Floral- The image of a lush and fecund garden is the one that is deeply rooted in both the  religious and cultural heritage of the Persian people.

Not only has the arid nature of the land inspired successive rulers to create the most exquisite and luxuriant ornamental gardens in their palaces and towns; it has also spurred generations of textile artists to compensate for the harshness of their environment by weaving emblems of foliate abundance into their rugs. The weavers were no doubt further inspired by their belief in the Islamic afterlife, which promises that the faithful will dwell in Paradise. It is therefore not surprising that floral and garden designs feature prominently in Persian rugs.

Repeating floral- Designs employing one floral motif which is then systematically repeated across the entire field.

Naturalistic versions were found on older Caucasion items, and may still be encountered on some contemporary Persian workshop items. The most common use of this design is in the highly stylized, geometric interpretation found on Beshir and some Belouch rugs.

Allover floral- Designs which feature floral forms without the addition of a medallion, vase, or other primary motif.

They were popular with some older Caucasion groups and may still be encountered on a number of village and workshop items. Perhaps the most popular and satisfying all over floral scheme is the Lilihan design, which forms a substantial part of the repertoire of the Sarouk weavers of west central Persia.

Garden- Design usually based on the formal gardens of ancient Persia, with their abundance of flora separated by pathways and ornamental ponds.

They sometimes take the form of a palace garden seen from above; but more often a garden is simply implied by the juxtaposition of vegetal and foliate forms. Garden designs are most closely associated with the Kerman weavers of southern Persia, but maybe found in items from a number of workshop groups.