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Oriental Rugs A - T
 | Brocade Brocade woven in red and olive green silks and gold thread on a cream-coloured ground. Along the top is the Kufic inscription "Arrahman" several times repeated in olive green on a gold-thread ground. Pairs of seated animals, addorsed regardant and geese vis-a-vis are worked within the lozenge-shaped compartments of the trellis framework which regulates the pattern. Both animals and birds are separated by conventional trees and the latter are enclosed in inscriptions of Kufic characters. |
 | Caucasian Border Design The Caucasian Border Design. So called by the author because it is seldom found in any but the Caucasian fabrics. It is a sort of an S-shaped arrangement of the latch hook design. |
 | Caucasian Border Design The Caucasian Border Design. So called by the author because it is seldom found in any but the Caucasian fabrics. It is a sort of an S-shaped arrangement of the latch hook design. |
 | Caucasian Border Design The Caucasian Border Design. So called by the author because it is seldom found in any but the Caucasian fabrics. It is a sort of an S-shaped arrangement of the latch hook design. |
 | Chichi Border Design The Chichi Border Design. Usually consists of an eight-petaled flower arranged on the alternate steps of the Greek meander. It is seldom found in any rugs but the Tchetchen. |
 | Comb Design An emblem of the Mohammedan faith to remind the devout that cleanliness is next to godliness. For this reason it appears in its various forms near the niche of many prayer rugs, especially in the Daghestans. |
 | Comb Design An emblem of the Mohammedan faith to remind the devout that cleanliness is next to godliness. For this reason it appears in its various forms near the niche of many prayer rugs, especially in the Daghestans. |
 | Crab Design A border design having the appearance of a series of crabs with their claws extended. Very common in the Caucasian fabrics, especially the Kazaks. |
 | Fret and Key Chinese Fret, Greek Fret, and Greek Key border designs. This is suggested by the overlapping of the sea waves. It is commonly found in the borders of the Samarkand, Kashgar, Yarkand, Beluchistan, and nearly all of the Chinese products. |
 | Fret and Key Chinese Fret, Greek Fret, and Greek Key border designs. This is suggested by the overlapping of the sea waves. It is commonly found in the borders of the Samarkand, Kashgar, Yarkand, Beluchistan, and nearly all of the Chinese products. |
 | Greek Meander A border design also known as the zigzag, the wave crest, or the water motif. It consists of a series of diagonal lines at regular intervals representing waves or running water. Found in nearly all classes, especially the Caucasian. |
 | Herati Design Also known as the fish, twin fish and Feraghan designs. Better known as the Herati. It originated in the old city of Herat. It consists of a rosette between two lancet-shaped leaves which very much resemble fish. On account of this resemblance it is often called the fish pattern. It has been utilized with many modifications in half of the rug-making sections of the Orient. It may be found in its original form in many of the Persian fabrics, especially the Herat, the Feraghan, the Khorasan, and the Senna. When in the body of the rug it is generally arranged as a diaper, covering all or a considerable portion of it. Sometimes it appears in combination with square or diamond-shaped figures. The Herati border is found in a great many of the Persian and in some of the Caucasian fabrics. |
 | Herati Design Also known as the fish, twin fish and Feraghan designs. Better known as the Herati. It originated in the old city of Herat. It consists of a rosette between two lancet-shaped leaves which very much resemble fish. On account of this resemblance it is often called the fish pattern. It has been utilized with many modifications in half of the rug-making sections of the Orient. It may be found in its original form in many of the Persian fabrics, especially the Herat, the Feraghan, the Khorasan, and the Senna. When in the body of the rug it is generally arranged as a diaper, covering all or a considerable portion of it. Sometimes it appears in combination with square or diamond-shaped figures. The Herati border is found in a great many of the Persian and in some of the Caucasian fabrics. |
 | Herati Design Also known as the fish, twin fish and Feraghan designs. Better known as the Herati. It originated in the old city of Herat. It consists of a rosette between two lancet-shaped leaves which very much resemble fish. On account of this resemblance it is often called the fish pattern. It has been utilized with many modifications in half of the rug-making sections of the Orient. It may be found in its original form in many of the Persian fabrics, especially the Herat, the Feraghan, the Khorasan, and the Senna. When in the body of the rug it is generally arranged as a diaper, covering all or a considerable portion of it. Sometimes it appears in combination with square or diamond-shaped figures. The Herati border is found in a great many of the Persian and in some of the Caucasian fabrics. |
 | Herati Design Also known as the fish, twin fish and Feraghan designs. Better known as the Herati. It originated in the old city of Herat. It consists of a rosette between two lancet-shaped leaves which very much resemble fish. On account of this resemblance it is often called the fish pattern. It has been utilized with many modifications in half of the rug-making sections of the Orient. It may be found in its original form in many of the Persian fabrics, especially the Herat, the Feraghan, the Khorasan, and the Senna. When in the body of the rug it is generally arranged as a diaper, covering all or a considerable portion of it. Sometimes it appears in combination with square or diamond-shaped figures. The Herati border is found in a great many of the Persian and in some of the Caucasian fabrics. |
 | Herati Design Also known as the fish, twin fish and Feraghan designs. Better known as the Herati. It originated in the old city of Herat. It consists of a rosette between two lancet-shaped leaves which very much resemble fish. On account of this resemblance it is often called the fish pattern. It has been utilized with many modifications in half of the rug-making sections of the Orient. It may be found in its original form in many of the Persian fabrics, especially the Herat, the Feraghan, the Khorasan, and the Senna. When in the body of the rug it is generally arranged as a diaper, covering all or a considerable portion of it. Sometimes it appears in combination with square or diamond-shaped figures. The Herati border is found in a great many of the Persian and in some of the Caucasian fabrics. |
 | Herati Design Also known as the fish, twin fish and Feraghan designs. Better known as the Herati. It originated in the old city of Herat. It consists of a rosette between two lancet-shaped leaves which very much resemble fish. On account of this resemblance it is often called the fish pattern. It has been utilized with many modifications in half of the rug-making sections of the Orient. It may be found in its original form in many of the Persian fabrics, especially the Herat, the Feraghan, the Khorasan, and the Senna. When in the body of the rug it is generally arranged as a diaper, covering all or a considerable portion of it. Sometimes it appears in combination with square or diamond-shaped figures. The Herati border is found in a great many of the Persian and in some of the Caucasian fabrics. |
 | Knot of Destiny Design This design dates back to Solomon's time. It is one of the Chinese Buddhist ornaments and is therefore quite commonly found in the Samarkand, Yarkand, Kashgar, and the various Chinese products. Also used more or less throughout the Caucasus and especially in the Shemakha; in fact, it is present somewhere in most rugs of the latter class, as a talismanic design. In some of the Persian fabrics it partakes of a floral character. |
 | Knot of Destiny Design This design dates back to Solomon's time. It is one of the Chinese Buddhist ornaments and is therefore quite commonly found in the Samarkand, Yarkand, Kashgar, and the various Chinese products. Also used more or less throughout the Caucasus and especially in the Shemakha; in fact, it is present somewhere in most rugs of the latter class, as a talismanic design. In some of the Persian fabrics it partakes of a floral character. |
 | Knot of Destiny Design This design dates back to Solomon's time. It is one of the Chinese Buddhist ornaments and is therefore quite commonly found in the Samarkand, Yarkand, Kashgar, and the various Chinese products. Also used more or less throughout the Caucasus and especially in the Shemakha; in fact, it is present somewhere in most rugs of the latter class, as a talismanic design. In some of the Persian fabrics it partakes of a floral character. |
 | Knots Some of the knots used in weaving oriental rugs. |
 | Knots Some of the knots used in weaving oriental rugs. |
 | Knots Some of the knots used in weaving oriental rugs. |
 | Kulah Destiny Design Claimed by some to have originally been intended to represent an alligator. There are exceedingly few Kulah rugs that do not show it and seldom is it seen in any other class of fabrics. |
 | Kulah Destiny Design Claimed by some to have originally been intended to represent an alligator. There are exceedingly few Kulah rugs that do not show it and seldom is it seen in any other class of fabrics. |
 | Lamp Figures Crude figures of lamps, like miniature tea-pots, often hang from the prayer niche of the Turkish prayer rugs, especially those of the Konieh, Ghiordes, and Ladik varieties. They are usually of a floral design and are generally accompanied by a column on either side which is intended to represent the two huge altar candles of the mosque. |
 | Lattice Design Also known as trellis, diaper, and network. These names are applied to any design which is repeated in such a way as to form a lattice arrangement. It is more or less common in all classes of rugs, especially the Persians. A peculiar compact lattice pattern known as the "mirror design" is frequently found in the Hamadans. |
 | Link Design Link in Lozenge or Spiral is a combination of two triangles with one side of each parallel with the other and sometimes joined by a diagonal line. It is found in the borders of Asia Minor rugs, also in the field of many Nomad productions. Especially common in the Kurdistans and Shirvans. |
 | Link Design Link in Lozenge or Spiral is a combination of two triangles with one side of each parallel with the other and sometimes joined by a diagonal line. It is found in the borders of Asia Minor rugs, also in the field of many Nomad productions. Especially common in the Kurdistans and Shirvans. |
 | Lotus Design Very much resembles our pond lily with the exception that the color is of a brilliant purple on the border petals with a heart of deep orange and the stem stands high out of the water. It is commonly found on the banks of the Nile and is the first flower to spring up after the overflowing waters of that river have subsided. For this reason and becacuse it preserves its chaste beauty while growing from such impure surroundings it has always figured among the Egyptians as an emblem of immortality and purity. With the Chinese it is symbolic of many descendants and in India it is especially sacred to the Buddhists and is the national flower of that country. In ornament the lotus is handled by many different nations, being used in both circular and profile forms, figuring as flowers, wheels, medallions, etc. |
 | Lotus Design Very much resembles our pond lily with the exception that the color is of a brilliant purple on the border petals with a heart of deep orange and the stem stands high out of the water. It is commonly found on the banks of the Nile and is the first flower to spring up after the overflowing waters of that river have subsided. For this reason and becacuse it preserves its chaste beauty while growing from such impure surroundings it has always figured among the Egyptians as an emblem of immortality and purity. With the Chinese it is symbolic of many descendants and in India it is especially sacred to the Buddhists and is the national flower of that country. In ornament the lotus is handled by many different nations, being used in both circular and profile forms, figuring as flowers, wheels, medallions, etc. |
 | Lotus Design Very much resembles our pond lily with the exception that the color is of a brilliant purple on the border petals with a heart of deep orange and the stem stands high out of the water. It is commonly found on the banks of the Nile and is the first flower to spring up after the overflowing waters of that river have subsided. For this reason and becacuse it preserves its chaste beauty while growing from such impure surroundings it has always figured among the Egyptians as an emblem of immortality and purity. With the Chinese it is symbolic of many descendants and in India it is especially sacred to the Buddhists and is the national flower of that country. In ornament the lotus is handled by many different nations, being used in both circular and profile forms, figuring as flowers, wheels, medallions, etc. |
 | Lotus Design Very much resembles our pond lily with the exception that the color is of a brilliant purple on the border petals with a heart of deep orange and the stem stands high out of the water. It is commonly found on the banks of the Nile and is the first flower to spring up after the overflowing waters of that river have subsided. For this reason and becacuse it preserves its chaste beauty while growing from such impure surroundings it has always figured among the Egyptians as an emblem of immortality and purity. With the Chinese it is symbolic of many descendants and in India it is especially sacred to the Buddhists and is the national flower of that country. In ornament the lotus is handled by many different nations, being used in both circular and profile forms, figuring as flowers, wheels, medallions, etc. |
 | Lotus Design Very much resembles our pond lily with the exception that the color is of a brilliant purple on the border petals with a heart of deep orange and the stem stands high out of the water. It is commonly found on the banks of the Nile and is the first flower to spring up after the overflowing waters of that river have subsided. For this reason and becacuse it preserves its chaste beauty while growing from such impure surroundings it has always figured among the Egyptians as an emblem of immortality and purity. With the Chinese it is symbolic of many descendants and in India it is especially sacred to the Buddhists and is the national flower of that country. In ornament the lotus is handled by many different nations, being used in both circular and profile forms, figuring as flowers, wheels, medallions, etc. |
 | Octagon Design Represents the eight directions of location and is found in Turkoman, Chinese, and Caucasian products. It is characteristic of the Turkestan rugs. |
 | Octagon Design Represents the eight directions of location and is found in Turkoman, Chinese, and Caucasian products. It is characteristic of the Turkestan rugs. |
 | Octagon Design Represents the eight directions of location and is found in Turkoman, Chinese, and Caucasian products. It is characteristic of the Turkestan rugs. |
 | Pear Design "Also known as the cone, the palm leaf, the river loop, the crown jewel, the seal, the almond, the feather, the boquet, and the flame. There is a vast difference of opinion as to the origin and meaning of this motif. Some authorities claim it was intended for the fir cone, which served as an emblem of immortality and was revered by the ancients; some say it was intended for the palm leaf, which has been handed down by the Greeks as a symbol of victory; others say it was intended to represent a loop which the river Indus makes on a vast plain in upper Cashmere as seen from the Mosque. By some it is said to represent the crown jewels or chief ornament in the old Iranian crown, which is a composite jewel of pear shape. Tradition tells us that the signing of documents in such a manner was a custom well known in the East. This design has also been called the almond, the feather, the bouquet, and the flame on account of its fancied resemblance to these objects. We have selected the name "pear" because the image it conveys is more clearly recognized by the western mind. It is that which its shape most suggests. The Pear design is common in many kinds of rugs, especially in those of Persia and Kurdistan, but it varies greatly in varieties of form and size. The large size is usually employed in the Caucasus and Southern Persia, while the small size is used more frequently in Central and Western Persia. In the Saraband, Shiraz, Herat, Khorasan, and Senna, it frequently covers the whole field. In the two former alternate rows usually have the stems of the pears turned in opposite directions, while in the three latter the stems are usually turned in the same direction." |
 | Pear Design "Also known as the cone, the palm leaf, the river loop, the crown jewel, the seal, the almond, the feather, the boquet, and the flame. There is a vast difference of opinion as to the origin and meaning of this motif. Some authorities claim it was intended for the fir cone, which served as an emblem of immortality and was revered by the ancients; some say it was intended for the palm leaf, which has been handed down by the Greeks as a symbol of victory; others say it was intended to represent a loop which the river Indus makes on a vast plain in upper Cashmere as seen from the Mosque. By some it is said to represent the crown jewels or chief ornament in the old Iranian crown, which is a composite jewel of pear shape. Tradition tells us that the signing of documents in such a manner was a custom well known in the East. This design has also been called the almond, the feather, the bouquet, and the flame on account of its fancied resemblance to these objects. We have selected the name "pear" because the image it conveys is more clearly recognized by the western mind. It is that which its shape most suggests. The Pear design is common in many kinds of rugs, especially in those of Persia and Kurdistan, but it varies greatly in varieties of form and size. The large size is usually employed in the Caucasus and Southern Persia, while the small size is used more frequently in Central and Western Persia. In the Saraband, Shiraz, Herat, Khorasan, and Senna, it frequently covers the whole field. In the two former alternate rows usually have the stems of the pears turned in opposite directions, while in the three latter the stems are usually turned in the same direction." |
 | Pear Design "Also known as the cone, the palm leaf, the river loop, the crown jewel, the seal, the almond, the feather, the boquet, and the flame. There is a vast difference of opinion as to the origin and meaning of this motif. Some authorities claim it was intended for the fir cone, which served as an emblem of immortality and was revered by the ancients; some say it was intended for the palm leaf, which has been handed down by the Greeks as a symbol of victory; others say it was intended to represent a loop which the river Indus makes on a vast plain in upper Cashmere as seen from the Mosque. By some it is said to represent the crown jewels or chief ornament in the old Iranian crown, which is a composite jewel of pear shape. Tradition tells us that the signing of documents in such a manner was a custom well known in the East. This design has also been called the almond, the feather, the bouquet, and the flame on account of its fancied resemblance to these objects. We have selected the name "pear" because the image it conveys is more clearly recognized by the western mind. It is that which its shape most suggests. The Pear design is common in many kinds of rugs, especially in those of Persia and Kurdistan, but it varies greatly in varieties of form and size. The large size is usually employed in the Caucasus and Southern Persia, while the small size is used more frequently in Central and Western Persia. In the Saraband, Shiraz, Herat, Khorasan, and Senna, it frequently covers the whole field. In the two former alternate rows usually have the stems of the pears turned in opposite directions, while in the three latter the stems are usually turned in the same direction." |
 | Pear Design "Also known as the cone, the palm leaf, the river loop, the crown jewel, the seal, the almond, the feather, the boquet, and the flame. There is a vast difference of opinion as to the origin and meaning of this motif. Some authorities claim it was intended for the fir cone, which served as an emblem of immortality and was revered by the ancients; some say it was intended for the palm leaf, which has been handed down by the Greeks as a symbol of victory; others say it was intended to represent a loop which the river Indus makes on a vast plain in upper Cashmere as seen from the Mosque. By some it is said to represent the crown jewels or chief ornament in the old Iranian crown, which is a composite jewel of pear shape. Tradition tells us that the signing of documents in such a manner was a custom well known in the East. This design has also been called the almond, the feather, the bouquet, and the flame on account of its fancied resemblance to these objects. We have selected the name "pear" because the image it conveys is more clearly recognized by the western mind. It is that which its shape most suggests. The Pear design is common in many kinds of rugs, especially in those of Persia and Kurdistan, but it varies greatly in varieties of form and size. The large size is usually employed in the Caucasus and Southern Persia, while the small size is used more frequently in Central and Western Persia. In the Saraband, Shiraz, Herat, Khorasan, and Senna, it frequently covers the whole field. In the two former alternate rows usually have the stems of the pears turned in opposite directions, while in the three latter the stems are usually turned in the same direction." |
 | Pear Design "Also known as the cone, the palm leaf, the river loop, the crown jewel, the seal, the almond, the feather, the boquet, and the flame. There is a vast difference of opinion as to the origin and meaning of this motif. Some authorities claim it was intended for the fir cone, which served as an emblem of immortality and was revered by the ancients; some say it was intended for the palm leaf, which has been handed down by the Greeks as a symbol of victory; others say it was intended to represent a loop which the river Indus makes on a vast plain in upper Cashmere as seen from the Mosque. By some it is said to represent the crown jewels or chief ornament in the old Iranian crown, which is a composite jewel of pear shape. Tradition tells us that the signing of documents in such a manner was a custom well known in the East. This design has also been called the almond, the feather, the bouquet, and the flame on account of its fancied resemblance to these objects. We have selected the name "pear" because the image it conveys is more clearly recognized by the western mind. It is that which its shape most suggests. The Pear design is common in many kinds of rugs, especially in those of Persia and Kurdistan, but it varies greatly in varieties of form and size. The large size is usually employed in the Caucasus and Southern Persia, while the small size is used more frequently in Central and Western Persia. In the Saraband, Shiraz, Herat, Khorasan, and Senna, it frequently covers the whole field. In the two former alternate rows usually have the stems of the pears turned in opposite directions, while in the three latter the stems are usually turned in the same direction." |
 | Pear Design "Also known as the cone, the palm leaf, the river loop, the crown jewel, the seal, the almond, the feather, the boquet, and the flame. There is a vast difference of opinion as to the origin and meaning of this motif. Some authorities claim it was intended for the fir cone, which served as an emblem of immortality and was revered by the ancients; some say it was intended for the palm leaf, which has been handed down by the Greeks as a symbol of victory; others say it was intended to represent a loop which the river Indus makes on a vast plain in upper Cashmere as seen from the Mosque. By some it is said to represent the crown jewels or chief ornament in the old Iranian crown, which is a composite jewel of pear shape. Tradition tells us that the signing of documents in such a manner was a custom well known in the East. This design has also been called the almond, the feather, the bouquet, and the flame on account of its fancied resemblance to these objects. We have selected the name "pear" because the image it conveys is more clearly recognized by the western mind. It is that which its shape most suggests. The Pear design is common in many kinds of rugs, especially in those of Persia and Kurdistan, but it varies greatly in varieties of form and size. The large size is usually employed in the Caucasus and Southern Persia, while the small size is used more frequently in Central and Western Persia. In the Saraband, Shiraz, Herat, Khorasan, and Senna, it frequently covers the whole field. In the two former alternate rows usually have the stems of the pears turned in opposite directions, while in the three latter the stems are usually turned in the same direction." |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Persian Design A nameless Persian border design. |
 | Reciprocal Saw-Teeth This design is sometimes call by the Persians "sechrudisih," meaning teeth of the rat. Almost distinctive of Caucasian fabrics, especially the Kazaks. Occasionally present in the Turkish and Turkoman rugs also. |
 | Reciprocal Trefoil This design was named by European experts who claim it to be an essential mark of the Polish carpets. Like the barber pole stripe it is found in rugs of nearly all classes, but more especially the Caucasians. Probably found more frequently in the Karabaghs than in any other rug. |
 | Reciprocal Trefoil This design was named by European experts who claim it to be an essential mark of the Polish carpets. Like the barber pole stripe it is found in rugs of nearly all classes, but more especially the Caucasians. Probably found more frequently in the Karabaghs than in any other rug. |
 | Reciprocal Trefoil This design was named by European experts who claim it to be an essential mark of the Polish carpets. Like the barber pole stripe it is found in rugs of nearly all classes, but more especially the Caucasians. Probably found more frequently in the Karabaghs than in any other rug. |
 | Rhodian or Lily Design Composed of small flowers with three triangular petals and a long stem. Has the appearance somewhat of a shamrock leaf. It may be found in any of the Asia Minor rugs, especially in the field of the Konieh and Ladik. In the former it is nearly always present and for this reason is sometimes known as the Konieh design. |
 | Rhodian or Lily Design Composed of small flowers with three triangular petals and a long stem. Has the appearance somewhat of a shamrock leaf. It may be found in any of the Asia Minor rugs, especially in the field of the Konieh and Ladik. In the former it is nearly always present and for this reason is sometimes known as the Konieh design. |
 | Rhodian or Lily Design Composed of small flowers with three triangular petals and a long stem. Has the appearance somewhat of a shamrock leaf. It may be found in any of the Asia Minor rugs, especially in the field of the Konieh and Ladik. In the former it is nearly always present and for this reason is sometimes known as the Konieh design. |
 | Rhodian or Lily Design Composed of small flowers with three triangular petals and a long stem. Has the appearance somewhat of a shamrock leaf. It may be found in any of the Asia Minor rugs, especially in the field of the Konieh and Ladik. In the former it is nearly always present and for this reason is sometimes known as the Konieh design. |
 | Ribbon The ribbon design is a representation of a twisted ribbon. Like the barber pole stripe, the reciprocal trefoil, and the Greek meander, it is found in nearly all classes of rugs. |
 | Rooster The people of Shiraz personify the Devil in a form of a rooster, which they weave in some of their choicest rugs in order to avert the evil eye. Some forms of the "crowing cock," so called, are easily confused with the Pear pattern. |
 | Rosette Design A floral-shaped design which is said to resemble the "Star of Bethlehem," an early spring flower of Persia. It is much used in border designs and it alternates with the palmette in forming the Sha Abbas pattern. It also forms the design known as the Knop and Flower by alternating with a closed bud. Some authorities claim that it originated from the lotus. |
 | Rosette Design A floral-shaped design which is said to resemble the "Star of Bethlehem," an early spring flower of Persia. It is much used in border designs and it alternates with the palmette in forming the Sha Abbas pattern. It also forms the design known as the Knop and Flower by alternating with a closed bud. Some authorities claim that it originated from the lotus. |
 | Rosette Design A floral-shaped design which is said to resemble the "Star of Bethlehem," an early spring flower of Persia. It is much used in border designs and it alternates with the palmette in forming the Sha Abbas pattern. It also forms the design known as the Knop and Flower by alternating with a closed bud. Some authorities claim that it originated from the lotus. |
 | Rosette Design A floral-shaped design which is said to resemble the "Star of Bethlehem," an early spring flower of Persia. It is much used in border designs and it alternates with the palmette in forming the Sha Abbas pattern. It also forms the design known as the Knop and Flower by alternating with a closed bud. Some authorities claim that it originated from the lotus. |
 | S Forms This design is especially repeated in the form of a border, are very common in the Caucasian fabrics, especially in the Kabistans and Shirvans. Also found to some extent in the Turkish and Persian weaves. |
 | S Forms This design is especially repeated in the form of a border, are very common in the Caucasian fabrics, especially in the Kabistans and Shirvans. Also found to some extent in the Turkish and Persian weaves. |
 | S Forms This design is especially repeated in the form of a border, are very common in the Caucasian fabrics, especially in the Kabistans and Shirvans. Also found to some extent in the Turkish and Persian weaves. |
 | Scorpion or Spider Chinese, viciousness, poison. In India it is believed that if a scorpion creeps over the body it causes leprosy and that if one bears the tattooed image of a scorpion he is free from leprosy as well as from the bite of that insect. As a design it is quite common in the borders of Caucasian fabrics, especially the Shirvans. |
 | Shirvan Design This design is composed of a diamond figure, each side of which is formed by a series of steps. Frequently the centre is filled with small geometrical figures. This design is found more or less in the majority of the Caucasian products, but more especially in the Shirvans. |
 | Shou This design appears in many forms, but the three forms illustrated herewith are the most common, not only in Chinese rugs but also as decoration in old porcelain and as embroidered designs on silk. |
 | Shou This design appears in many forms, but the three forms illustrated herewith are the most common, not only in Chinese rugs but also as decoration in old porcelain and as embroidered designs on silk. |
 | Shou This design appears in many forms, but the three forms illustrated herewith are the most common, not only in Chinese rugs but also as decoration in old porcelain and as embroidered designs on silk. |
 | Solomon's Seal Built on the right angle triangle and, like the Signet of David, it is found in many of the Turkish and Caucasian fabrics and to it scores of patterns may be traced. |
 | Star Designs An emblem seen the world over in decoration, especially in synagogues. It is common in the Caucasian and Turkoman products, especially in the form of the elongated eight-pointed star. This eight-pointed star in the centre of an octagon is said to have represented the Deity of the ancient Medes. In all probability the six-pointed star was an adaptation of the Shield of David. It is supposed to have been symbolic of divinity. To it may be traced scores of Turkish patterns. |
 | Star Designs An emblem seen the world over in decoration, especially in synagogues. It is common in the Caucasian and Turkoman products, especially in the form of the elongated eight-pointed star. This eight-pointed star in the centre of an octagon is said to have represented the Deity of the ancient Medes. In all probability the six-pointed star was an adaptation of the Shield of David. It is supposed to have been symbolic of divinity. To it may be traced scores of Turkish patterns. |
 | Star Designs An emblem seen the world over in decoration, especially in synagogues. It is common in the Caucasian and Turkoman products, especially in the form of the elongated eight-pointed star. This eight-pointed star in the centre of an octagon is said to have represented the Deity of the ancient Medes. In all probability the six-pointed star was an adaptation of the Shield of David. It is supposed to have been symbolic of divinity. To it may be traced scores of Turkish patterns. |
 | Sunburst Palace or Sunburst design known by the latter name inasmuch as its shape suggests the radii around the sun. A very common design in Kazaks and Shirvans, especially the antiques. Never found in any but the Caucasian products. |
 | Swastika Design "Derived from the Sanscrit word Svasti, which means good pretence. It dates bck three or four thousand years B.C. and has been found in nearly all excavations of prehistoric times and among the relics of primitive people all over the world. It has been known alike to Ancient Greeks, Egyptians, Chinese, Japanese, East Indians, Aztecs, mound builders, and the North and South American Indians, with all of whom it has a similar meaning, viz., good luck and happiness. In Indian it is drawn below the seats intended for bridegrooms, below the plates containing food to be offered to gods and is tattooed on the arms. It is drawn on the scalp at the thread ceremony and on the dorsum of the feet on all auspicious ceremonies, such as mariages, etc. The usual figure consists of four arms with the cross at right angles and the arms pointing in the direction of motion of a clock's hand, although it has been given different forms, as shown by the accompanying illustrations. It is very commonly used as a rug design, especially in the Chinese, Caucasian, Turkish, and Turkoman products." |
 | Swastika Design "Derived from the Sanscrit word Svasti, which means good pretence. It dates bck three or four thousand years B.C. and has been found in nearly all excavations of prehistoric times and among the relics of primitive people all over the world. It has been known alike to Ancient Greeks, Egyptians, Chinese, Japanese, East Indians, Aztecs, mound builders, and the North and South American Indians, with all of whom it has a similar meaning, viz., good luck and happiness. In Indian it is drawn below the seats intended for bridegrooms, below the plates containing food to be offered to gods and is tattooed on the arms. It is drawn on the scalp at the thread ceremony and on the dorsum of the feet on all auspicious ceremonies, such as mariages, etc. The usual figure consists of four arms with the cross at right angles and the arms pointing in the direction of motion of a clock's hand, although it has been given different forms, as shown by the accompanying illustrations. It is very commonly used as a rug design, especially in the Chinese, Caucasian, Turkish, and Turkoman products." |
 | Swastika Design "Derived from the Sanscrit word Svasti, which means good pretence. It dates bck three or four thousand years B.C. and has been found in nearly all excavations of prehistoric times and among the relics of primitive people all over the world. It has been known alike to Ancient Greeks, Egyptians, Chinese, Japanese, East Indians, Aztecs, mound builders, and the North and South American Indians, with all of whom it has a similar meaning, viz., good luck and happiness. In Indian it is drawn below the seats intended for bridegrooms, below the plates containing food to be offered to gods and is tattooed on the arms. It is drawn on the scalp at the thread ceremony and on the dorsum of the feet on all auspicious ceremonies, such as mariages, etc. The usual figure consists of four arms with the cross at right angles and the arms pointing in the direction of motion of a clock's hand, although it has been given different forms, as shown by the accompanying illustrations. It is very commonly used as a rug design, especially in the Chinese, Caucasian, Turkish, and Turkoman products." |
 | T Forms This border design figure largely in the decoration of Samarkand and Chinese rugs. Similar to the Chinese fret. |
 | Tomoye Design This design owes its origin to some ancient conception of elemental forces. It has been adopted by Korea and Japan as a national and heraldic crest. Frequently used in Mongolian ornament. |
 | Tree Design Sometimes called the tree of life. Always associated with religious belief. It symbolizes Divine power and perpetual life. It has furnished more different art motives than any other object and is almost omnipresent in Persian prayer rugs. The palm signifies a blessing or benediction, the weeping willow stands for death, and the cypress, while being an emblem of mourning, in its perennial freshness and the durability of its wood, is also a very practical symbol of the life to come. It is an Oriental custom to plant cypress trees on the graves of the dead, to place its twigs in the coffins of the dead, and to use its branches to indicate the houses of mourning. In India the cocoanut palm is considered "the tree of desire" or one that fulfils all desires. Its stem serves as a pillar or beam, as a water conduit and as fuel; its leaves supply mats for roofing the houses; its kernel supplies oil; its shell makes water bowls, and the oil of the shell is used as an external application in certain skin affections, etc. It is all useful and supplies all the primitive wants and therefore was much cultivated by the Rishis (Saints) of old, who called it "kalpa taru," literally the tree that supplies all desires. Its presence therefore is auspicious. |
 | Tree Design Sometimes called the tree of life. Always associated with religious belief. It symbolizes Divine power and perpetual life. It has furnished more different art motives than any other object and is almost omnipresent in Persian prayer rugs. The palm signifies a blessing or benediction, the weeping willow stands for death, and the cypress, while being an emblem of mourning, in its perennial freshness and the durability of its wood, is also a very practical symbol of the life to come. It is an Oriental custom to plant cypress trees on the graves of the dead, to place its twigs in the coffins of the dead, and to use its branches to indicate the houses of mourning. In India the cocoanut palm is considered "the tree of desire" or one that fulfils all desires. Its stem serves as a pillar or beam, as a water conduit and as fuel; its leaves supply mats for roofing the houses; its kernel supplies oil; its shell makes water bowls, and the oil of the shell is used as an external application in certain skin affections, etc. It is all useful and supplies all the primitive wants and therefore was much cultivated by the Rishis (Saints) of old, who called it "kalpa taru," literally the tree that supplies all desires. Its presence therefore is auspicious. |
 | Tree Design Sometimes called the tree of life. Always associated with religious belief. It symbolizes Divine power and perpetual life. It has furnished more different art motives than any other object and is almost omnipresent in Persian prayer rugs. The palm signifies a blessing or benediction, the weeping willow stands for death, and the cypress, while being an emblem of mourning, in its perennial freshness and the durability of its wood, is also a very practical symbol of the life to come. It is an Oriental custom to plant cypress trees on the graves of the dead, to place its twigs in the coffins of the dead, and to use its branches to indicate the houses of mourning. In India the cocoanut palm is considered "the tree of desire" or one that fulfils all desires. Its stem serves as a pillar or beam, as a water conduit and as fuel; its leaves supply mats for roofing the houses; its kernel supplies oil; its shell makes water bowls, and the oil of the shell is used as an external application in certain skin affections, etc. It is all useful and supplies all the primitive wants and therefore was much cultivated by the Rishis (Saints) of old, who called it "kalpa taru," literally the tree that supplies all desires. Its presence therefore is auspicious. |
 | Tree Design Sometimes called the tree of life. Always associated with religious belief. It symbolizes Divine power and perpetual life. It has furnished more different art motives than any other object and is almost omnipresent in Persian prayer rugs. The palm signifies a blessing or benediction, the weeping willow stands for death, and the cypress, while being an emblem of mourning, in its perennial freshness and the durability of its wood, is also a very practical symbol of the life to come. It is an Oriental custom to plant cypress trees on the graves of the dead, to place its twigs in the coffins of the dead, and to use its branches to indicate the houses of mourning. In India the cocoanut palm is considered "the tree of desire" or one that fulfils all desires. Its stem serves as a pillar or beam, as a water conduit and as fuel; its leaves supply mats for roofing the houses; its kernel supplies oil; its shell makes water bowls, and the oil of the shell is used as an external application in certain skin affections, etc. It is all useful and supplies all the primitive wants and therefore was much cultivated by the Rishis (Saints) of old, who called it "kalpa taru," literally the tree that supplies all desires. Its presence therefore is auspicious. |
 | Turkish Design A nameless Turkish border design. |
 | Turkish Design A nameless Turkish border design. |
 | Turkish Design A nameless Turkish border design. |
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Clipart ETC is a part of the Educational Technology Clearinghouse and is funded by a grant from the Florida Department of Education, Office of Educational Technology. Produced by the Florida Center for Instructional Technology, College of Education, University of South Florida. Last update: 03/26/2007. Email the project manager.