Qashqa’i weavers are equally at ease with traditional, urban patterns, which they employ with great competence on their finely knotted pile weavings, as well as with minimalist designs of conceptual character. In this example it appears as she was toying with the idea of creating a pattern by superimposing four open fields of different colour, beginning with ivory, going to dark blue, followed by a shiny gold and ending with a fiery orange central monolith. What clearly transpires is her tremendous sense for colour, and how she juxtaposes it to create a magical landscape. The slight irregularities in the design impart a quasi-calligraphic effect, illustrating the motion of the hand together with the stream of consciousness of the weaver. Qashqa’i kilims of such quality were certainly not intended as floor coverings but were most probably sofrehs employed for specific ceremonial purposes.