Chahar morgh This pattern originates from Qaen and its full name is Chahar-Morgh-e-Zir-e-Kooh-e-Qaen . Originally it was a local pattern from Zir-e-Kooh-e-Qaen but Baluch weavers took it and made a new design . Its main feature is four birds on the field in various positions .
Sarvi ( Cypress design ) As its name suggests , the dominating motif in this design is the cypress tree . Sometimes the design contains repetitive cypress trees and very rare instances there is one big cypress tree on the field .
Chahar Morgh design , Zir-e-Kooh-e-Qaen , 135x73 cm , late 19th to early 20th century .
Qabi ( Cartouche ) It consists of frames and squares spread on the field . One of the most famous samples of this pattern is woven in Ma ’ dan , in the vicinity of Neyshabour . It is also known as Ma ’ dan carpet or Tarh-e-Ma ’ dan ( Ma ’ dan design ).
Sarvi ( Cypress design ), South of Khorasan ( probably in the vicinity of Ferdows ), 123x278 cm , late 19th century .
Behest-va-jahannam ( Heaven and Hell ) A group of Baluch patterns in which snake and dragon motifs or beasts and birds are visible and they fight with each other . Some magnificent samples of this design are found in Sangan , Taybad and in the vicinity of Torbat-e-Jam .
Dokhtar-e-Ghazi This is one of the most repetitive design among the Baluch tribes . Carpets with this pattern are very similar to prayer design and used as prayer rugs .
Parjollaki ( Jollaki ) A simplified motif inspired by the spindle and Jollak ( spindle in Baluch dialect ). This motif is also repeated all over the field . Interestingly , some tribes from Lorestan use the word Jallak which has the same meaning .
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