Tabriz

Tabriz's covered market brings together trading halls, storage, workshops and movement between trades. The UNESCO listing documents the significance of that historic complex, but it should not be read as an endorsement of the origin or quality of goods sold within it. A carpet hall can contain textiles made across a large region and objects that have returned through the international market.

Separate the building history from the history of a purchase. The place of weaving, the place of collection and the present dealer's address may all differ. For a contemporary rug, an identified workshop and a description of production are more useful than a vague reference to the Silk Road. For an older rug, retain earlier catalogues and repair reports where available.

Tabriz is a broad carpet attribution, not one fixed combination of knot count and motif. Look at the organisation of a medallion, border corners and colour changes, then compare those observations with the reverse and foundation. Dense knotting may allow detailed drawing, but fineness alone cannot identify the city or determine value. Material, condition and the success of the composition are separate questions.

Measure a small supported area only with the owner's permission. State whether a count means knots per unit length or per unit area; those figures cannot be compared without conversion. A photograph taken at an angle can distort a grid. Ask for square-on close views and avoid scraping, pulling pile or sharply bending a brittle foundation to expose knots.

Engraving benches offer a different view of the bazaar economy from finished carpets. A photograph of an engraver documents a person and a working arrangement at the time it was taken. Observe how the object is supported and how the tool approaches its surface. A still image cannot establish the sequence of every production stage, identify the alloy or explain which goods elsewhere in the market came from this bench.

Hand engraving may be applied to a vessel shaped with machinery. Describe the shaping and decoration independently rather than presenting every stage as handmade. Etching, chasing and engraving can produce superficially related effects; close inspection and a maker's explanation are stronger than a single front photograph. Do not assume a maker seen in a published photograph is available for visits today.

Write down the seller's exact attribution and proposed date. Expressions such as fine Tabriz, workshop quality or signed carpet have no universal certification meaning. A woven name may identify a designer, workshop, retailer or later addition, and its interpretation should remain open until checked. Ask what supports the attribution beyond a recognisable design.

Inspect both ends, side bindings, low pile and repairs before agreeing on transport. A rug may be attractive while substantially restored; that condition belongs in the invoice. Confirm current bazaar access independently, obtain consent for workshop photography and keep historical references distinct from practical travel information.