7'5" x 10'9" Persian Tabriz Khoy Rug | All-Over Vase & Flowering Tree Design | Red Field

This 7'5" x 10'9" rug comes out of Khoy, one of the weaving towns that works inside the tradition of Persian Tabriz rugs, and it is drawn as a garden rather than a medallion piece. Twelve flowering vases march up the brick red field in staggered rows, alternating rounded blossoming trees with tall navy sprays, each vase flanked by a pair of slender white birds. The wool pile stands a full 3/8" high, the handle is firm on its cotton foundation, and the condition is excellent, with even pile from end to end and no thin areas in the photographs. It is a genuinely usable room size at just under 8 by 11 feet, and it ships with a certificate of authenticity documenting origin, materials and hand-knotted construction.

Design and Motifs

The field is an all-over repeating design built from two alternating plants. One is a domed blossoming tree, its canopy filled with small blue flowerheads and set inside a faint ivory arch; the other is a tall indigo spray of curved fronds rising from a striped, footed vase with a yellow blossom at its heart. Long-legged white birds stand in pairs at the base of each plant, and shaded boteh paisleys, small ivory diamond rosettes and grey-blue horizontal flower plaques fill the ground between the rows, which is what keeps the repeat from reading as a plain grid. The border system runs five bands deep: a burgundy inner stripe with ivory florets, an ivory guard of trailing vine, then the wide teal main border carrying salmon palmettes, white 5 petal rosettes and upright cartouche motifs, followed by a second ivory vine guard and a burgundy outer stripe. Ends finish in the original ivory fringe.

A Rose Red Field Against Teal Blue Borders

The ground is a soft brick red that leans rose in strong light, with gentle abrash across the width where the dye lots shift, the mark of hand-dyed wool rather than a printed tone. Against it the main border reads a clear teal blue, cooler and lighter than the deep indigo used inside the plants, so the rug frames itself instead of blurring at the edge. Ivory carries the drawing: the arches, the birds, the vine guards and the small connective rosettes are all outlined in cream, which is why the pattern stays legible from standing height. Accent colors are used in small, repeated doses, salmon pink in the border palmettes, sage and olive green in the leaves, mustard gold at the flower centers, deep burgundy in the outer stripes and charcoal navy in the vase bases. The overall effect is warm and red-dominant on the floor, with enough blue and ivory to sit comfortably with navy, cream or walnut furniture.

Khoy Weaving in the Tabriz Tradition

Khoy lies in the far northwest of Persia, west of Tabriz across the highlands, and its weavers work to Tabriz drawing conventions using the symmetrical Turkish knot on a cotton warp and weft. The wool from that high country is coarse in the best sense, springy, lanolin-rich and slow to crush, which is why a Khoy piece takes a 3/8" pile and holds it under furniture. Weavers here are known for the vase and tree repeats rather than the fine curvilinear medallions of the city workshops, and the knot count is set to serve that vocabulary: dense enough to render the birds, the arches and the boteh cleanly, robust enough to be walked on daily for decades. Look at the border corners in the detail photographs and you can see the pattern resolved properly at all 4 corners, the drawing turned rather than cut off, which is the sort of loom discipline that separates a workshop weaving from a quick village copy.