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Pictorials made before the 1940s are relatively uncommon and usually command a premium price from collectors. After World War II, however, more weavers began making pictorial weavings, frequently filling a small rug with a single scene. Types that have been especially popular since the 1970s include landscape scenes which usually feature red cliffs or mountains, blue sky and clouds, juniper and pine trees, hogans, farm animals, trucks, and people. Another common format is called the “Tree of Life” pattern, consisting of a corn stalk rising from a Navajo wedding basket, with birds adorning the leaves of the cornstalk. 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.
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Selvage lines run along the sides of the rug. The line is actually two or more threads twisting around each other and interlaced through the edge of the fabric. Selvage lines help the weaver maintain a straight edge and give the rug a finished look. Although the presence of selvage lines helps indicate the authenticity of a Navajo rug, the absence of these lines does not necessarily mean the rug is not authentic. It is possible to see selvage lines in a photograph.
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Because these rugs are sacred, only a few Navajo weavers arewilling or able to produce them. To protect these individuals from spiritualharm, special ceremonial sings must be conducted. These rugs are very rare and thus very valuable and are producedin the Two Grey Hillsand Shiprock areas. Yeis (yays) are the Holy People (supernatural) who cancommunicate between the Navajo people and their gods. They are usually shown face-frontand are tall, slender figures carrying rattles, cornstalks, etc. There are someelements of some sandpaintings but these rugs are not used in ceremonies. Any combination and amount of colors may be used. They can be commerciallyor vegetal dyed and contain different numbers of Yei figures. Sometimes thesefigures are surrounded by the guardian rainbow Yei symbol.

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It is important to remember that if you are unsure whether a rug is authentic Navajo, you should not purchase it. To ensure you get authentic Navajo rugs, you should work with a trusted dealer.
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It is not surprising that the intricate designs take more effort to weave. The story is similar for the tightness in the weaving. Understanding the source of the Navajo rugs can help you to understand the reason why the rugs cost so much more. What is the Navajo rug made from? Weavers used to use three-ply yarn in the mid-19th century. This was called Saxony. Saxony is a name that denotes high-quality and silky years naturally dyed. Natural dyes are much better than artificial.


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The 4 rectangles,one in each corner of the rug, represent the homes of the four winds or thefour sacred mountains of the Navajo world. Zigzag lightning lines connect thesecorners with the center. Colors of the original storm rugs were usually red, black,and white on a natural gray or red background. Today you will find naturalbrowns and vegetal dye colors. There will usually be a dark border which can be embellishedon one side with ‘teeth.’ Clouds, water beetles, arrows, feathers, andgeometric designs are throughout. A pictorial usuallyfeatures items in the daily life of a weaver. There can be landscapes with animals, plants, etc., even tractors. If there are borders, they will usually be dark.
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The resulting rugs were not literal copies of older pieces, but were creative variations on banded designs using a wide palette of newly developed vegetal dye colors made from indigenous plants, as well as new, subtly colored chemical dyes. Mary Cabot Wheelwright, founder of the Wheelwright Museum in Santa Fe, probably started the “vegetal revival” by providing weavers around Chinle, Arizona with the new dyes and sketches of old weavings. 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.
