Soumak

The field is divided into three vertical panels, each filled with tight horizontal banding in ivory, red, and charcoal, the stripe density thickening and loosening irregularly down the length of each panel. The rightmost panel shifts noticeably darker at the top, where charcoal stripes crowd together before easing back into the lighter rhythm shared by the other two panels. No border is present; the composition runs edge to edge with only a narrow plain selvage visible along the sides.

The field is composed of vertical panels joined in narrow strips, each a slightly different shade of undyed cream and beige, giving a subtle striped effect across the surface. One panel toward the upper section breaks the plain field with a mottled charcoal-gray block, an isolated passage of color against the otherwise ivory ground. No border, corner ornament, or inscription is visible; the surface reads as an open, unadorned expanse.

The field is built from an interlocking geometric grid of octagons, diamonds, and small four-square blocks, each panel rendered in a distinct tonal patchwork of ivory, sand, and warm taupe. There is no separate border; the pattern runs edge to edge, with visible seam lines marking the joins between the individual pieced sections. The overall effect is a modular checkerboard-like repeat rather than a framed composition.

The field is organized into five vertical bands of unequal width, alternating broad ivory grounds with three dark brown striped panels. Each brown band shows subtle internal striations of warm tan and lighter beige running horizontally, giving a banded, hand-spun texture, with occasional thin ivory breaks interrupting the vertical columns. There is no border framing the composition; the stripes run edge to edge, ending abruptly at the top and bottom selvages.

A field of deep near-black ground is divided into two vertical panels by a faint seam running down the center. Across each panel, thin horizontal lines of red are spaced at irregular intervals, appearing almost as tally marks or a quiet accounting against the dark surface. The overall effect is stark and minimal, with the red strokes offset slightly between the left and right halves rather than aligning across the seam.

The field is divided into three vertical panels, each crossed by irregularly spaced horizontal bands in a dark umber tone against a natural undyed ground. The stripes fall at staggered, unaligned intervals from panel to panel, giving the surface a deliberately asymmetrical, almost architectural rhythm. There is no border to speak of, the striping running to the plain selvedge on all sides.

The field is left largely open in undyed ivory, divided by two vertical bands of horizontal striping in varied widths of tan, camel, and taupe, with occasional gray-brown accents breaking the rhythm. The two banded columns are not identical, each showing its own irregular sequence of stripe widths and tonal shifts, while the wide plain margins on either side and the center remain unadorned.

The field is organized into four vertical panels, each further divided into stacked horizontal bands of variegated striation, so that the overall composition reads as a loose grid of subtly shifting rectangles. Colors move through tones of oatmeal, sand, taupe, and pale grey-brown, with occasional bands of soft blue-grey and rust breaking the neutral palette. There is no border in the traditional sense; the panel divisions themselves act as the only framing device, and the surface is left otherwise plain, without figural or floral motifs.

A narrow runner in a deep charcoal-brown ground, left borderless, its surface built from horizontal striations of varying width and tone. A cluster of pale taupe and cream bands runs diagonally across the upper right quadrant, interrupting the otherwise muted, uneven striping that continues faintly along the full length of the field.

The field is organized into four vertical panels, each subdivided by horizontal banding of varying width, creating a grid-like arrangement of stripes across the surface. The palette moves through a narrow range of undyed tones - taupe, oatmeal, pale ivory, and warm camel - with each panel shifting slightly in value so the divisions read clearly against one another. A plain narrow selvage frames the composition, with no additional border ornament or field motifs beyond the banded structure itself.