Ghasghai Rugs are predominantly made from robust sheep wool, often sourced from local sheep stocks. The colour palette is warm and contrasting, with dominant reds and shades of red, complemented by dark blue, ivory, brown, and occasional yellow or green tones. The design layout usually follows a free, not strictly symmetrical structure. Typical pattern categories include geometric shapes such as diamonds and medallions, striped or field structures, as well as stylised animal and plant motifs. Visible variations within a rug are characteristic.

Primarily, new wool is used, often in a wool warp; in more recent pieces, cotton is sometimes found in both the warp and weft. The colour palette is warm and vibrant, featuring shades of red, blue, and ivory, with yellow, green, or orange as accents. The design layout is free and not strictly symmetrical. The pattern categories include geometric shapes, simple medallion or field structures, as well as stylised animal and plant motifs, which can vary noticeably from piece to piece.

The pile is usually medium to high and feels soft and dense. It is predominantly knotted using the asymmetrical Persian knot, often placed slightly irregularly. The knotting densities are in the low to medium range, typical for nomadic-influenced utility quality. The knotting and weaving techniques are functional and robust, with low standardisation and visible, craft-related variations.

The pile is predominantly made of strong new wool, often combined with a characteristic cotton warp. The colour palette is clear and contrasting, featuring 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, as well as occasionally simplified floral elements.

The pile is generally medium-high and feels firm and robust. The knotting is predominantly done using the asymmetrical Persian knot, usually placed regularly. The knotting densities range from low to medium and show a strong variation depending on the village of origin. The knotting and weaving techniques are village-standardised and consistently designed for practicality and durability.

High-quality, strong 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 complements. Characteristic of the design layout are clearly defined fields 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 durable. It is predominantly knotted using the asymmetrical Persian knot, regularly and firmly set. The knotting densities are in the medium range and designed for high durability. The knotting and weaving techniques are clearly village-standardised and aimed at long-term use.

Very strong, durable wool is used for the pile, usually combined with a sturdy cotton warp. The colour palette is clear and contrasting, with dominant reds and blues, complemented by beige, ivory, or occasionally green. The design layout is strongly architectural and typically follows a large central medallion with distinctly structured corners. The pattern categories are predominantly geometric, with floral elements appearing highly stylised and angular.

The pile is medium-high and feels very firm, heavy, and compact. The knots are predominantly tied using the symmetrical Turkish knot, regularly and densely arranged. The knot densities are in the medium range, with stability clearly taking precedence over fine detail work. The knotting and weaving techniques are highly standardised and designed for maximum durability and shape stability.

Senneh rugs are made from fine sheep's wool, usually on a cotton warp. The colour palette is varied and balanced, featuring shades of blue, red, ivory, and green, along with subtle intermediate tones. The design layout is very regular and finely structured. Dense all-over patterns are typical, often in the form of delicate Herati or geometric-floral structures that require high line precision.

The pile is low and feels smooth, fine, and dense. It is predominantly knotted using the asymmetrical Persian knot, which is set very regularly and precisely. The knotting densities are in the medium to higher range, allowing for a clear representation of intricate patterns. The knotting and weaving techniques are controlled, uniform, and designed for technical accuracy.

Afshar rugs are typically made from sturdy, durable wool, often with a rather dry texture. The colour palette is earthy and understated, featuring dark red, rust red, blue, and ivory, complemented by green or yellow as accent colours. The design layout is clearly structured and less free-form than that of highly nomadic rugs. The pattern categories include geometric motifs, small medallions, and stylised floral elements in a compact, balanced arrangement.

The pile is usually of medium height and appears dense and durable. The knots are predominantly tied using the asymmetrical Persian knot, generally spaced relatively evenly. The knot densities are in the medium range and are designed for long-lasting usability. The knotting and weaving techniques are functional, stable, and have already been partially standardised, without completely losing the artisanal character.

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

The pile is medium-high and feels firm and dense. The knots are predominantly tied with the asymmetrical Persian knot, placed regularly. The knot densities are in the low to medium range and are designed for everyday practicality. The knotting and weaving techniques are solid, executed evenly, and village-standardised.

Primarily, new wool is used for the pile, often combined with cotton for the warp and weft. The colour palette is balanced and rather subdued, featuring shades of red, blue, beige, and ivory, with green or brown as complementary colours. The design layout is clearly structured and often based on medallions. The pattern categories combine geometric basic shapes with stylised floral elements in an orderly, easily readable arrangement.

The pile is medium-high and appears dense and firm. The knots are predominantly tied using the asymmetrical Persian knot, placed regularly and evenly. The knot densities are in the medium range and are designed for long-lasting quality of use. The knotting and weaving techniques are executed uniformly and standardised at a village level, which gives the carpets their calm, reliable structure.

Typical of Gabbeh are very reduced, often almost minimalist designs with large solid colour areas, few geometric motifs or highly simplified symbols. The colour palette is often nature-inspired, but in newer pieces it can also extend to vibrant, clear tones. The design layout is deliberately calm and open, with plenty of negative space. This distinctive design independence clearly sets Gabbeh apart from the more structured patterns of traditional nomadic and village carpets.

Although Gabbeh are hand-knotted and culturally rooted in a nomadic environment, they follow a different aesthetic logic than traditional nomadic, village, or tribal carpets. They represent less of the inherited pattern traditions and more of a free, modern interpretation of nomadic knotting art. For this reason, Gabbeh are now mostly classified as a distinct carpet category and are consciously differentiated from classic nomadic carpets such as Ghasghai, Lori, or Shiraz.