FAQs

Read motifs: guls suggest Turkmen, Mina Khani points to Varamin, and Herati repeats are classic in Bidjar. A kufic-like border often hints at Shirvan or related Caucasian work.

Rectilinear Oriental rugs use angular, geometric lines; curvilinear pieces render flowing vines and florals. Village/tribal weavings skew rectilinear; workshop rugs often curve.

Some Oriental rugs, especially Caucasian pieces, let border repeats cut off at corners. It’s a traditional, practical choice that emphasizes continuous pattern over corner miters.

Oriental rugs typically have a main border flanked by one or more guard stripes. A common guard is the “reciprocal trefoil,” a repeating clover-like zigzag.

Many Oriental rugs are abstract, but figural and hunting-scene carpets exist, especially from Safavid traditions. Expect riders, deer, and birds amid medallions or forests.

Pomegranates on Oriental rugs symbolize abundance and renewal. They’re iconic in Khotan/Samarkand pieces, sometimes forming repeating fruit branches across the field.

Lattice fields in Oriental rugs are grids of diamonds or interlaced lines that organize blossoms or stars. Mina Khani frequently rides atop such diamond frameworks.

Lachak-Toranj in Oriental rugs pairs a central medallion with quarter-medallions in the corners. The scheme echoes Persian book-illumination layouts from the 15th century.

Heriz medallions are angular and multi-faceted; Oushak medallions are softer with open fields. A classic clue: Heriz often uses bold geometry; Oushak favors large-scale florals.

Ram’s horns in Oriental rugs signify strength, protection, and fertility. They’re common in Anatolian kilims and Caucasian tribal designs.