Soumak

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.

A grid of six columns and six rows divides the field into uniform squares, each rendered in a uniform brown tone that shifts subtly in sheen from panel to panel, catching light differently depending on the direction of the surface's grain. Thin ivory-colored lines trace the full grid, forming the only contrast against the otherwise monochrome ground. The border is absent; the checked pattern runs edge to edge without a framing band.

A honeycomb lattice of large hexagons in varied cream and beige tones fills the field edge to edge, each cell outlined in dark brown bands stitched with a fine contrasting running line. No separate border frames the design; the hexagonal grid runs flush to all four edges. Subtle striations within each cream hexagon suggest slight variations of tone panel to panel.

An allover lattice of octagons rendered in alternating ivory and taupe fills, each octagon set within a grid of interlocking brown crosses that read as a continuous chain across the field. The design has no distinct border, the pattern running edge to edge and appearing cropped by the format, and the palette stays within a narrow range of cream, tan, and warm brown throughout.

An ivory ground opens onto a fractured, fan-shaped composition of tapering wedge forms that radiate outward like bursts of frost or coral, each segment pieced in a distinct striped pattern of taupe, beige, and warm brown tones. Thin incised lines run through the ground like a cracked-glass network, echoing the angular edges of the fans and giving the surface a mosaic-like structure without a defined border.