challenging part of rug design. The ornaments have to be woven in a way that the pattern continues without interruption around the corners between horizontal and vertical borders. This requires advance planning either by a skilled weaver who is able to plan the design from start, or by a designer who composes a cartoon before the weaving begins. If the ornaments articulate correctly around the corners, the corners are termed to be "resolved", or "reconciled". In village or nomadic rugs, which are usually woven without a detailed advance plan, the corners of the borders are often not resolved. The weaver then discontinues the pattern at a certain stage, e.g., when the lower horizontal border is finished, and starts anew with the vertical borders. The analysis of the corner resolution helps distinguishing rural village, or nomadic, from workshop rugs. Smaller and composite design elements The field, or sections of it, can also be covered with smaller design elements. The overall impression may be homogeneous, although the design of the elements themselves can be highly complicated. Amongst the repeating figures, the boteh is used throughout the "carpet belt". Boteh can be depicted in curvilinear or rectilinear style. The most elaborate boteh are found in rugs woven around Kerman. Rugs from Seraband, Hamadan, and Fars sometimes show the boteh in an all-over pattern. Other design elements include ancient motifs like the Tree of life, or floral and geometric elements like, e.g., stars or palmettes. Single design elements can also be arranged in groups, forming a more complex pattern: The Herati pattern consists of a lozenge with floral figure at the corners surrounded by lancet-shaped leaves sometimes called "fish". Herati patterns are used throughout the "carpet belt"; typically, they are found in the fields of Bidjar rugs. The Mina Khani pattern is made up of flowers arranged in a rows, interlinked by diamond (often curved) or circular lines. frequently all over the field. The Mina Khani design is often seen on Varamin rugs. The Shah Abbasi design is composed of a group of palmettes. Shah Abbasi motifs are frequently seen in Kashan, Isfahan, Mashhad and Nain rugs. The Bid Majnūn, or Weeping Willow design is in fact a combination of weeping willow, cypress, poplar and fruit trees in rectilinear form. Its origin was attributed to Kurdish tribes, as the earliest known examples are from the Bidjar area. The Harshang or Crab design takes its