5'8" x 7'2" Persian Tabriz Rug | Pastel Cream and Light Blue Floral Medallion | 2000s, Perfect Condition

Most Tabriz rugs shout. This one whispers. Woven in the 2000s with a hand-knotted wool pile on a cotton foundation, the whole drawing sits two shades away from the cream ground, so the pattern reads as texture first and pattern second. The pile is full and even, the selvedges are tight, and the original hand-woven mill tag is still stitched to the back. At 5'8" x 7'2" it is a true medium size Persian rug, the right footprint for a seating group with a coffee table, the foot of a queen bed, or a home office. Every rug we sell ships with a certificate of authenticity documenting origin, materials and knotting.

Design and Motifs

A small lobed medallion anchors the center, built from a ring of open rosettes around a stepped floral core, with slender pendants reaching toward each end. Around it the field runs as a continuous all-over scheme rather than a strict quartered layout: eight petal rosettes, split palmettes, budding lotus heads and long curling saz leaves ride a thin vine that loops back on itself without ever crossing clumsily. Matched spandrels close the 4 corners of the field. The main border carries an alternating palmette and lily procession linked by an undulating stem, flanked by two narrow guard stripes of small connected blossoms. The close-up photos show how cleanly the outlines are drawn, a curved line held steady through every turn, which is the test a Tabriz cartoon is judged by.

A Pastel Palette of Cream, Light Blue and Peach

The ground is a warm cream, closer to unbleached linen than to bright white, and it holds the whole rug together. Every motif is outlined in a soft powder to slate light blue, the single strongest note in the rug and the color that carries the border and both guard stripes. Inside those outlines the flowers are filled with pale peach, sand beige and a milky ivory that catches the light where the wool lies against the nap, so parts of the pattern appear and disappear as you walk around it. There is no red, no navy and no black anywhere in the piece, which is unusual for a Tabriz and exactly why it suits rooms built on plaster, oak, linen and stone. If this palette is what you are after, it sits squarely in the family of cream and ivory Persian rugs.

Tabriz: The Weaving City and Its Standard

Tabriz sits in the northwest of Persia and has been the commercial and artistic hub of Persian weaving for centuries, the city that revived the export trade and trained the designers whose cartoons still circulate through the surrounding towns. Weavers there count fineness in Raj, the number of knots across a gereh of about 2.75 in, and a workshop piece like this one is built on a cotton warp and weft with a clipped wool pile, the combination that gives a Tabriz its flat, disciplined surface and its reputation for lying true for decades. Fine curvilinear drawing of this kind only works when the knot count supports it, and the tight, unbroken vine scrolls here show the cartoon was followed closely from one end of the loom to the other.