BazarKurdistan:Carpet-weaving is by far the most significant Kurdish folk art. Kurdish rugs and carpets use medallion patterns; however, far more popular are the all-over floral, Mina Khani motifs and the “jaff” geometric patterns. The beauty of Kurdish designs are enriched by high-chroma blues, greens, saffrons as well as terracotta and burnt orange hues made richer still by the lustrous wool used.
The traditional Kurdish rug uses Kurdish symbols. It is possible to read the dreams, wishes and hopes of the rug maker from the sequence of symbols used. It is this signification and communication both individually and grouped into Kurdish rug making Kurdish people study how meaning is constructed and understood by talking with the rug maker.
Other crafts are embroidery, leather-working, and metal ornamentation. Kurds are especially known for copper-working.
Some carpets have the image of Shamaran, an important Kurdish myth.
Shamaran is a mythical creature, half-snake and half-woman, portrayed as a dual-headed creature with a crown on each head, possessing a human female head on one end, and a snake’s head on the other, possibly representing a phallic figure. The human part is also decorated with a large necklace. By interpreting the Shahmaran myth through a feminist lens, scholars and activists can highlight the importance of preserving cultural narratives that empower women and challenge oppressive norms.\
In summary, a feminist interpretation of the Shahmaran myth emphasizes female empowerment, the complexity of gender identities, ecological connections, and the critique of patriarchal systems, ultimately advocating for a more equitable society.
Farhad H. Guran, in his novel “Koch-e Shamar,”(Departure of shamar) brings the myth of the Shamaran to the contemporary world through the narrator of the story. This novel narrates the myth in contrast to the modern era.