All of our rugs are genuine, hand-woven Navajo rugs. Since about 1920 the styles of Navajo rugs have been identified with the region on the Reservation in which that distinct pattern was originally woven. These patterns were usually influenced by the trader in that area. The major regions include Two Grey Hills, Teec Nos Pos, Crystal, Ganado, Wide Ruins, Chinle, Burntwater, and Western Reservations. In addition to these we have other styles that are not identified with a region, such as Pictorial, Sandpainting, Twill Weave, Two Faced, Raised Outline, Blanket Revival, Yei, and Yei-be-chai. Still, there are plenty of other weavings that do not lend themselves to a particular style category at all. In our gallery, as well as online, we have organized our inventory in these regional styles for easier viewing. You may scroll down the page or select from the drop down menu below to learn more about each regional style of Navajo weaving.
Select a regional style to learn more:
Bird Pictorial
Certainly one of the most popular Navajo Rug styles, the Bird Pictorial may also be the
most difficult design to execute. The ability to create curved lines ( which are required for realistic looking
birds) in a generally geometric format is said to be a family secret passed down only to those within the Bird
Pictorial weaving families. The beautiful birds are usually depicted with the sacred plant of the Navajo, the
cornstalk, growing from the traditional Navajo ceremonial basket.
Blanket Revivals are contemporary weavings bearing the classic wearing blanket patterns of the 19th Century. While Navajo weaving has evolved a great deal over the past century and a half, these weavings pay tribute to some of the earliest and most enduring patterns of this art form.
A relatively new style, Burntwater weavings come from the Southern part of the reservation where the art of vegetal
dying is still alive and well. As opposed to the banded designs of the Wide Ruins and Crystals (also known for their
natural dye sources,) Burntwater weavings are usually bordered with a central design motif. Due to the nature of
dyes derived from plant sources Burntwater color palettes range from soothing, soft pastels to deep, rich earth tones.
The deep, rich, red-dyed wool of a Ganado Red is what many lovers of Navajo weaving associate with the craft. The red dye dates back to some of the earliest blankets and remains a dominant color in many of today's rugs. Lorenzo Hubbel, a famous early trader at his post in Ganado, Arizona, loved and encouraged the use of the rich red color. The weavers usually have to trade for the aniline dye source as it can rarely be duplicated using natural sources. Although Ganado Reds are typically thought of as bearing a central geometric pattern, the designs that use Ganado Red can vary from Blanket Revivals, to Storm Patterns, to early Crystal designs and more.
Generally speaking, Pictorial weavings are a reflection of the world as the weaver sees it, usually depicting her immediate environment. But as the world around the weavers has changed, so have the Pictorials. Evolving from scenes of traditional reservation life, to trains, trading posts, and trucks, the subject matter of Pictorials could almost be interpreted as a visual history of life on the reservation over the past Century.
Sandpainting rugs, first woven by Navajo Medicine Man Hosteen Klah in the 1920's, are woven representations of traditional Navajo healing designs. They are most certainly the rarest of all Navajo rug styles, as many weavers today will not weave them.
It is speculated that the Storm Pattern originated from the Crystal region in the early 1900's. It is a popular design and one of the few Navajo rugs that tells a story. According to Navajo mythology, man and all living things came into this world from the underworld through the Lake of Emergence, symbolized by the central design in these rugs. The squares in the four corners represent the Navajo's four sacred mountains. The lines connecting the center to the four corners represent lightning bolts which carry blessings back and forth between the mountain tops, bestowing good spirits on the weaver and her household.
Teec Nos Pos, literally meaning "Circle of Cottonwoods" in Navajo, and the
neighboring Red Mesa area, are located in the Northeast corner of Arizona, in the four-corners region. Teec Nos
Pos and Red Mesa Outline weavings are the most intricately detailed designs made on the reservation. The Teec Nos
Pos designs are said to be influenced by photographs of Persian Rugs shown to the area's weavers 100 years ago. The
Red Mesa Outlines are the last remaining examples of the Eye Dazzler designs of the 19th Century. Historically the
weavers of this style have preferred the brightly colored commercial wool yarns in order to enhance the power of
their designs.
Some of the finest weavings on the Reservation come from the Two Grey Hills area. From the time the Spanish first brought sheep to the New World, the weavers in this area have bred their sheep for the richest natural brown wool. A Two Grey Hills weaving can by identified by a central diamond motif, woven with wool spun with natural black or dark brown, white, and blends carded together to make beautiful greys and tans. Two Grey Hills weavers use very little or no dye and are also known for their very fine spinning. In these fine weavings known as "Tapestry Quality," weft counts exceed 80 threads per inch and sometimes approach up to 120 threads per inch or more.
Both of these Trading Post Regional Styles were encouraged during the 1920's and 30's and continue to be woven today. It began as an effort to revive the banded blanket patterns of the past and to keep alive the art of vegetal dying. Through the use of ancient plant and mineral dyes combined with ongoing experimentation, the soft hues of the desert are brought to life in these weavings. The Wide Ruins rugs are usually finer and have more detail with a ceremonial sash-belt design often incorporated within. Crystal rugs are usually heavier weavings with bold, large designs often seperated by bands of "wavy line" patterns.
The Yei is a slender, front-facing figure that represents a supernatural being in Navajo culture, one with the power to heal. Male Yeis have round heads, while the more common female Yeis are shown with square or rectangular heads.
The Yei-be-chai are side-facing figures representing a line of Navajo dancers impersonating Yeis. The ceremony depicted in these weavings is a healing ritual which takes place only during the winter months. The Yei-be-chai dance can last many days until the patient is healed.
Printable Version 
