12'3" x 18' Ziegler Chobi Oushak Rug | Sage and Gold All-Over Floral | Hand-Knotted Natural Wool

This is a big, quiet, confident rug. At 12'3" x 18' it covers a full great room or a long formal dining space, and because the drawing is an all-over Oushak rather than a loud central medallion, it fills that floor without shouting. The pile is 3/8" natural wool on a cotton foundation, hand-knotted throughout, and the surface has the soft, slightly powdery finish that Chobi weaving is bought for. It is recent and has never been used, and it ships with a certificate of authenticity. Buyers working in this footprint can compare it against our other oversize 12x18 rugs and the wider range of oversized rugs we carry, all of which ship free.

Design and Motifs

The field is a classic Oushak all-over: large open palmettes, 8 petal rosettes, tulip-like blossoms and serrated leaves strung along thin scrolling vines that wander rather than repeat mechanically. At each end of the field a shield-shaped cartouche anchors the composition, with a rust rosette at its center and a pendant hanging below it, and a second pair of pale ivory palmettes sits off the long axis so the eye keeps moving across the surface. Small paired animal and bird forms are tucked into the lower corners of the field, drawn loosely in the village manner. The main border carries alternating angular star-flowers and broad leaf palmettes, separated by an ivory reciprocal guard stripe inside and a narrow rose vine stripe outside. Because the drawing is spread evenly, this works well as an all-over floral rug under furniture, where no single motif is lost beneath a sofa or a dining table.

A Sage, Gold and Mauve Palette

The ground is a muted sage that warms toward camel and old gold where the light catches the pile, with visible abrash running in soft horizontal bands, exactly what you want to see in hand-spun wool. Over that ground the flowers are drawn in dusty mauve, faded rose and a deeper brick rust, with ivory and pale butter yellow used for the larger palmettes so they read as light patches rather than hard shapes. The main border shifts a shade lighter than the field, more honey and sand, and the outer vine stripe picks up the strongest rose tone in the rug. There is no black, no navy and no saturated red anywhere in it, which is why this rug sits so easily with oak, walnut, linen, greige plaster and warm brass. The overall effect is an antique-washed, sun-softened palette that looks decades older than the rug actually is.

Ziegler Chobi Weaving and Where It Comes From

Chobi, from the word for wood, refers to the plant and vegetable dye tradition these weavers work in, and Ziegler refers to the 19th century commercial design archive of large-scale Oushak drawings that workshops still copy today. This piece was hand-knotted in Pakistan, which is now one of the most consistent sources of well-made room-size and palace-size work of this type: skilled weavers, hand-spun wool, natural dye recipes, and a finishing wash that mutes the colors before the rug ever leaves the loom room. The knotting here is even across all 18 feet of length, the sides are firm, the pile is clipped low at 3/8" so the drawing stays crisp, and the back shown in the final photograph is clean and regular with no repairs. If you are weighing this against a Persian piece, our guide to the difference between Persian and Oriental rug weaving is worth 5 minutes before you decide.