This rug has a floral design with strong Isfahan influences. The manner in which the botehs are displayed is a common feature in many villages of Chahar Mahal va Bakhtiyari.

A three dimensional effect is created by the placing of one boteh outline behind another with the hooks at their tops bent in opposite directions. This treatment is called ‘boteh sar kadj’. I have tentatively attributed this rug to the village of Boldaji based on its structure, design and tonality.

As mentioned, there are numerous Isfahan design influences. There is the clear, well-ordered layout of the leaves and flowers typically called ‘Shah Abbas’ palmettes in western rug literature. These ‘palmettes’ are actually stylizations from Chinese lotus or peony patterns. One also sees Isfahan influence in the tendrils called islimis. Here, the islimis unfurls over the ground in a perfectly balanced  and finely graduated stem-and-branch format.

There is a wide range of vibrant and deeply saturated color. The golden-yellow ground provides a stunning palette upon which to display the floral composition.