The field is composed of vertical bands in a pale straw tone, divided by narrow rust-red stripes, some plain and others carrying a fine diamond-lattice pattern in muted red and gold. A subtle overall sheen runs the length of the piece, giving the striping a soft, undulating quality. The border is kept minimal, framed by a slender rust line along the outer edges with the warp ends left as a plain fringe.
An undyed tan ground is divided into four stepped, rectangular compartments outlined in a warm rust-brown line, each panel filled with a different pale motif set against the open field. Two panels hold diamond and X-crossed hourglass forms with a small plus mark at center, while the other two carry stacked T-shaped and ladder-like figures in a muted slate blue-grey; short dashed marks line the outer margins. The arrangement is diagonally paired rather than mirrored, so the diamond motifs and the T-form motifs each occupy opposite corners.
A pale straw-colored ground is overlaid with a rust-red stepped lattice tracing four large diamond-and-cross medallions radiating from the corners toward a central vertical seam. The jagged, key-fret lines interlock into a symmetrical X-shaped composition, with the fine crosshatched texture of the ground visible throughout. Narrow plain borders in the same rust tone frame the field on all sides, and the corners show light fraying where the border meets the edge.
The field is organized in alternating vertical bands of pale straw-gold and deeper rust-brown, each stripe built up from a dense, irregular crosshatch of fine striations rather than a smooth surface. No border frames the composition; the striped panels run the full length, their edges slightly uneven, ending in a loosely fringed top and bottom selvage. The palette stays within warm ochres and browns throughout, with no additional motifs or inscriptions visible.
The field is filled edge to edge with a small-scale allover lattice of rust-red diamonds enclosing pale ivory octagons, each centered with a tiny dot motif, repeated in tight diagonal rows across the entire surface. There is no distinct border, the pattern simply running to the frayed selvages, and the ground shows a faint striated texture where the red and cream tones interweave unevenly. Coloration is limited to warm cream and brick-red, with the corners and edges showing slight fraying and loss of definition in the pattern.
The ground is a finely striated straw-gold surface divided into vertical panels by a darker central band and narrower flanking stripes. Each panel repeats a stacked motif of interlocking key-patterned squares alternating with open diamonds, worked in muted red-brown and dark brown tones against the pale ground. The lower edge ends in loose, unfinished warp fringe left exposed.
The field is arranged in four narrow vertical panels divided by thin dark bands, each panel filled with a stacked column of stepped-cross motifs outlined in brown against a natural straw-colored ground. Small diamond-shaped accents appear between the crosses in each column, breaking the repetition slightly. The surface shows a fine vertical striation throughout, and the outer edges terminate in loose warp fringe at both top and bottom.
The field is divided by a central column into two mirrored halves, each filled with a vertical stack of interlocking key-fret and hook motifs rendered in deep rust-red against an ivory ground. A narrow stepped border of the same angular fretwork frames the field, and the rounded corners of the piece give it a shield-like silhouette rather than a strict rectangle.
An open field in pale straw and ivory tones is overlaid with a repeating lattice of stepped, diamond-shaped compartments outlined in deep brown. Each cell frames an elongated, leaf-like reserve where subtle variations of green and gold catch the light like watered silk. Narrow plain-woven borders in the same brown close the composition top and bottom, with the fringed selvedge left exposed at the upper edge.
A pale straw-colored ground, finely striated with a subtle wavy grid, is scattered with small cruciform lozenges in deep red, ochre, and brown, arranged in a loose diagonal grid across the field. Interspersed between the larger crosses are narrow vertical bars of the same palette, echoing the lozenge shapes at smaller scale. A thin plain border in muted red and brown frames the composition, with a dark, coarsely knotted fringe visible at both ends.
