Kilim and Tribal Patterns: Geometry With Meaning

Tribal and kilim designs look abstract to a modern eye, but most of the recurring motifs had specific meanings, and the angular geometry has a technical explanation.

Why everything is angular

Because of how the rugs were made. In a flatweave, pattern is built from the weft passing over and under warp threads — a grid. Curves are extremely difficult on a grid; diagonals and steps are natural. Tribal weavers worked from memory rather than from a drawn cartoon, which also favours motifs that can be counted out in threads.

Some recurring motifs

• Elibelinde — a stylised female figure with hands on hips, standing for fertility and motherhood. Probably the most common Anatolian motif of all.
• Koçboynuzu — ram's horn, for strength and masculinity.
• Eli — the hand or comb, associated with protection.
• Su yolu — running water, a zigzag band.
• Yıldız — star, most often eight-pointed, a very old protective symbol across the region.

Regional character

Anatolian tribal weaving varies enormously by area. Coastal Aegean work tends toward lighter grounds and looser drawing. Central Anatolian work from around Konya is often denser and more strongly red. Caucasian designs — Kazak, Shirvan, Kuba — are the most rigorously geometric of all, built from large bold medallions on open fields.

Using them today

Tribal geometry is graphic enough to hold its own against modern furniture, which is why it has never really gone out of fashion. It is also, practically, superb at hiding traffic — the irregular multi-colour surface disguises marks better than any plain rug.