The enchanting beauty of Persian Heriz rugs is woven not just with wool and dyes but with the soul of their master weavers. These rugs hail from the slopes of Northwest Iran and carry a rich heritage.

Artisans in the Heriz region—often called “memory weavers” (Zehni Bāfān in Persian)—create intricate Lachak-Toranj (corner-and-medallion) designs purely from memory, without any full-scale diagrams. This unique method means each Heriz rug is a one-of-a-kind masterpiece, blending tradition with the personal touch of the weaver.

Let’s delve into what makes Heriz carpets so special: their origins, their crafting techniques, design elements, and the challenges they face today.

 

Mount Sabalan in Northwest Iran, an iconic peak that watches over the Heriz rug-weaving villages. The rugged landscape and rich natural dyes of the region contribute to the character of Heriz rugs.

 

Heriz Rugs: A Name as Majestic as Mount Sabalan

 

Nestled in the East Azerbaijan province of Iran, the town of Heriz has become renowned for its durable and artful rugs. Rug making here isn’t merely a craft—it’s a centuries-old tradition passed down through generations.

Each rug reflects not only Iranian aesthetic ideals but also the personal creativity and local culture of its weaver. Interestingly, because many Heriz weavers work from memory rather than detailed patterns on paper, factors like the weaver’s environment, age, gender, social conditions, and beliefs subtly influence the final design.

The result is a tapestry of diverse yet harmonious patterns that continue to captivate collectors worldwide.

 

Heriz sits not far from the great Mount Sabalan, whose presence is often cited as an inspiration. Just as Sabalan’s slopes are layered with mineral-rich soil (yielding vibrant dye ingredients) and dotted with hardy plants (inspiring stylized motifs), Heriz rugs are known for their vibrant colors and robust character.

This region’s history of rug weaving likely dates back to at least the early 19th century, possibly earlier. Over time, Heriz became famous for a particular style of rug that combined village charm with grand medallion designs sought by international markets.

 

One fascinating aspect of Heriz weaving is the way designs were introduced. According to rug expert Cecil Edwards, in the late 19th century merchants from the nearby city of Tabriz realized that Western customers preferred large central medallions over the small repetitive motifs common in village rugs .

They provided sample patterns (and perhaps commissions) to villages like Goravan, Bakhshayesh, and Heriz, encouraging weavers to adopt the Lachak-Toranj (medallion-and-corner) layouts.

The local weavers adapted these grand designs in their own rustic, geometric style—thus was born the classic Heriz carpet look.

In fact, in earlier times some Heriz-area workshops even produced exceptionally fine silk rugs. Those pieces were so exquisite they were occasionally mistaken for the work of master weavers from Tabriz! This speaks to the high level of artistry found in Heriz despite it being a rural production.

 

Map showing East Azerbaijan province, home to Heriz and the surrounding villages known for rug weaving. Proximity to Tabriz influenced Heriz designs, while relative isolation helped preserve their distinctive geometric style.

 

 

The Heritage of Persian Heriz Carpets

 

Persian Heriz carpets are celebrated for their robust construction and longevity. Unlike the delicate silk city rugs, a wool Heriz is made to last for generations. They have a heavy, durable handle—one can feel the solidity underfoot.

Yet, despite their high quality and enduring charm, Heriz rugs historically remained more affordable than finer city carpets, which helped spread their popularity in Europe and America during the late 19th and early 20th centuries.

Heriz rugs were (and still are) beloved as striking village-woven carpets that can withstand heavy use and still grace a room with rich color.

 

Rug weaving in the Heriz area likely took off around the time when Persian carpets became global commodities (late 1800s). As Cecil Edwards noted, Tabriz merchants helped introduce the medallion patterns to Heriz-region weavers.

The villagers’ interpretation of these patterns gave us the signature Heriz style: a large geometric medallion often with boldly drawn appendages, corner spandrels echoing parts of the medallion, and borders filled with stylized foliage.

Over time, specific local sub-styles emerged. For instance, nearby villages like Goravan, Bakhshayesh, Mehraban, Sharabian, and Qarajeh (Karaja) all produced rugs similar to Heriz but with their own quirks (different color emphases or motif preferences).

These are often collectively referred to in the market under the Heriz/Serapi umbrella, with Serapi usually denoting the oldest, finest 19th-century examples with a particularly harmonious color palette.

Read more: What is the meaning of Serapi in Persian?

 

In previous eras, as mentioned, some weavers even made silk Heriz rugs. Their craftsmanship was so masterful that at times such rugs were attributed to the famous silk workshops of Tabriz.

This is a testament to the skill present in this region. While wool Heriz carpets remained the main output, the ability to weave fine silk pieces demonstrates the range these weavers had.

 

  

 

 

The Unique “Handkerchief” Patterns (Cheshni) of Heriz Weaving

 

How do Heriz weavers create such complex designs from memory? They often rely on a few ingenious methods of pattern transmission:

 

1. Nāqshe (Cartoon) – In some cases, detailed designs are drawn on graph paper, which the weaver follows knot by knot. This method ensures precision in motifs and is used for more curvilinear designs or when an outside design is introduced. However, among village weavers this was less common historically due to limited access to drawn cartoons.

2. Ornak (Sample) – A small woven sample or an existing rug is hung near the loom. The weaver looks at this piece for reference, copying motifs into the new rug. It’s like having a visual guide to replicate certain elements, though the overall composition might still be tweaked.

3. Cheshni (Memory “Handkerchief” patterns) – The most intriguing method: small cloth templates, often less than 12×12 inches, with ink-drawn sketches of motifs. These cloth pattern guides (sometimes nicknamed “handkerchiefs”) contain curvilinear doodles of a medallion quarter or a border fragment. When translated into the rug’s grid by the weaver’s hand, these fluid sketches turn into the angular, rectilinear forms characteristic of Heriz rugs. Essentially, the weaver captures the spirit of the drawn motif but renders it in straight lines and angles due to the nature of hand-knotting. This blend of fluid artistry (in the sketch) with the geometry imposed by the craft gives Heriz carpets their wonderful balance between structure and spontaneity.

 

The use of Cheshni templates is a dying art. It required great skill to convert a freehand sketch into a large carpet without losing proportion. A miscalculation could mean the medallion ends up off-center or corners don’t align. That Heriz weavers did this routinely, and often without any sketch at all (just in their mind’s eye), speaks volumes about their expertise.

 

A flat-woven Soumak rug with a Heriz design (NW Persia), from Rug the Rock Collection.

 

Characteristics of Heriz Rugs

 

Several technical features define a genuine Persian Heriz rug:

 

• Construction: Heriz rugs are typically double-wefted and heavy. They have a cotton foundation (warp and weft threads are cotton for strength) and a high, sturdy wool pile. Weavers in Heriz use the symmetrical Turkish knot (Ghiordes knot), tying each knot around two warp threads. This knot type, combined with moderate knot density, contributes to the celebrated durability of Heriz carpets. These rugs are famed for “wearing like iron.” It’s not unusual to find a 100-year-old Heriz that’s been in use on a floor all century and still has plenty of pile left.

 

• Knot Density: While finer city rugs like Isfahans or Nains boast very high knot counts, Heriz rugs have a coarser, more rustic knot density. Most wool Heriz rugs feature about 20 to 30 rājes (knots per 7 cm) horizontally, which roughly translates to 50–120 knots per square inch. Silk or exceptionally fine Heriz pieces could reach 50–60 rājes (which is extraordinarily fine, on the order of 300–450 knots per square inch) , but those are rare historical examples. Typically, a good wool Heriz might be in the ballpark of 9×9 to 10×10 knots per square inch (~80–100 kpsi). What Heriz may lack in fineness of weave, they make up in boldness of design and quality of wool.

 

Note: The term “Raj” is a Persian measure indicating knots per 7 cm; it’s commonly used in Iran to denote fineness. To roughly convert rājes to knots per inch, you can divide the raj count by 7 (to get knots per cm) then multiply by 2.54 (to get per inch), and square for per square inch. However, actual knot density can vary slightly vertically vs horizontally, so these conversions are approximate.

 

• Size and Format: Most Heriz rugs made in the 20th century are large room-size carpets, reflecting Western demand for dining and living room rugs. Common dimensions are around 6.5×10 feet (2×3 m) or 8×11.5 feet (2.5×3.5 m). Oversize carpets (e.g., 10×14 feet or larger) were also woven for export, although extremely large pieces were less common. Small rugs or runners exist from the Heriz area but are relatively rare (neighboring Karaja, however, produced many runners with Heriz-like designs). Heriz and surrounding villages adapted to whatever sizes the market requested, which is why you don’t see as many scatter-size Heriz rugs—there wasn’t as much demand for them.

 

• Texture: The wool used in Heriz rugs is often of highland quality—robust and somewhat thick. The pile is usually cut medium to high, giving a plush feel and a forgiving surface (tracks from footsteps or furniture are not very visible on a Heriz). The combination of strong wool and heavier weave is one reason Heriz carpets are so long-lasting. Historically, some weavers in this region even incorporated imported Manchester wool (merino) in late 19th century pieces, which is why those antique Heriz (often called Serapi rugs) have such a lustrous, soft pile.

 

• Similar Weaving Centers: As mentioned, Heriz rugs are part of a broader tradition of Northwest Persian village rugs. Villages like Mehraban and Sharabian weave rugs nearly indistinguishable from Heriz. Goravan rugs tend to be slightly more coarse and with simpler medallions. Bakhshayesh produced earlier antique carpets that are highly prized for their grand, spacious designs and lighter, natural palettes (often with large primitive medallions and open fields). Qarajeh (Karaja), a village north of Heriz, is known for runners featuring a triple medallion design (often three geometric medallions in a row, different from the usual one medallion format). All these fall under the Heriz style family due to shared techniques and motifs.

 

A Gorevan Heriz from the Rug the Rock Collection, showing a bold medallion and corner pattern.

 

 

Designs and Motifs of Heriz Carpets

 

The signature look of a Heriz rug is the Lachak-Toranj design, which means “Medallion with Corners.” Typically, a large geometric medallion dominates the field, often stretching almost to the rug’s borders, while each of the four corners (lachaks) carries a quarter-medallion or other motifs that echo elements of the central medallion. The result is a balanced, harmonious composition that nevertheless feels bold and graphic.

In local terminology, this geometric medallion style is sometimes called “Gosheh-Golab” or “Gosheh-Gobak” (which roughly refers to stepped or broken corners). The medallion is usually an eight-pointed or star-shaped figure, often with protruding latch-hook or serrated edges. It may contain one or more sub-medallions or a central rosette inside. The corners usually repeat a part of the medallion’s outline, giving the appearance that the medallion is so large it’s peeking out from behind the borders.

Common design names and variations in Heriz rugs include:

 

• Ghach Khatun (also called Dash Khatun): A design featuring a prominent medallion on an open (mostly unadorned) field. “Dash Khatun” in local dialect implies a relatively sparse field with the medallion as the star attraction.

• Haj (Hajj) Azimi: Notable for its lozenge-shaped medallion. This pattern is often associated with a particular master weaver or workshop. The medallion is elongated into a diamond form with floral vinery filling it.

• Yeddi Gol (“Seven Flowers”): As the name suggests, it showcases seven distinct floral motifs, usually one central flower and six around it, or a motif repeated seven times. Sometimes this appears as a medallion with six palmettes around a central flower. The term mixes Azeri Turkish (“yeddi” = seven) with Persian (“gol” = flower), reflecting the cultural blend in the region.

• Sabouri and Esmaeil Beg: These patterns are named after either local designers or influential figures. They feature unique medallion shapes or arrangements of motifs that set them apart. If a rug is referred to as “Sabouri design,” for instance, it likely follows a template made famous by a weaver or family by that name.

• Pasha Pash (All-over): This is a departure from the usual medallion format. “Pasha Pash” denotes an all-over design with no central medallion, often a repeating lattice or Herati (fish) pattern covering the field. Such rugs are less common from Heriz but do exist, particularly earlier 20th-century pieces influenced by Persian city carpets.

• Tājeri (Stepped Corner): Incorporates stepped angular forms in the corners of the field. This might refer to a design where the corner spandrels have a tiered, stair-like outline (instead of the usual curved quarter-medallion).

• Samad Khani: This pattern features a round or circular central medallion with very elaborate detail, often with multiple concentric layers and intricate filler motifs. The borders and field in a Samad Khani design are highly decorative. The name likely comes from a notable weaving workshop or individual (Samad Khan) known for this design. Rugs with this design tend to be exceptionally striking and are sometimes larger, almost to showcase the complexity.

 

An oversized “Samad Khani” design Heriz from Rug the Rock Collection. Note the semi-geometric large medallion with curvilinear accents, showing the fusion of structural and artistic elements. Rugs like this exemplify how Heriz weavers imbued their own creativity into the classic medallion layout. Samad Khani Design Heriz from Rug the Rock Collection

 

 

Border Designs: Heriz rugs have wonderful border patterns that often rival the field in artistry. Two famous border styles deserve mention:

 

• Samovar (Turtle) Border: This main border pattern is characterized by large, stylized motifs that to some eyes resemble a samovar (the classic urn-like teapot) or sometimes turtles (hence the Western nickname “turtle border”). Essentially, they are heavily stylized palmette or rosette forms with curved petals and attached serrated leaves, spaced evenly around the border, usually alternating orientation. In folklore, some say the samovar motif symbolizes hospitality (as a samovar serves tea) or longevity (as a turtle). In any case, it’s a bold, attractive border often seen in Heriz carpets.

• Balik Shah-Maama (Fish and Large Flower) Border: Balik means “fish” in the local Azerbaijani language, and Shah Maama can be interpreted as “large candle” or perhaps a colloquial term for a type of large blossom. This border features leaf motifs that have a fish-like shape (often curved, pointed leaves) combined with large round flower heads. The interplay of the “fish” leaves and big rosettes creates a lively, flowing border. It’s visually appealing and somewhat unique to Northwestern Persian rugs. This could be considered a variation on the classic Herati border (which has small fish around a flower), but in Heriz the scale is enlarged and simplified, making it “Balik-Shamaama.”

 

 

A Balik Shamaama (fish and flower) border design on a Heriz rug. Notice the fish-like curling leaves (in blue) and the large round floral rosettes.

 

 

Color Palette

 

One of the first things that attracts people to Heriz rugs is their glorious color palette. These rugs are world-famous for rich, saturated colors achieved with natural dyes. Traditional Heriz colors include:

 

• Deep Reds and Rusts: Red in all shades from soft terracotta to rich wine is common, often used as the field background or in the medallion. These reds come from madder root and, in older pieces, possibly augmented by cochineal insect dye (giving a brighter crimson). Heriz reds have a depth and warmth that anchor the design.

• Various Blues: Ranging from dark navy indigo to lighter denim blue and turquoise. It’s typical to have a navy blue border if the field is red, or a deep blue medallion on a lighter ground. Light blue and turquoise might highlight flowers or outlines. Indigo dye (from the indigofera plant) provides the durable blues, while mixing indigo and other dyes yields teal or greenish-blue hues.

• Ivory and Earth Tones: Ivory (undyed or minimally dyed wool) is used for contrast in motifs or sometimes as the background in corners or smaller medallions. You’ll also see camel/beige (from walnut husk dye or naturally brown wool) and golden yellow (from plants like weld or pomegranate rind). These lighter tones balance the stronger colors and add visual relief.

• Accent Colors: Black is often used sparingly to outline motifs or in tiny details; bright yellow or orange might appear in small flower centers (often from mixing dye or using saffron or tamarisk-based dyes). Greens (which in old Heriz rugs are usually a soft olive or pistachio tone) come from over-dyeing yellow with blue. Pink (light to dark rose) sometimes appears as well, which could be a madder dye diluted or treated (some older Heriz and Serapi have lovely pinkish-salmon shades achieved by “kheft rang” or whey-soaking technique to soften reds).

 

Typically, a classic Heriz rug has a brick red or terra cotta field with a dark blue border. Alternatively, some have a deep blue field with a rust red border. Ivory is frequently used in corner spandrels or as an outline color to make the designs pop. Green and yellow are usually secondary—used in smaller quantities to highlight leaves or minor ornaments, which is why genuine older Heriz rugs often have just a touch of green or yellow that draws the eye.

The use of natural dyes means these colors not only start out beautiful but also age gracefully. Over time, the hues mellow slightly and develop what collectors call an “abrash” (subtle variation in tone) which adds depth and character to the rug.

For example, a blue background might gently shift shades across the rug if the weaver changed to a new dye lot of indigo-dyed wool mid-weaving. This isn’t a flaw but a charming characteristic of hand-dyeing.

 

A Fading Tradition

 

Though Persian Heriz rugs have captured hearts worldwide, their traditional production is unfortunately dwindling in the 21st century.

In Iran, younger generations in villages are less inclined to pursue carpet weaving, which is labor-intensive and not as financially rewarding as other opportunities. Many master weavers have grown old or left the loom, and fewer apprentices are taking their place. This means authentic new Heriz rugs are becoming rarer.

The market has responded with replicas woven in countries like India or Pakistan, which imitate Heriz designs. While some of these reproductions are decent rugs, they often use chemically dyed wool and shortcuts in weaving (lower knot counts, less durable wool, machine-spun yarns, etc.). They also lack the intangible cultural knowledge that a true Heriz weaver pours into the carpet—those little personal touches and the understanding of how colors will mature, for instance, are hard to replicate in a factory-style production.

 

What makes a genuine Heriz rug irreplaceable is the authenticity of its creation. The designs mirror the cultural heritage and beliefs of local Azeri-Turkish artisans. Motifs might have symbolic meanings passed down through folklore (a hooked leaf might ward off the evil eye, a stylized flower could represent fertility and abundance). The emotion and artistic essence in each rug—whether it was woven for a daughter’s dowry or to fulfill an order by a Tabrizi merchant—is genuine.

This is why connoisseurs still seek out vintage or antique Heriz rugs and why a well-preserved 100-year-old Heriz can command high prices at auction.

 

If you’re looking to purchase a Heriz, it’s wise to consult experts or reputable dealers who can distinguish between an Iranian Heriz and a copy.

Authentic Heriz carpets, especially older ones, are highly sought-after investments not just for their beauty but for their cultural value.

 

An Azerbaijani weaver at work in East Azerbaijan, Iran. She skillfully knots wool yarns on a vertical loom to create a Heriz rug, preserving an age-old craft. Such scenes are increasingly rare, as weaving traditions face pressure from modernization.

 

 

Conclusion

 

Persian Heriz rugs are far more than floor coverings; each piece is a tapestry of imagination and skill. From the craggy slopes of Mount Sabalan to the homes of admirers across the world, these rugs carry a legacy. The weavers of Heriz imbue their carpets with personal stories and community traditions. One can sense, in the bold geometry and harmonious colors, the identity of a people who value both endurance and beauty.

The durability of Heriz rugs is legendary, but so is their artistry. The distinctive medallion-and-corner layouts and sparkling colors bring a touch of Persian elegance to any space, transcending time and trends.

If you’re interested in learning more about other Persian carpets, be sure to explore our article on various Types of Persian Rugs for a broader context, or check out this insightful BBC article on the timeless appeal of Persian rugs. And if you’ve fallen in love with the Heriz style, browse our collection of authentic Heriz rugs to find a piece that resonates with your sense of history and style.