Rugs and Carpets Design Elements

Rug designs usually consist of an inner field—the pattern in the centre of the carpet—and a border. The latter serves, like the frame on a painting, to emphasize the limits, isolate the field, and sometimes manage the implied movements of the interior pattern. The design of inner field and border must harmonize well, yet remain distinct.

The border consists of a minimum of three elements: a main band, which varies greatly in width according to the size of the rug and the elaborateness of the field design, and inner and outer guard stripes, subordinate bands on either side of the main band. The guard stripes may be the same on both sides of the main band or be different.

The most common decoration for the field is an allover pattern, a panel composition, or a medallion system. The allover pattern may be of identical repeats, either juxtaposed or evenly spaced, though these are common on textiles, they are rare on carpets; or it may be of varied motifs in a unified system such as flower forms of about the same size, but even this freest type of design almost invariably includes bilaterally balanced repetitions. The varied motif type of design is found most typically in garden carpets, formalized representations of the parks or woods that were a feature of palace grounds.

Another type of allover design appears to be entirely free but is actually organized on systems of scrolling stems, notably on the east Persian carpets of the 16th and 17th centuries.

The value of panel subdivisions for controlling patterns had been discovered in a simple rectangular version by the Upper Paleolithic Period, and panel systems have been a basic form of design since 4000 BC, when pottery painters were already devising varied systems.

On carpets, the lattice provides the simplest division of the field, often a diagonal lattice as appears on an embroidered carpet.  Lattice motifs became prominent in Middle Eastern textile design in the 14th century. Simple rectangular paneling—really a large-scale check—is typical of one style of rug of the 15th and 16th centuries.

The most frequent medallion composition consists of a more or less complex motif superimposed on the centre of a patterned field and often complemented with cornerpieces, which are typically quadrants of the central medallion.

 But multiple-medallion systems also are used: either a succession or a chain of medallions on the vertical axis; two or more forms of medallions alternating in bands, a scheme typical of the Turkish  carpets of the 16th and 17th centuries; or systematically spotted medallions that may or may not be interconnected or that may interlock so that the scheme becomes an elaborate lattice.

Persian carpets of the 15th–17th century commonly have multiple-design schemes; that is, composition systems with elements that relate on two or more levels. The simplest is the medallion superimposed on an allover design, but more typical are subtler inventions such as two- or three-spiral stem systems, sometimes overlain with large-scale cloud bands, all intertwining but each carried independently to completion.

Occasionally, stripe systems are used, either vertical or diagonal, but this conception is more natural to shuttlewoven fabrics, and, when employed in the freer techniques of rug weaving, it is probably an imitation of textiles.