6' x 6'2" Round Oriental Rug | Black All Over Floral Field, Burgundy Border | Fine Wool & Silk

A true circle is harder to weave than a rectangle, and this one holds its shape cleanly: a 6' x 6'2" hand-knotted round with a jet black field, a deep burgundy border and an ivory cotton fringe finished all the way around the perimeter. The pile is wool carried on a cotton foundation, with silk highlights that catch the light in the ivory and rose blossoms, and the surface has been clipped low so the fine drawing stays readable from standing height. It has never been used, and it ships with our certificate of authenticity confirming it as a hand-knotted piece. Among round Oriental rugs this is the useful size, big enough to sit under a 48 inch pedestal table with chairs pulled out, small enough for a foyer or a bay window.

Design and Motifs

The field is a classic all over floral, with no medallion to anchor it. Thin burgundy vines climb and cross the black ground, carrying large ivory rosettes, split palmettes, lotus blossoms and tight clusters of 4 and 5 petal buds, each one outlined and shaded so the flower reads as a layered form rather than a flat shape. Narrow sage green leaves spring from the vine joints and give the whole field its movement. Look at the close-up and you can see the detailing: a single blossom may carry ivory petals, a rose heart, a slate blue fleck and a burgundy outline inside an inch of space. The drawing mirrors across the vertical axis, a workshop convention that keeps a circular field balanced from every seat around the table. The main border is a wide burgundy band of flowering stems and serrated leaves, framed on both sides by sage green guard stripes of small 8 petal rosettes, then by fine ivory pearl bands, with a plain black outer edge closing the circle before the fringe.

Black, Burgundy and Ivory in Detail

The black ground is genuinely dark rather than charcoal, which is what makes the rest of the palette work: ivory and cream read bright against it, and the silk highlights look almost lit from inside. Against that field sit soft rose and salmon, antique gold and wheat, a muted slate blue in the flower centers and a grey green in the foliage, all low in saturation so nothing shouts. The main border shifts to a deep wine burgundy, closer to oxblood than to tomato red, and the sage green guard stripes act as a cool buffer between the two strong tones. The ivory warp fringe and the ivory pearl banding keep the outline of the circle crisp. In a room this reads as a dark, formal rug that still throws light, and it sits comfortably with walnut and oak floors, black lacquer, brass and cream upholstery. Please note that the studio photograph reads a touch lighter and warmer than the floor photographs, which are truer to the rug in daylight.

Made in China: Workshop Weaving in the Traditional Oriental Idiom

This is honest workshop production from China, where weavers have long interpreted classical floral layouts for export, and it is the kind of piece people mean when they ask what separates an Oriental rug from the named city weaves. Everything here is done by hand: each knot tied individually on a cotton warp, the circle built up row by row on a loom with the width changing on nearly every pass, which is the real test of a round. The weave is tight and even, the back shows small regular knot nodes, and the selvedges are overcast in black and follow the curve without puckering. A clipped low pile of that density is what allows the small outlined blossoms and the 1 to 2 knot leaf stems to hold their shape instead of blurring. You can see the scale in the last photograph, where a 12 inch ruler spans the border and the 3 guard stripes together. For a buyer who wants the look of traditional hand-knotted Oriental rugs in a round format, in unused condition, this is a lot of weaving for the money.