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Navajo rugs do not have ridges at the ends. On occasion, someone who is trying to pass a rug off as Navajo or just make it look more Navajo will take the time to actually run the warps back into the rug to eliminate the fringe, but this creates ridges in the ends of the piece. If you separate the weft yarns slightly, you’ll see the doubled up warps. The next time I see a good example of this, I’ll add a picture of it. This is very common in some Ye’i rug copies that are done in Mexico.
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Chinle Revival rugs typically feature bands of repeating geometric motifs alternated with plain or striped bands of contrasting colors. Common colors for Chinle rugs include yellow, gold, brown, tan, terra cotta, soft pink and other earth tones, as well as natural wool colors ranging from white to black. About the time of World War II, Crystal-area weavers developed their own banded revival rugs bearing no resemblance to Moore’s early designs. Generally known as Modern Crystal rugs, these borderless patterns often combine vegetal and aniline colors in shades of brown, yellow, and terra cotta with natural greys and whites. This is accomplished by alternating weft threads of two contrasting colors and tightly “battening” or packing them together, giving the effect of a thin, undulating line.
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Navajo blankets can be considered an older form Navajo weavings. They are made around 1840-1890. These textiles, which were soft and easily wrapped around the body, could also be worn. Note: Saddle blankets, which are smaller and more expensive than wearing blankets, are highly collectible. Even at peak production, Navajo weaves were difficult to find. A blanket could take up to a whole year to weave, not to mention the time spent raising the sheep for the wool.

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Despite the obvious symbolism of patterns such as the “Tree of Life,” most pictorial motifs had no specific religious meaning; they simply were objects common in the culture or of special interest to the weaver. The major exceptions to this rule, however, were weavings that portrayed Yeis, or Navajo Holy People, and weavings that recreated sacred ceremonial sand paintings. A small number of weavers made Sand Painting Rugs as early as the 1890s in the area around Two Grey Hills. Most famously, the medicine man Hosteen Klah made a series of sand painting rugs with the help of his mother and nieces between 1919 and 1936.
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A blanket like the one worn by the chief of Navajo tells the story about Native American spirituality, survival struggle and community. This blanket is also known as a serapis and was made in the 1865 Indian internment. It is richly woven in reds, and as striking as its bordered design. Red was difficult to find in those days, especially among Native Americans. The Native Americans found a way to get around this problem by tearing apart machine-made rugs. They then re-weaved the thread into their own designs. This design, however, is very rare. It shows that the outside world is increasingly influencing not just Navajo culture but also their art. Notice the borders that are only part of the blanket's four corners. Inspired by exotic Oriental rug designs, bordered textiles were very popular in the '60s. This suggests that weavers have copied these rugs from photographs, though it is more likely they had already seen them. However, bordering was not in harmony with Native Americans' inheritance of design.
