Ghasghai rugs are predominantly made from durable virgin wool, often sourced from local sheep flocks. The colour palette is warm and rich in contrast, with dominant red and reddish tones, complemented by dark blue, ivory, brown, and occasional shades of yellow or green. The design layout usually follows a free, not strictly symmetrical composition. Typical pattern categories include geometric shapes such as diamonds and medallions, striped or panelled structures, as well as stylised animal and plant motifs. Visible variations within a rug are characteristic.

Predominantly virgin wool is used, often on a wool foundation; in more recent pieces, cotton is sometimes also found in the warp and weft. The colour palette is warm and vibrant, with shades of red, blue and ivory, while yellow, green or orange provide accents. The design layout is free-flowing rather than strictly symmetrical. Pattern categories include geometric shapes, simple medallion or field designs, as well as stylised animal and floral motifs, which can vary noticeably from one piece to another.

The pile is usually medium to high and feels soft and dense. It is predominantly knotted using the asymmetrical Persian knot, often set slightly irregularly. Knot densities range from low to medium, typical of practical quality shaped by nomadic traditions. The knotting and weaving techniques are functional and robust, with little standardisation and visible variations resulting from the handmade craftsmanship.

The pile is predominantly made from durable virgin wool, usually combined with a characteristic cotton warp. The colour palette is clear and rich in contrast, with frequent shades of red and blue, complemented by beige, ivory, green or brown. The design layout is simple and functional. All-over patterns or small medallion layouts often dominate. The pattern categories mainly include geometric motifs, with occasional simplified floral elements.

The pile is generally medium-high and feels firm and robust. It is predominantly knotted using the asymmetrical Persian knot, usually set in a regular pattern. Knot densities range from low to medium and vary considerably depending on the village of origin. The knotting and weaving techniques are standardised at village level and consistently designed for everyday practicality and durability.

High-quality, durable virgin wool is predominantly used for the pile, usually combined with cotton for the warp and weft. The colour palette is balanced and earthy, featuring red, dark blue, beige and ivory, with green or brown as complementary tones. A characteristic feature of the design layout is its clearly defined panel or garden motifs. The pattern categories combine geometric basic structures with stylised floral elements in a strictly organised arrangement.

The pile is medium-high and feels very dense, heavy and hard-wearing. It is predominantly knotted using the asymmetrical Persian knot, set regularly and firmly. The knot densities are in the mid-range and designed for high durability. The knotting and weaving techniques are clearly standardised in a village style and intended for long-term use.

Very strong, hard-wearing virgin wool is used for the pile, usually combined with a sturdy cotton warp. The colour palette is clear and rich in contrast, with dominant red and blue tones, complemented by beige, ivory or occasionally green. The design layout is strongly architectural in character and usually follows a large central medallion with clearly defined corners. The pattern categories are predominantly geometric, while floral elements appear highly stylised and angular.

The pile is medium-high and feels very firm, heavy and compact. It is predominantly knotted using the symmetrical Turkish knot, set evenly and densely. The knot densities are in the mid-range, with stability clearly taking priority over fine detail. The knotting and weaving techniques are highly standardised and designed for maximum durability and shape retention.

Senneh rugs are crafted from fine virgin wool, usually on a cotton warp. The colour palette is nuanced and well balanced, with shades of blue, red, ivory and green, along with subtle intermediate tones. The design layout is highly regular and finely structured. Typical features include dense all-over patterns, often in the form of delicate Herati or geometric floral motifs, which require a high level of precision in the line work.

The pile is low and feels smooth, fine and dense. It is predominantly knotted using the asymmetrical Persian knot, set very regularly and precisely. Knot densities range from medium to high, allowing for a clear rendering of intricate patterns. The knotting and weaving techniques are controlled, even and designed for technical precision.

Afshar rugs are usually made from firm, hard-wearing virgin wool, often with a rather dry handle. The colour palette is earthy and understated, with dark red, rust red, blue and ivory, complemented by green or yellow as accent colours. The design layout is clearly structured and less free-flowing than in strongly nomadic rugs. The pattern categories include geometric motifs, small medallions and stylised floral elements in a compact, balanced arrangement.

The pile is usually medium height and appears dense and hard-wearing. It is predominantly knotted using the asymmetrical Persian knot, generally set quite evenly. The knot densities are in the mid-range and designed for durable everyday quality. The knotting and weaving techniques are functional, stable and in some cases already partly standardised, without completely losing their handcrafted character.

The pile is predominantly made of virgin wool, usually combined with cotton for the warp and weft. The colour palette is classic and balanced, with shades of red, blue and beige, as well as green or brown as accent colours. The design layout is clearly structured and less varied than that of Hamadan rugs. The pattern categories include geometric motifs, medallions and simplified floral elements arranged in a calm composition.

The pile is medium-high and feels firm and dense. It is predominantly knotted using the asymmetrical Persian knot, set at regular intervals. Knot densities are in the low to medium range and are designed for everyday use. The knotting and weaving techniques are solid, evenly executed and standardised in a village style.

Predominantly virgin wool is used for the pile, usually combined with cotton for the warp and weft. The colour palette is balanced and fairly understated, featuring shades of red, blue, beige and ivory, with green or brown as complementary tones. The design layout is clearly structured and often centred around a medallion. The pattern categories combine geometric basic forms with stylised floral elements in an orderly, well-defined arrangement.

The pile is medium-high and feels dense and firm. It is predominantly knotted using the asymmetrical Persian knot, set regularly and evenly. The knot densities are in the medium range and designed for durable everyday quality. The knotting and weaving techniques are executed evenly and standardised in a village style, giving the rugs their calm, reliable structure.

Typical of Gabbeh are very pared-back, often almost minimalist designs with large plain areas, few geometric motifs or highly simplified symbols. The colour palette is often inspired by nature, but in more recent pieces it can also extend to bold, clear shades. The design layout is deliberately calm and open, with plenty of negative space. This distinctive visual style clearly sets Gabbeh apart from the more structured patterns of classic nomadic and village rugs.

Although Gabbeh rugs are hand-knotted and culturally rooted in a nomadic setting, they follow a different aesthetic logic from traditional nomadic, village or tribal rugs. They represent less a continuation of inherited pattern traditions and more a free, modern interpretation of nomadic weaving artistry. For this reason, Gabbeh rugs are now usually regarded as a distinct rug category and are deliberately set apart from classic nomadic rugs such as Ghasghai, Lori or Shiraz.