This splendid carpet is laid out with a floral design of surprising complexity, against a pink-red field. The overall design is a triple-plane lattice, composed of three independently-composed trellis grids of different colours: blue-black, thorny white and leafy blue. These three grid systems are not immediately apparent because of the grand scale of the multiple flowerheads and medallions along each trellis. Furthermore, “behind” the three trellis systems are flowering plants and shrubs, also distracting the eye. This ordered design is greatly enlivened by the wonderful detail and variety in the colourful flowers and plants. Towards the top of the central axis, the white trellis features a striped vase of flowers, also repeated in the lower borders as “half-vases”: this motif gives its name to the wider category of Vase Carpets. The upper border is missing, and the original carpet was certainly even longer.
The carpet belongs to a well-known group generally attributed to Kerman in southeast Iran, and to the seventeenth century. These are referred to as “Vase technique” carpets, as they often include a vase motif in their complex lattice designs, but more uniformly, the group shares the same triple-weft technical structure. There are many examples of Kerman vase carpets (and fragments) in national collections across the world. This carpet was bought in 1897 from the estate of the British designer, poet, craftsman and socialist William Morris, who supported the South Kensington Museum (today the V&A) with collections advice over many years, and was a formidable influence on the institution. During his lifetime, Morris had kept this large carpet hanging lengthways on the wall of his home, with the top section overhanging from the ceiling rather like a medieval canopy. He enjoyed it as one of his household furnishing, but more specifically, the complex planar design must have pleased him as a designer.