and the smaller decorative details. Because the rug is made by hand, each knot contributes to the individual surface of the piece.

Hand-knotting is carried out gradually at a loom rather than through an industrial production process. The pile and warp perform different functions: the warp carries the construction, while the virgin wool forms the visible and tactile surface. The combination of wool pile, cotton warp and dense manual work is central to the way this rug is made.

The source describes the rug as being in very good condition and freshly washed. These condition details relate to its present state. The freshly washed surface allows the material, colour combination and pattern to be viewed as shown in the photographs. No additional treatment or alteration is included in this description.

Origin and Tradition

Tabriz is located in north-western Iran and is one of the important centres of Persian rug production. The city is known for a centuries-old weaving and knotting tradition, with a history reaching back to the fifteenth century. Its location and long trading history made Tabriz an important meeting point for patterns, materials and craft techniques. Persian rugs from Tabriz therefore represent a regional tradition shaped by both established design principles and a broad exchange of artistic influences.

The city’s rug-making knowledge has been passed from one generation to the next. In Tabriz workshops, drawing, colour selection and knotting are closely connected. Tabriz rugs are known for careful workmanship and for colourful compositions, often arranged around a medallion. A central medallion is commonly set within an organised field and accompanied by a developed border system. This creates a design based on balance, symmetry and clearly articulated detail.

The name Tabriz identifies the Persian origin of this rug. It refers to a regional school of weaving rather than to one isolated ornament. Within that school, traditional designs are repeatedly interpreted through different colour arrangements, line work and decorative emphasis. Floral forms, curling vines and geometric boundaries may be brought together in one coherent composition. The way these elements are drawn and knotted remains an important part of the area’s identity.

The historical importance of Tabriz rug making is also reflected in its range of styles. Workshops use medallion layouts, floral drawing and pattern families such as Mahi. A design is not simply reproduced mechanically; its character is shaped by the selection of colours, the treatment of contours and the placement of secondary motifs. This allows a Tabriz rug to combine a disciplined overall plan with the individual qualities of a particular weaving.

The use of a carefully organised field and border helps the design remain legible from a distance, while fine knotting allows smaller elements to be developed within it. This relationship between overall structure and detailed drawing is characteristic of the way Tabriz compositions are understood. The rug’s medallion format belongs to that long tradition of arranging a central focus within a balanced Persian design.

Design and Pattern

The pattern is identified as Antique Mahi Lachak-Toranj Tabriz Medallion. The piece is also described as semi-antique. Its composition is centred on a medallion, while the terms Mahi and Lachak-Toranj specify the pattern language more closely. A medallion gives the field a distinct centre and establishes an internal order. In Persian ornament, Toranj commonly refers to a lozenge-like or oval central form.

Mahi is known as a pattern family featuring fish-like ornamentation. The elements are often arranged in pairs or in mirrored relationships and combined with leaves, blossoms and curving vines. In a Lachak-Toranj arrangement, corner pieces relate to the central medallion. Together they create a framework for the drawing and allow the ornament to connect across the field. The final effect depends on the relationship between the principal motif, the surrounding details and the borders.

Floral and geometric components play different roles in the design. Vines and flowers guide the eye through the field, while defined shapes give the composition a measured structure. Smaller ornaments animate the spaces between the main forms without disturbing the central balance. A finely knotted Mahi design can show these repetitions and contours with precision. The medallion remains the principal point of reference throughout the composition.

A rare colour combination is specifically identified as one of the rug’s features. It adds an uncommon colour relationship to the established Tabriz medallion format and affects how the field, central ornament and borders are read together. The colours and patterns were traditionally dyed with plant-based dyes. In Persian rug making, plant dyes are associated with nuanced colour effects and good resistance to light.

The terms antique and semi-antique belong to the description supplied for the design. The rug therefore brings together a traditional Mahi Lachak-Toranj theme, a Tabriz medallion arrangement and a rare colour combination. Its visual character is created by the interaction of the central form, corner elements, floral details, borders and colour selection rather than by one isolated motif.

The medallion format also gives the design a symbolic reading often associated with a centre of life, harmony and balance. This interpretation belongs to the wider tradition of medallion compositions and is not a separate material feature. In this rug, the organised drawing and the unusual colour relationship make the traditional structure particularly clear.

Special Features

The listed special features include the high knot density, the hand-knotted construction and the rare colour combination. The dense knotting supports the definition of the pattern and the compact appearance of the pile. The material specification is 100% virgin wool in the pile and 100% cotton in the warp. The rug is in very good condition and has been freshly washed; the photographs show the described condition.

The use of plant-based dyes is also given as a feature of the rug. It reflects the traditional connection between fibre, colour and pattern in Persian rug making. Together with its Tabriz origin, Mahi Lachak-Toranj medallion, semi-antique description and uncommon colour combination, this establishes a clearly defined decorative and craft profile.

Hand-knotting is significant because the surface is built knot by knot rather than printed or mechanically patterned. The stated density shows the level of detail associated with the construction. Wool pile and cotton warp provide the material basis named for this individual rug, while the freshly washed condition completes the specific description of the piece.

FAQ

How should I care for this Persian rug?

Vacuum regularly without using a brush head, as a brush can place unnecessary strain on the fibres. Blot spills promptly with a damp cloth rather than rubbing them into the pile. Heavy furniture should not remain on the rug for long periods, since prolonged pressure can leave marks. For more extensive cleaning, a professional rug washer familiar with hand-knotted Persian rugs is the appropriate choice.

How can I tell whether the rug is an original?

Several characteristics can provide useful indications: natural materials, a characteristic pattern and visible evidence of handwork. If the design can be seen on the reverse, this is an indication of hand-knotting. A high knot density may support detailed drawing, but it is not by itself a complete proof of origin. A certificate or an assessment by a qualified expert can provide further reassurance when authenticity is being examined.

Can the rug be used over underfloor heating?

Hand-knotted Persian rugs are generally suitable for use over underfloor heating. The temperature should not be set too high, so that the fibres are not subjected to unnecessary stress. Keeping the room temperature moderate is also advisable. The rug should lie flat, allowing heat to pass evenly into the room and preventing avoidable strain on its construction.