9'7" x 13' Persian Nain Rug | Ivory & Blue Floral Medallion | Wool & Silk | Excellent Condition

Laid flat, this Persian Nain rug reads as one continuous piece of drawing: an ivory field, a single round medallion, and vine work that never breaks from one end of the 13 foot length to the other. It was woven in the 2000's in fine wool with silk highlights over a cotton foundation, and at 9'7" x 13" of loom width it fills a living or dining room in one piece instead of two compromised smaller rugs. Exact size is 9'7" x 13'. The pile stands full and even, the ends and sides are sound, and the ground holds the soft, faintly warm ivory that Nain weavers are known for rather than a bleached white. If you have been comparing 10x13 Persian rugs, this is a direct comparison piece, and it ships with a certificate of authenticity.

Design and Motifs

The center holds a round medallion built outward from an 8 petal rosette with a burgundy eye and copper petal tips, ringed by blue wedges and burgundy cartouche shapes, then a circle of 8 half-open lotus blossoms in pale blue and sage, and finally a dark outlined rim that separates the medallion from the field. From there the ivory ground carries an unbroken arabesque: curling split leaves, Shah Abbasi palmettes, small carnations and rosettes, all strung on a thin vine that turns rather than zigzags, which is the mark of a drawn cartoon rather than a counted village pattern. The 4 corner spandrels repeat the medallion vocabulary at a smaller scale so the composition closes cleanly on every side. The main border runs on a camel ground with alternating palmettes and scrolling half cartouches, flanked on both sides by narrow reciprocal guard stripes of blue X and dot motifs, and it finishes in a plain ivory outer band that frames the whole rug quietly.

Ivory Ground, Layered Blues and Quiet Accents

The field is a warm ivory, closer to unbleached wool and light cream than to white, and it shifts a shade toward camel and pale honey in the main border, which keeps the two zones distinct without a hard break. Against that ground the blues do the work in at least 3 clear values: a bright sky blue in the smaller flowerheads and guard stripes, a mid teal blue filling the medallion wedges and the larger palmettes, and a near black indigo used only for outlining stems, leaf edges and the medallion rim. Burgundy and deep oxblood appear in small doses, in the rosette centers, the border flowerheads and the medallion cartouches, while rust and copper touch the petal tips and a few leaf spines. A soft sage green turns up in scattered leaves and gives the blues something cooler to sit beside. Buyers working with ivory and beige Persian rugs will find this one bright enough for a dark floor and calm enough for a pale one, and the silk highlights catch light differently as you cross the room.

Nain: The Town and the Weave

Nain sits east of Isfahan on the edge of the central Persian desert, and it was a fine wool cloth town long before it was a rug town. When the local weavers moved to the loom in the 20th century they brought that textile discipline with them and borrowed the curvilinear Isfahan drawing vocabulary, which is why a Nain looks like a workshop piece rather than village work: symmetrical, densely planned, and reliant on a tight enough knot to hold a curved line. The signature technique is visible in the close-up photographs here, where flowers and stems are outlined in silk against a wool ground so the drawing reads crisply from standing height. Wool comes from the surrounding plateau flocks and takes the pale, luminous ivory that Nain is bought for, over a cotton foundation that keeps a rug of this length flat and stable. On a 13 foot piece that structural honesty matters, because the pattern has to stay in register across nearly 100 square feet, and on this one it does.