How Persian Rugs Are Woven — The Difference Between Persian and Turkish Knots

Entering the Qum workshop, the first sound you hear is a soft "click, click." It's the sound of an iron comb beating down the knots. This is followed by the "snip, snip" of scissors cutting the threads. As you listen to this rhythm, your eyes naturally fall on the weaver's hands.

One day, I sat beside a veteran female weaver and watched her hands. She said to me, "Watch this knotting technique," and slowly moved her fingers. She hooked the thread onto a warp, pulled it up from below, and then pulled it out again from behind the adjacent warp. Each knot involved three movements of her hands.

Persian rugs are textiles made by hand-knotting each thread individually. However, there are two main methods of "knotting." Even with the same hand-weaving, a different knotting method changes the rug's appearance, feel, and how it ages over time.

Persian Knot — Creating Beauty in Flow with a Single Knot

The Persian knot is a method where the thread is wrapped around only one warp thread. It is also known as the "Senneh knot" or "single knot," and is widely used in production areas specializing in silk and intricate rugs, such as Qum, Isfahan, and Nain.

A characteristic of this knotting method is its ability to achieve high knot density. Since the thread is wrapped around only one warp thread, the distance between adjacent knots can be minimized. High-density Qum rugs with 1 million, or even 1.2 million knots per square meter, are almost all made with Persian knots.

Another characteristic is the freedom to express curves. Because the knots are small and can be placed flexibly, flowing floral vines, animal outlines, and delicate calligraphy can be woven smoothly. I believe that the reason Qum rugs are called "like paintings" is largely due to the benefits of this knotting method. Almost all of the works you can see in the Qum Silk Collection are examples of Persian knotting.

Turkish Knot — Creating Durability with a Double Knot

The Turkish knot is a method where the thread is firmly tied around two adjacent warp threads. It is also known as the "Ghiordes knot" or "double knot." It is frequently used in wool rug production areas such as Tabriz, Hamadan, and Heriz, as well as in Turkish and Caucasian rugs.

The biggest advantage of this knotting method is its durability. Since the knot embraces two warp threads, it is less likely to come undone even when stepped on or pulled. For practical rugs or rugs placed in high-traffic areas such as hallways or entrances, the Turkish knot is more suitable.

On the other hand, since the knots are somewhat larger, it is not suitable for extremely high densities or delicate curve expressions. Nevertheless, the power of the patterns and the presence of the colors as solid blocks have a charm that the Persian knot does not.

You Can Tell the Knotting Method by Looking at the Back

When you flip a rug over, you can see the shape of the knots directly. With the Persian knot, only one side of the knot is raised, while the warp threads are visible through the other side. With the Turkish knot, the knots are arranged symmetrically on both sides of the warp threads.

Once you get used to it, you can tell just by looking at the back, "This must be Qum," or "This might be Tabriz." When I talk to artisans in the Qum market, it's my habit to first turn the rug over and check this shape.

Distance Woven in a Day

Returning to the topic of knotting methods, another important aspect is "speed." Even for skilled Qum weavers, on high-density silk rugs, only a few centimeters can be woven in a day. For a rug with 1 million knots per square meter, it is said that about 5,000 knots per day is the limit.

Assuming a living room size of 2 meters by 3 meters, that's a total of 6 million knots. By simple calculation, it would take one weaver over 3 years to complete. Sometimes the weaver changes midway, or rugs are given up unfinished due to marriage or family circumstances.

The reason Qum rugs are expensive is precisely this time. It's not just about material costs or sourcing channels, but because several years of one person's concentration are poured into a single piece. The Jamshidi Workshop piece in the video, with its natural dyes, took 18 months to weave. Comparing the daily progress with the sheer volume of the finished piece, you might get a more concrete sense of the weight of time.

One is Not Superior to the Other

Neither the Persian knot nor the Turkish knot is inherently superior. Each simply has its own strengths in expression and suitable uses.

If you want to enjoy the splendor of intricate floral patterns or court designs, choose the Persian knot. If you are looking for rustic, powerful ethnic designs, or practicality for everyday use, choose the Turkish knot. I think considering the flow of traffic in your home and how often you will touch it will lead to a choice you'll regret less.

At Golestan, when you view a rug in person, we are happy to show you the back if you wish. The honesty of the weaver's handiwork, which cannot be conveyed by the front design alone, is revealed there.

View Works by Knotting Method

The Qum silk rugs handled by Golestan are examples of the Persian knot as introduced. Since each workshop has its own style and knot appearance, we recommend looking at the workshops that interest you first.

• Jamshidi Family Collection — Natural dyes from the main Mohammad lineage, court designs from 3 branch lineages. Includes the highest density weaving you saw in the video.
• Mirmahdi Workshop Collection — Pale pastel base of Safavid designs, characterized by signatures at both ends.
• Arbalu Workshop Collection — Precision style with dome patterns, also great for an introduction starting with a doormat.
• List of Qum Silks — For when you want to choose by material regardless of the workshop.

Please feel free to contact us with any questions about knotting methods or weaving, or if you wish to see the back of a physical piece. You may also find our List of Handled Workshops helpful, which provides an overview of the differences in style between workshops from the owner's perspective.