Rug and Kilim Motifs in Turkish Rug-Making and Mythology

⏱ Reading time: ~8 minutes · Last updated: July 2026

The journey of existence that began on the steppes of Asia, and continues today among Turkic communities all over the world, has quite rich mythological narratives — though not as famous as Greek and Roman mythology. It is possible to trace the origins of these narratives, most of which belong to oral culture, in various Chinese sources and in archaeological studies. The places where these narratives find their truest expression are, without doubt, the Turkish rug and the Turkish kilim.

Rug weaving holds quite a distinctive position within Turkish handicrafts in terms of its prevalence and history. Turkish rug weaving — one of the first weaving traditions that comes to mind worldwide when authentic rugs are mentioned — tells, through Turkish rug and kilim motifs, the centuries- and geography-spanning past of the Turks and Turkish culture. It is this plain, powerful and simple expression that creates the universal side of our weaving.

It can be said that what makes Turkish kilims and rugs distinctive is not only the weaving technique, but also that in every stitch the weaver reflects their hopes, prayers, past and expectations of the future.

The roots of these stories and emotions worked stitch by stitch can be found in the nomadic Turkic communities who lived intertwined with nature's sometimes very harsh, sometimes extraordinary and abundant sides. Alongside the animal herds their lives depended on and the tents they made their homes, these communities also carried rug and kilim looms wherever they migrated.

Turkish rugs and kilims, from those days to today, have a quality known and sought after all over the world for their durability, distinctive color choices and the aesthetic side of their motifs.

The Meanings of Rug and Kilim Motifs

Turkish rug and kilim motifs are as varied as the geographies across which the Turks dispersed, and as rich as their stories and legends.

Mythological narratives are a great heritage that connects us to our ancestors, recounting with the mastery of imagination people's centuries-old shared experiences and our similar questions and problems about life. Indeed, semiotic academic studies on kilim motifs reveal that these motifs form a visual language encoding life-cycle concepts such as birth, marriage and death, and desires such as protection from evil and wishing for abundance — and that meaning arises both from the individual motif and from the arrangement and composition on the rug. For our up-to-date reference guide covering the individual meanings of the motifs, weaving techniques and regional kilim schools, you can look at our article “Kilim Motifs and Meanings: The Wordless Language of Anatolia.” This week on the Halıcızade Blog, we wanted to share with you Turkish rug motifs whose source is mythology.

Child Motif:

Since the earliest examples we have come across, the child motif is one of the most common uses of the human figure among Turkish rug motifs. Its origin is thought to rest on the Mother Goddess narrative in Turkish mythology. Not only in Turkish mythology but in many mythologies, the child is a symbol of pure life energy, innocence and abundance. In Turkish mythology, Ak Ana (White Mother), who represents the moon in the sky and is the goddess of waters and seas, is depicted as a woman of infinite light and tells Ülgen to create humankind. Turkish rug art worked this fertility call of Ak Ana into rugs and kilims with the child motif.

Deer Motif:

The deer figure is a motif whose trace is strongly found in many cultures, from far Asia to Scandinavia and America. In Turkish mythology the deer motif represents the spirit of nature that gives life to humankind, and the wisdom and power to rule that the Turks received from their ancestors. It is one of the motifs that best expresses the ancient Turks' view of nature. In ancient Turkish beliefs, game animals were not an indication of humans establishing superiority over nature but, on the contrary, a grace offered by nature to people, deserving the highest respect. For this reason, among Turkish rug motifs the deer is one of the powerful symbols of the power given by nature being passed as a spirit from generation to generation. Many Turkish states based the source of their god-given authority to rule on deer totems.

Eagle and Bird Motif:

All 24 Oghuz tribes, believed to be the ancestors of the Anatolian Turks, base their origins on a bird totem. These bird motifs also became the symbols of the tribes. Among the bird motifs that appear in various weavings, one of the most prominent from the 1300s onward is the eagle motif. Because the Anatolian Seljuk state chose the double-headed eagle figure (Öksökö) — actually a symbol of Turkish mythology — as the state's symbol, the use of the eagle among rug motifs appears more and more from the rugs whose history rests on this state onward. The eagle motif symbolizes power, strength, the ability to rule, treating those one rules justly, and being “devletli,” that is, fortunate.

Dragon Motif:

The dragon is a legendary animal we frequently encounter, especially in Asian culture. With depictions reminiscent of reptiles and various dinosaur species, dragons begin their lives underground and, after completing their development, rise to the sky and fly above the clouds. It is they who make plants grow and pastures turn green. For the nomadic Turks engaged in animal husbandry, the growth and greening of plants carried vital importance. Indeed, what triggered the migration of peoples and caused world history to undergo a fundamental change was the gradual dwindling of the pastures that fed the animals. From this point of view, it is not surprising that the animal that turns the wheel of the sky and causes time to flow and history to change is the dragon. An interesting comparison: the dragon motif appears in nearly every mythology of Asia, but its form in the Turkish nomadic cosmology is, unlike in other cultures, directly intertwined with animal husbandry and the pasture cycle — that is, with abundance in daily life. Among rug motifs and their meanings, the dragon is an important symbol pointing to the very reason for the nomads' existence. With its rain-bringing it represents abundance, and with its causing drought it represents nature, which must be respected and sometimes feared.

Tree of Life Motif:

The tree of life symbol is one found in common in almost all cultures of the world. In all cultures it is found with similar meanings. For Turkic communities who received their consciousness of and respect for nature from their nomadic ancestors, a tree is a living being that carries a spirit within it, deserving respect and protection. It is believed that a tree cut while still green will offend the spirit that owns the tree and cause various disasters. Dry trees gathered to be burned or worked are approached with gratitude and respect. For this reason the Turks chose the tree of life as a symbol to depict the “journey of life” and used it as a rug motif. The tree of life symbolizes being born as a part of nature, living in respect for nature, and finally, by dying, returning to the essence of nature.

Scorpion Motif:

One of the biggest problems in the settlement areas of the nomadic Turks was venomous scorpions. Thanks to these motifs worked into the borders and outer edges of the kilim or rug, people believed they would protect themselves from scorpions. The scorpion, besides being a real threat, is also a symbol of everything that threatens the home from outside.

Earring Motif:

This earring pattern worked onto rugs and kilims was mostly worked by unmarried young girls. The meaning of this pattern is for the girl weaving the kilim or rug to indirectly tell her family that she wishes to marry.

Ram's Horn Motif:

The ram's horn motif represents productivity, leadership and masculinity. It can reflect the weaver's feelings, or be woven as a good wish.

Amulet (Muska) Motif:

The amulet pattern is worked onto a rug or kilim in a triangular shape. This motif is thought to protect the owner of the rug or kilim from misfortunes.

Fetter (Bukağı) Motif:

This motif symbolizes unity and togetherness. The fetter motif is also worked as a wish for the weaver to come together with the person they hope to be reunited with.

Chest (Sandık) Motif:

This pattern again represents the dowry chest of young girls who have come of marriageable age. This pattern woven onto a kilim or rug is also a way of saying, “my dowry is ready, I am ready for marriage.”

Hand, Finger and Comb Motifs:

The finger pattern points to the weaver being protected from evil eyes, the comb motif to fertility, and the hand motif to productivity and abundance.

Cross and Hook Motifs:

As in many cultures, it represents the four directions, the 4 basic principles of life and the 4 elements. That is, in one sense it can be said to be a symbol of vitality and attachment to life.

Elibelinde (Hands-on-Hips) Motif:

The elibelinde pattern depicts femininity and motherliness. Fertility and abundance are again symbolized by this motif. Referred to directly by its Turkish name “elibelinde” in the international kilim literature, this motif is defined in academic research as one of the best-known visual symbols of fertility and abundance, connected to Anatolia's mother goddess tradition.

Eye Motif:

In the eye pattern, blue yarn is mostly chosen. Just as with the evil-eye bead, it is woven because it is believed to prevent the evil gaze and the curse.

Abundance (Bereket) Motif:

The dot in the middle of this pattern symbolizes the family, while the horn-like parts at the edges represent the spouses. With the horn-like parts, the message is given that the family in the middle is protected and watched over.

Star Motif:

The star symbol, in many cultures, expresses the reflection of god in the human. In Turkish culture too it was used to represent the abilities that god bestowed on humankind.

Waterway (Suyolu) Motif:

How important water is in human life is also reflected in Turkish rug and kilim motifs. The woven waterway patterns symbolize dynamism, vitality and life.

Hair-Tie (Saç Bağı) Motif:

The hair-tie is a sign of the wish to marry and build a home. The symbol woven as hair represents immortality. It is woven with the wish that lovers be reunited and stay together forever.

Frequently Asked Questions

What do rug motifs mean?

Turkish rug and kilim motifs are a visual language symbolizing concepts such as nature, fertility, protection, the wish to marry and good luck. While each motif carries meaning on its own, together with the arrangement and colors on the rug it tells a richer story.

Where do Turkish rug and kilim motifs come from?

Their roots rest on the Central Asian steppe culture where the nomadic Turks lived intertwined with nature, and on oral mythological narratives; these communities carried their rug and kilim looms wherever they migrated.

What does the elibelinde motif mean?

Elibelinde is a motif depicting femininity and motherliness, symbolizing fertility and abundance. It is referred to by the name “elibelinde” in the international kilim literature and is connected to Anatolia's mother goddess tradition.

Why is blue yarn used in the eye motif?

Blue, as with the evil-eye bead, is a color believed to prevent the evil gaze and the curse; for this reason the eye motif is traditionally woven with blue yarn.

What does the dragon motif symbolize on rugs?

The dragon represents the power of nature that brings abundance by bringing rain, but can also cause drought, and is therefore both respected and feared.

What is the meaning of the tree of life motif?

The tree of life symbolizes the bond between earth and sky, birth, a life lived in respect for nature, and the return to nature's essence through death; it appears in common across many cultures worldwide.

Which states is the eagle motif associated with?

The double-headed eagle (Öksökö) symbol was chosen as the symbol of the Anatolian Seljuk State; it represents power, justice and the ability to rule.

What is the difference between a rug and a kilim?

A rug is woven with pile using the knotting technique, while a kilim is produced with the flat-weave (knotless) technique and generally has a thinner structure that looks the same on both sides. Most of the motifs in this article appear in both techniques.

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