Red and Salmon Turkmen Gül Bokhara, Hand-Knotted Wool Rug
Red and Salmon Turkmen Gül Bokhara, Hand-Knotted Wool Rug
Red and Salmon Turkmen Gül Bokhara, Hand-Knotted Wool Rug
Red and Salmon Turkmen Gül Bokhara, Hand-Knotted Wool Rug
Red and Salmon Turkmen Gül Bokhara, Hand-Knotted Wool Rug
Red and Salmon Turkmen Gül Bokhara, Hand-Knotted Wool Rug
Red and Salmon Turkmen Gül Bokhara, Hand-Knotted Wool Rug
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Red and Salmon Turkmen Gül Bokhara, Hand-Knotted Wool Rug

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 deep red field carrying a single column of Turkmen güls in cream, salmon, sage and near-black, each closed by a heavy unbroken dark outline. Small cream and black devices flank them at both field edges. Wide multi-band borders carry rows of star-güls in cream and salmon with narrow guards of beads and hooked repeats, and both ends close with a bold zigzag panel. Cream fringe at both ends.

Hand-knotted in wool. The drawing here is heavily outlined: measured across the whole rug, close to a fifth of the surface is dark wool, and most of it is doing the work of enclosing shapes rather than filling them. At 70×136cm this is a small rug, suited to a bedside, an entrance or a galley kitchen. A deep red ground is among the most forgiving colours a rug can have.

  • Type: Hand-knotted pile rug
  • Material: 100% wool
  • Design: Turkmen gül Bokhara, single-column field
  • Size: 70×136cm (2'4"×4'6") — Extra Small
  • Colour: Red and salmon, with cream, sage and black
  • SKU: XF 11817
  • One-of-a-kind: Yes

100% wool pile, hand-knotted, with a natural fringe at both ends. At this size the rug is light enough to lift and shake out, which is the easiest way to keep it clean.

A deep red ground is among the most forgiving colours a rug can have and hides everyday marks well. The cream in the güls and border stars is the vulnerable colour — it is the palest thing here and the first to grey. The heavy dark outlining is an advantage in wear terms: it holds the design legible even as the paler colours soften.

This rug is drawn with an unusually heavy hand. Measured across the whole surface, about eighteen per cent of it is dark wool — nearly one knot in five — and very little of that is filling shapes. It is almost all outline: a thick continuous contour closing each gül, another around every star in the border, another edging each band. Nothing is left to be defined by where one colour stops and the next begins.

Outlining this heavily has a specific effect. Each gül becomes a closed object sitting on the red rather than a pattern emerging from it, and because the contour never breaks, the eye reads the emblem as a single shape before it reads anything inside. That is why the rug looks bold and legible from the far side of a room despite the small motifs within each gül being intricate — the outline carries at a distance, the detail rewards you close up. It also makes the field feel more open than it is: the more sharply each gül is bounded, the more clearly the red between them registers as space.

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