Vase- This term is applied to a number of compositions employing a vase, or group of vases, as a principal design element.

The motif was most probably introduced into Persia from China- where it had been used for centuries as a symbol of peace and tranquility- and has subsequently been adapted to fulfil both the schematic and symbolic requirements of Islamic weavers. It now forms a substantial part of the repertoire of several Persian Anatolian and Indian workshop groups, particularly when incorporated as a subsidiary element into prayer rug, tree of life and medallion and corner color schemes. However, vases are the primary motifs in the two designs outlined below:

Floral vase- Variations of allover floral schemes, which use vases as the sources of flowering sprays, and are found primarily on workshop items from Persia, Anatolia, India, and Pakistan.

Zelisultan- Composed of an allover arrangement of repeating vases and considered by many experts to be one of the most aesthetically accomplished of all Persian designs. Rugs employing this scheme are becoming increasingly rare and, although it may still be found on some workshop items, the only group to use it with any regularity are the Abadeh weavers of south central Persia. India and Pakistan make a few rugs in this design.

Tree-of-life- Tree-of life designs are based on one of the oldest and most universal of all religious and mythological symbols, pre-dating both Islam and Christianity.

References to a “tree of life” as the connecting link between the human and heavenly worlds are found in diverse cultures throughout Europe, Asia Minor, and the Orient.

 Source: Oriental Rugs A Buyers Guide Lee Allane