The field is left entirely open, a single expanse of pale ivory divided into seven vertical panels by narrow seams of fine running stitches in a subtly darker tone. No border, medallion, or other ornament interrupts the plain surface; the visual interest lies solely in the rhythm of these stitched divisions and the faint variation of tone between adjoining panels.
The field is built from a patchwork grid of squares in three alternating types: plain ivory blocks, solid taupe-brown squares, and panels of narrow vertical stripes in brown and cream. No border frames the composition; the modular squares run to the edges, giving the whole surface an even, checkerboard-like rhythm without a central medallion or corner motifs.
Composed of alternating rectangular panels arranged in a diagonal checkerboard rhythm, half plain in undyed ivory and half filled with narrow horizontal stripes in shades of brown, tan, and cream. There is no distinct border, the pieced panels running to the outer edges, and slight variation in stripe width and color intensity from panel to panel gives the surface an irregular, patchwork quality.
A patchwork ground composed of sixteen rectangular panels stitched together in a four-by-four grid, each seam finished with a visible whip-stitched border in cream thread. The panels vary subtly in tone across a range of deep browns and charcoal, with two panels breaking the palette—one striated in ochre and tan, another crossed by a single thin mustard-yellow line running horizontally through an otherwise dark field.
Hezar Jerib panels
The field is composed of rectangular panels set on the diagonal, each stitched together to form a herringbone-like cascade across the surface. Within each panel run narrow striped bands in varying widths of brown against an ivory ground, some panels left plain while others carry two, three, or four parallel stripes. The overall effect is a rhythmic, patchwork alternation of solid cream sections and striped bands, with no border framing the composition.
An ivory ground is left largely open, crossed by faint radiating lines that divide it into subtle facets. Across the surface, clusters of fan- or spray-shaped forms burst outward in striated bands of taupe, camel, and warm brown, their edges finished with a jagged, angular contour. There is no border to speak of; the fans are scattered asymmetrically, some cut off at the edges, giving the composition an open, unbounded quality.
The field is filled edge to edge with a repeating honeycomb lattice of hexagons in pale ivory and soft butter tones, each cell outlined by a narrow grey-green band that forms the connecting grid. There is no distinct border; the hexagonal pattern runs uninterrupted to the outer edges, giving the surface a continuous, all-over geometric rhythm. Subtle variation in the ivory and cream shades within individual hexagons gives the pattern a slightly irregular, hand-worked quality rather than a mechanical uniformity.
Red Stripes
The field is organized into six vertical panels, each filled with tightly banded horizontal stripes in alternating cream and deep brown, the stripes shifting slightly out of register from panel to panel so the rows step unevenly across the width. A few thin accents of pale blue and rust break the striping at intervals, and a single narrow band of red crosses two of the panels near the top and bottom edges. The borders are plain and unadorned, letting the striped panels run to the outer edges without a framing device.
An overall lattice of interlocking octagons and elongated cross-shaped forms covers the field edge to edge with no distinct border framing it. The octagons appear in a striated tan and taupe tone while the cross motifs sit in a lighter ivory, creating a repeating tessellated geometry across the whole surface. Subtle color variation within each shape gives a slightly streaked, hand-toned effect rather than flat, uniform color.
Hezar Jerib panels
The surface is arranged as a checkerboard of alternating panels: plain ivory squares set against blocks of tightly banded stripes in shifting tones of walnut, tan, and cream. Each striped panel runs on a slight diagonal, giving the overall grid a rippling, uneven rhythm rather than a rigid repeat. The palette stays within a narrow earth-toned range, with the open ivory squares providing sharp contrast and visual breathing room against the dense linear bands.
