Cream and Red Hooked Medallion Kilim, Hand-Woven Wool
Cream and Red Hooked Medallion Kilim, Hand-Woven Wool
Cream and Red Hooked Medallion Kilim, Hand-Woven Wool
Cream and Red Hooked Medallion Kilim, Hand-Woven Wool
Cream and Red Hooked Medallion Kilim, Hand-Woven Wool
Cream and Red Hooked Medallion Kilim, Hand-Woven Wool
Cream and Red Hooked Medallion Kilim, Hand-Woven Wool
Cream and Red Hooked Medallion Kilim, Hand-Woven Wool
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Cream and Red Hooked Medallion Kilim, Hand-Woven Wool

In Stock
通常価格¥500,000
/
税込。 送料は会計時に計算されます。
Size
Color
Rug material

Only one available — one-of-a-kind.

A finely hand-woven kilim from Afghanistan, made in 100% hand-spun wool. A cream-camel field carries a large hooked medallion drawn in madder red, navy and rose, surrounded by scattered stars, combs and small geometric devices, all worked in soumak embroidery over the flat-woven ground.

Deep multi-band borders in cream and red frame the field, with a row of stylised trees running across the lower panel and broad red and green stripes closing the ends before the fringe. Being a flatweave it is thin, light and reversible. A one-of-a-kind piece.

  • Origin: Afghanistan
  • Type: Kilim, hooked medallion design with soumak embroidery
  • Material: 100% wool
  • Size: 188×258cm (Medium Rugs (5x8 - 6x9))
  • Colour: Cream camel field with madder red and navy medallion
  • SKU: NSK91136
  • One-of-a-kind: yes

Material: 100 percent hand-spun wool, flat-woven with soumak embroidery. No pile.

Care instructions

  • Always use a rug pad underneath — a flatweave slips easily without one.
  • Vacuum gently with the beater bar off.
  • Turn the kilim over every year — it is reversible and wears evenly if used both sides.
  • Blot spills immediately, working from the outside in. Pale grounds mark more readily than dark ones.
  • Have the kilim professionally cleaned when needed — never machine wash.

Most flatweaves in this tradition fill the field with bands and leave it at that. This one commits to a single large medallion instead, hooked along every edge and set on an open cream ground, which is a harder thing to bring off: with no banding to carry the eye, the drawing has to hold the centre on its own. Around it the weaver has scattered small stars, combs and hooks, the sort of filler motifs that get worked in as the weaving grows rather than planned from the start. A row of stylised trees runs across the lower panel. The cream ground is spun from undyed wool, which is why it reads warm rather than white and why the madder red sits against it so comfortably.

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