A central field of staggered brown and gold checkerwork runs the length of the piece, flanked on each side by plain golden-tan bands crossed with narrow vertical stripes. The checkered blocks shift slightly out of alignment as they progress downward, giving the pattern an irregular, hand-built rhythm rather than a strict grid. Loose fringe is visible along the lower edge.
The field is covered edge to edge by a repeating lattice of diamonds outlined in rust-brown, set against a golden-tan ground that shifts in tone with a subtle watered, striated quality. A narrow plain border in a darker brown frames the composition, with the diamond lattice running unbroken to its edges. No corner medallions or additional motifs interrupt the grid, giving the surface a uniform, all-over pattern.
The field is composed of an open, straw-colored ground crossed by a series of narrow vertical bands in dark brown, each patterned with small diamond and chevron motifs. These bands are contained within a wider border of the same dark tone, its inner edge lined with a continuous row of tiny triangular and diamond forms; a slim plain dark line frames the outer edge of the whole piece. The corners at the top are rounded, giving the format a gently arched upper edge rather than a strict rectangle.
An overall lattice of brown diamonds is laid across a pale golden-tan ground, each diamond compartment holding a small central accent mark. The field runs edge to edge without a distinct border, the diamond trellis itself framing the composition, and slight irregularities in the grid lines give the pattern a hand-drawn, uneven rhythm. The top corners curve rather than meet at right angles, and a fringe of loose warp ends is visible along the upper and lower edges.
The field is covered edge to edge by a repeating diamond lattice in a warm brown outline set against an ivory and gold ground, the trellis lines rendered in a fine crosshatched texture that catches light unevenly across the surface. No distinct border frames the pattern, allowing the diamonds to run to a plain narrow edge finished in dark green at the top and bottom. The overall tonality shifts subtly from paler cream to deeper amber across the field, giving the grid an undulating, almost rippled appearance.
A finely gridded natural-toned ground carries repeating vertical columns of interlocking key-fret and step motifs rendered in a deep rust-brown, running the full length of the field in evenly spaced rows. Small cross-shaped marks punctuate the upper corners and margins, breaking the otherwise strict columnar rhythm. The outer edges are finished with a plain dark brown band, and the surface shows a subtle rippling sheen where the light catches the woven grid.
An open field in undyed golden-tan is crossed by a fine, all-over grid of thin brown lines, against which two vertical chains of interlocking stepped-cross medallions stand out in dark outline along the left and right sides. Between them, three small isolated motifs run down the center axis: a stacked pair of double-barred rectangular emblems flanking a single X-shaped mark. The border is left plain, with only the woven edges finishing the composition and no additional framing device.
An open, straw-colored ground carries a sparse, widely spaced arrangement of angular motifs: four lozenge medallions outlined in dark green with rust-red diamond centers, paired hooked and zigzag devices at top and bottom corners, and a scattering of small crosses, X-shapes, and stepped lightning forms running down the central axis. Narrow plain borders in a deeper rust tone frame the field along the sides, left largely unadorned apart from small color breaks near the top and bottom corners.
The field is a solid expanse of golden tan, animated only by a series of narrow vertical bands running the full length of the piece. Each band carries a fine dark brown line interrupted at intervals by small clustered marks, like irregular ticking, giving the surface a quiet, striped rhythm rather than a bordered composition. There is no distinct framing border, the striping running to the edges, and no medallion or corner ornament breaks the plain ground.
The ground is organized into four vertical woven panels of straw-toned natural fiber, each seamed with narrow bands of red and ochre embroidered stitching. Scattered across the panels are small angular cross and hook motifs worked in rust-red thread, irregularly placed rather than aligned in a repeating grid. The top edge curves gently outward while the corners remain squared, giving the piece a slightly shaped silhouette.
