8'4" x 15'7" Oushak Design Oriental Rug | Rust Field with Sage Green Border | Hand-Knotted Wool from India

This is a long gallery format piece, 8'4" x 15'7", hand-knotted in wool on a cotton foundation and drawn in the antique Oushak manner: a wide open field of soft clay rust, an all-over floral lattice in ivory and pale green, and a generous sage green main border that frames the whole rug. It is a new weaving given a gentle antique wash, so the palette arrives already quiet and settled rather than bright. Sizes like this, well over 15 feet long and just over 8 feet wide, are hard to find on the shelf and usually have to be ordered, which is why long rooms, libraries and double-width hallways end up compromising on fit. This one ships with a certificate of authenticity confirming that it is a genuine hand-knotted rug, and it belongs in the same conversation as other oversize Oriental rugs that have to work as the anchor of an entire room.

Design and Motifs

The field carries an all-over pattern rather than a central medallion, which is exactly what you want in a room this long: the drawing reads evenly from either end and nothing sits awkwardly under a sofa or a dining table. Broad serrated leaves, split palmettes and 8 petal rosettes repeat along thin vine stems, with small cross-shaped fillers scattered between them to keep the open ground from going flat. Both ends close with a pair of large scrolling cloud-band brackets in gold and ivory, a detail borrowed straight from old Anatolian Oushak weaving. The main border runs a continuous procession of angular palmettes and hooked leaf forms, flanked by narrow guard stripes of small rosettes and reciprocal trefoils, and the corners resolve cleanly without the pattern being chopped. Close up, the outlines are drawn in apricot and rust against pale ground colors, a soft-contrast approach that makes the whole rug look older than it is.

A Clay Rust Field Framed in Sage Green

The field is a muted rust, closer to clay or terracotta than to brick red, with a faint salmon cast where the light catches the pile and a warmer brown tone where it falls away. Against it, the ornament is worked in oyster ivory, pale celadon and a soft sage green, with occasional touches of butter gold and burnt apricot that supply the only real color accents in the rug. The main border shifts to a dusty sage green, cooler and grayer than the greens in the field, and that shift is what gives the rug its structure from across the room. Inner and outer guards run in cream, camel and a pale blush that repeats the field tone at half strength. It is a low-contrast, tone-on-tone palette that works with warm neutrals, walnut and oak floors, aged leather, linen upholstery and plaster walls, and it does not fight with whatever art is already on the walls.

Hand-Knotted in India in the Oushak Tradition

This rug was made in India, and that is a mark in its favor: India is where most of the world's good contemporary hand-knotted work is now produced, with weaving centers that train on classical Anatolian and Persian drawing and have the looms to handle a piece 15'7" long without the width drifting. The back, shown in the fold photograph, is even and legible, with each knot visible in the weave and the ivory cotton warps running straight out into a plain fringe. The pile is full-bodied wool with a soft handle and a quiet sheen, tightly packed enough for a busy room yet still supple enough to roll and turn. If you are weighing how a piece like this compares with a village or workshop weaving from Persia, our guide to what separates a Persian rug from an Oriental rug sets out the differences in origin, drawing and construction in plain terms.