The weaving of erotic praises begins with the Jewish's ancient wedding poem Song of Songs. As a love song, it is full of praises, expressions of admiration, and honor. These expressions are made in the context of a symbolic garden. A paradise that brings to the fore the fullness of love. The structure, the way of expression, and the function of the poetic paradise refer to the Persian garden which brings by its own means the idea of paradise on earth. Persian rugs inspired by the Persian garden, in turn, symbolize paradise through the weaving of patterns. The poetic, the Persian, and the woven garden as surfaces bearing the idea of paradise which are composed on a new common surface on which the erotic praises are inscribed. This surface functions as a carpet that is a garden and a poem at the same time. On it, the lyrics of the Song are transformed into motifs that are translated both conceptually and sensually. The poetic carpet conveys the idea of love through the characteristics of the garden and is woven in a multimodal and multi-sensory way. And this weaving is not just a representation of lyrics on a surface but it is an experience that penetrates the weaver's body and defines it. The weaver makes the carpet and at the same time she talks about how the carpet and its materials are inscribed on her functioning as an integral part of her work. This experience is translated poetically and comes to converse with the woven motifs and lyrics of the Song through a synthetic dictionary. The poem is translated into motifs and finally into an experience that becomes a new poem, thus giving a circular movement to the poetry of this creation. Eventually, the process of weaving erotic praise is a multi-layered process that, in order to be completed, takes on erotic dimensions.