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rug and carpet
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Detail of an Indo-Esfahan carpet, 17th century; in the Corcoran Gallery of Art, Washington, D.C. Detail of a Chinese carpet with an allover floral design framed by several contrasting borders, c. 1900. Detail of a Persian kilim from Senneh (Sanandaj), Iran, 19th century. A tapestry-woven wool rug, it has an allover identical repeat pattern of bōtehs (leaves with curling tips) in rows. In the Victoria and Albert Museum, London. Full size 1.65 × 1.19 metres. Persian silk carpet from Kāshān, Iran, late 16th century. The field is decorated with a central medallion, surrounded by a wreath of small cartouches, and framed by corresponding cornerpieces. In the National Gallery of Art, Washington, D.C. 2.41 × 1.65 metres. knots in handmade carpets Chief design motifs in rugs and carpets. Chief design motifs in rugs and carpets. Iran Turkey Caucasus Mountains
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Persian silk carpet from Kāshān, Iran, late 16th century. The field is decorated with a central medallion, surrounded by a wreath of small cartouches, and framed by corresponding cornerpieces. In the National Gallery of Art, Washington, D.C. 2.41 × 1.65 metres.
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Three main classes of motifs are used: geometric; conventional, or stylized; and illustrative, or naturalistic. The geometric repertoire is built up from variations and combinations of meanders, polygons, crosses, and stars. Meanders, chiefly for borders, range from the simple serration employed from earliest times to fairly complex hooked forms, characteristically the angular “running wave,” or “Greek key,” which is also very ancient. Little trefoil (trilobed) motifs are used for guard stripes in the Caucasus, central Iran, and India. Chief among the polygons employed are the lozenge and the octagon. The Maltese cross is frequently used, as is the gamma cross, ...(100 of 8339 words)

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