The field is organized into seven vertical bands of unequal width, each built from horizontal striations in tones of ivory, taupe, and warm sand. No border frames the composition; the panels run edge to edge, some interrupted by narrower stripes of contrasting beige or gray that break the vertical rhythm. There is no central medallion or figurative motif, the entire surface reading as an arrangement of tonal, striped columns.
The field is organized into a series of vertical panels of unequal width, each rendered in a slightly different tone of ivory, oatmeal, and taupe, with subtle horizontal striations running through most bands. One narrower panel near the right edge is left in plain, undecorated cream, breaking the rhythm of the striped columns, while the outermost band carries fine, closely spaced horizontal streaking in warm brown and beige. There is no border in the traditional sense; the composition relies entirely on the shifting widths and tonal variation of its vertical divisions.
The field is composed of a patchwork of twelve rectangular panels, each in a variant of deep chocolate and umber brown, joined by visible whip-stitched seams in a pale cream thread. Some panels show a solid, even ground while others reveal fine vertical striations or subtle streaks of lighter tan and gold, giving the overall surface a quiet, irregular rhythm rather than a repeating pattern. There is no border in the traditional sense; the outer edge is finished with the same overcast stitching that divides the interior blocks.
The field is organized into eight vertical panels, each filled with fine horizontal striations in varying tones of taupe, grey, oatmeal and soft brown, giving the surface an overall banded, corduroy-like rhythm. There is no border to speak of; the panels simply run edge to edge, with subtle shifts in stripe density and color value marking the seams between them. The palette stays muted throughout, with occasional flecks of ivory and warmer camel breaking the grey-brown ground.
The field is left borderless, filled edge to edge with a basket-weave lattice of small rectangular blocks, each block striated with fine directional lines that alternate horizontal and vertical to create the woven parquet effect. Tones stay within a narrow ivory-to-pale-champagne range, with subtle warmer beige and cooler cream patches shifting across the surface as the light catches the striations differently in each block. No border, medallion, or inscription is visible; the geometry itself carries the entire composition.
The field is composed of a diagonal basket-weave grid, alternating squares of striated taupe and grey-brown against plain ivory and pale cream blocks. No border frames the design; the checkerboard pattern runs edge to edge, giving the surface a woven, patchwork rhythm. Tonal variation within the darker squares creates subtle striping, while the lighter squares remain flat and unmarked.
The field is filled edge to edge with a diagonal basketweave pattern of alternating rectangular blocks in ivory and striated brown, each block striped with fine variegated lines running along its length. No separate border frames the design; the checkerboard of woven planks runs directly to the outer edge on all sides. The palette stays within a narrow range of cream, tan, and umber, with the striping giving each block a subtle grained, wood-like texture.
The field is divided into five vertical panels, each filled with irregular horizontal bands of dark charcoal and ivory that shift slightly out of alignment from panel to panel, producing a subtle brick-like offset across the surface. There is no separate border framing the field; the striped panels run edge to edge, meeting a plain narrow selvage. The palette stays strictly to near-black and unbleached cream throughout, with the hand-drawn irregularity of the stripe widths being the most distinctive feature.
Hezar Jerib panels
The field is arranged in an interlocking checkerboard of alternating plain ivory squares and squares filled with narrow vertical stripes, creating a diagonal basket-weave illusion across the surface. Most striped squares repeat a steady sequence of dark indigo, cream, and rust lines, though two squares near the center break the rhythm with a warmer band of brown and tan stripes. The composition runs edge to edge without a distinct border, the alternating pattern simply meeting the outer selvages on all sides.
The field is divided into six vertical panels, each filled with fine horizontal striping in alternating dark brown and ivory that shifts slightly in rhythm from panel to panel, creating a subtle syncopated banding across the surface. There is no distinct border, the striped panels running to the outer edges, with a plain narrow selvage visible along the sides and a fringed finish at top and bottom.
