The desire to tie a family or lovers together could be depicted with a fetter motif (Turkish: Bukaǧı).Several other motifs represented the desire for good luck and happiness, as for instance the bird (Turkish: Kuş) and the star or Solomon's seal (Turkish: Yıldız).Despite what many perceive as their secondary (or inferior) status to pile carpets, kilims have become increasingly collectible in themselves in recent years, with quality pieces now commanding high prices.
The weave is almost identical with that of modern kilims, and has about fourteen threads of warp and sixteen threads of weft to the inch.
The pattern consists of narrow stripes of blue, green, brownish yellow, and red, containing very small geometric designs.
The warp strands are only visible at the ends, where they emerge as the fringe.
This fringe is usually tied in bunches, to ensure against loosening or unraveling of the weave.
Weaving strategies for avoiding slit formation, such as interlocking, produce a more blurred design image.
The weft strands, which carry the visible design and color, are almost always wool, whereas the hidden warp strands can be either wool or cotton.
Patterns and colours were chosen to suit the market, rather than woven according to tradition and to suit the needs of the weaver's family and the weaver's own hopes and fears.
Perhaps the best known and most highly regarded, these kilims (or kelims) are traditionally distinguished by the areas, villages or cities in which they are produced, such as Konya, Malatya, Karapinar and Hotamis. Larger antique kilims were woven in two to three separate sections on small nomadic horizontal floor looms in three feet wide long strips, then carefully sewn together matching the patterns edges to create an ultimately wider rug.
Other motifs express the tribal weavers' desires for protection of their families' flocks from wolves with the wolf's mouth or the wolf's foot motif (Turkish: Kurt Aǧzi, Kurt İzi), or for safety from the sting of the scorpion (Turkish: Akrep).
Several motifs hope for the safety of the weaver's family from the evil eye (Turkish: Nazarlık, also used as a motif), which could be divided into four with a cross symbol (Turkish: Haç), or averted with the symbol of a hook (Turkish: Çengel), a human eye (Turkish: Göz), or an amulet (Turkish: Muska; often, a triangular package containing a sacred verse).
A second factor was the loss of the nomadic way of life across Central Asia.