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.
The field is composed of six vertical panels stitched together, each striped in horizontal bands of undyed tones ranging from pale cream to soft taupe and greige. There is no border to speak of; the panel seams themselves, marked by thin ivory joining lines, act as the only structural division across the surface. Subtle irregularities in the striping within each panel give a handworked, uneven rhythm to the overall composition.
The field is organized into six vertical panels, each seamed with a visible joining stitch, and each striped horizontally with irregular bands of varying width. Colors move through a narrow earthen range of camel, tan, taupe, and warm brown, with a few paler ivory bands breaking the rhythm within each strip. There is no distinct border; the panels run edge to edge, and the horizontal banding shifts slightly in placement from one panel to the next, giving a deliberately uneven, hand-assembled look.
The field is composed of a diagonal basketweave lattice, alternating ivory squares with taupe and light brown blocks striated with subtle woodgrain-like striping. The pattern runs edge to edge without a distinct border, the interlocking diamonds creating a continuous checkerboard rhythm across the surface. A narrow plain selvage frames the composition on all sides.
The field is organized into seven vertical panels of varying width, each striped horizontally in fine, irregular bands of taupe, oatmeal, and grey-brown. The density and rhythm of the stripes shift from panel to panel, with some columns almost solid ivory and others tightly banded in deeper browns, giving the surface an uneven, hand-drawn cadence rather than strict repetition. There is no border to speak of, the panels running edge to edge, and the palette stays within a narrow range of neutral tones throughout.
The field is organized into vertical panels of unequal width, each pieced with a fine seam, running the full length of the piece. Tonal variation moves gently from ivory to warm sand and pale taupe, with subtle striations within each strip suggesting irregular banding rather than a printed pattern. There is no border in the conventional sense; the panels themselves reach the outer edges, and the palette stays within a narrow, undyed-looking range throughout.
