5'2" x 7'3" Persian Isfahan Rug | Signed Davari | Wool & Silk on Silk Foundation | 500+ KPSI

A rug tells you who made it when the weaver is confident enough to sign it, and this one does: the cartouche woven into the end panel reads "Esfahan - Davari". At 5'2" x 7'3" it is a workshop piece rather than a village weave, knotted in wool and silk on a silk foundation at roughly 500 knots per square inch, which is why the drawing stays crisp down to single-knot details in the vine tips. The pile has the low, dense, slightly waxy handle of good kork wool, with silk worked into the highlights so certain blossoms catch light while the ground stays matte. It has never been on a floor, and it ships with our certificate of authenticity. If you want the background on why a Persian Isfahan rug sits at the top of the city weaving hierarchy, the full guide covers it.

Design and Motifs

The composition is the classic Isfahan medallion formula, executed with unusual restraint. A round taupe medallion sits dead center, filled with a tight rotating lattice of small palmettes and a navy 8 petal rosette at its core, and it is ringed by pink rosettes that read as a halo. Out of that center the field throws long curved arabesques, split leaves and spiraling vine scrolls, each one drawn as a continuous sweeping line rather than a series of steps. Scattered along those vines are lotus palmettes, cypress-like sprays and tiny cloudband curls, with a pair of small woven birds hidden in the lower field for anyone who looks closely. The 4 corner spandrels repeat the taupe of the medallion and carry their own miniature arabesque, so the ivory ground is framed twice, once by the spandrels and again by the taupe main border. That border runs alternating flower bouquets and rosette-centered scrolls between narrow navy guard stripes, and the drawing turns the corners cleanly, which is the mark of a cartoon followed properly rather than improvised.

A Palette Built on Ivory, Taupe and Navy

The field is a warm ivory, closer to unbleached cream than white, and it carries the whole piece. Against it the medallion and spandrels are a soft rose-taupe, a color that reads pink in morning light and mushroom brown under lamps, which is what makes this rug so easy to live with next to walnut floors or a brown velvet sofa. The outlining is deep navy, almost black where the guard stripes run, and it does the structural work of holding every floral form in place. Inside the flowers the palette opens up: light powder blue, sage and emerald green in the leaf sprays, ochre and old gold in the smaller buds, rose and dusty pink in the rosettes, and a restrained brick red used only as an accent line and in the occasional flower heart. There is no harsh contrast anywhere, no single dominant color shouting for attention, just a graded ivory-to-taupe wash with jewel notes dropped in. Silk highlights lift the pale blues and creams so they shift as you walk around the rug.

Isfahan: The City and the Weave

Isfahan sits in central Persia and has been weaving at court standard since the Safavid workshops of the 16th century. Its reputation was never built on bold color or thick pile; it rests entirely on drawing, on the ability to hold a curved line, a flowing vine and a symmetrical medallion across a whole field, and that only works when the knot count is high enough to support it. This piece is knotted on a silk foundation, which lets the weaver pack more knots into the same space than cotton warps would allow and gives the back that smooth, fine-grained look visible in the fold shots. The Davari signature places it with a named workshop rather than an anonymous production floor, and the weave, pile handle and border precision back that up. In a 5'2" x 7'3" format it works as a formal seating-area rug or a statement piece under a coffee table, and it sits squarely in the most requested bracket of 5 x 7 Persian rugs we import.