To dream of seeing rich tapestry, foretells that luxurious living will be to your liking, and if the tapestries are not worn or ragged, you will be able to gratify your inclinations.

If a young woman dreams that her rooms are hung with tapestry, she will soon wed some one who is rich and above her in standing.

To see tapestry in your dream, represents your past and your current life experiences. The tapestry is also symbolic of luxurious living and pleasurable surroundings.

To see a torn and ragged tapestry in your dream, refers to a lack resources needed to satisfy your needs and desires.

Seeing tapestry in your dream means luxurious living and pleasurable surroundings. Seeing torn and ragged tapestries means that you will lack resources to satisfy your needs and desires. Dreaming that the walls of your rooms are covered in tapestry means that you will marry someone who is wealthy and high in position.

The act of weaving represents, basically, creation and life, and
particularly the latter in so far as it denotes accumulation and multiplication or
growth. In this sense it was known, and put to magic and religious use, in Egypt
and the pre-Columbian cultures of Peru (40). Beigbeder recalls that weaving was
an attribute of the Parcae, and also of the Virgin in Byzantine iconography. The
weaving symbol is universal, and of prehistoric origin.

To dream that you are weaving, denotes that you will baffle any attempt to defeat you in the struggle for the up-building of an honorable fortune.

To see others weaving shows that you will be surrounded by healthy and energetic conditions.

To dream that you are weaving something, suggests that you are trying to piece together some information. You need to incorporate various components together and look at the picture as a whole. Alternatively, weaving symbolizes your creativity.

Dreaming that you are weaving something, suggests that you are trying to piece together some information. You need to look at the picture as a whole.

In anthropology, woman corresponds to the passive principle of
nature. She has three basic aspects: first, as a siren, lamia or monstrous being who
enchants, diverts and entices men away from the path of evolution; second, as the
mother, or Magna mater (the motherland, the city or mother-nature) related in
turn to the formless aspect of the waters and of the unconscious; and third, as the
unknown damsel, the beloved or the anima in Jungian psychology. In his Symbols
of Transformation, Jung maintains that the ancients saw Woman as either Eve,
Helen, Sophia or Mary (corresponding to the impulsive, the emotional, the intellectual, and the moral) (33). One of the purest and all-embracing archetypes of
Woman as anima is Beatrice in Dante’s Commedia (32). All allegories based upon
the personification of Woman invariably retain all the implications of the three
basic aspects mentioned above. Of great interest are those symbols in which the
Woman appears in association with the figure of an animal—for example, the
swan-woman in Celtic and Germanic mythology, related to the woman with the
hoof of a goat in Hispanic folklore. In both cases the woman disappears once her
maternal mission has been completed and, similarly, the virgin qua virgin ‘dies’ in order to give way to the matron (31). In iconography it is common to find parts
of the female figure combined with that of a lion. The Egyptian goddess Sekhmet,
characterized by her destructiveness, had the body of a woman and the head (and
therefore the mind) of a lion. Conversely, a figure with a lion’s body and a
woman’s head appears in the Hieroglyphica of Valeriano as an emblem of the
hetaira (39). The inclusion of feminine, morphological elements in the composition of traditional symbols such as the sphinx always alludes to a background of
nature overlaid with the projection of a concept or of an entire complex of cosmic
intuitions. In consequence, the Woman is an archetypal image of great complexity
in which the decisive factor may be the superimposed symbolic aspects—for
example, the superior aspects of Woman as Sophia or Mary determine her function as a personification of science or of supreme virtue; and when presented as
an image of the anima, she is superior to the man because she is a reflection of the
loftiest and purest qualities of the man. In her baser forms as Eve or as Helen—
the instinctive and emotional aspects—Woman is on a lower level than the man.
It is here, perhaps, that she appears at her most characteristic—a temptress, the
Ewig Weibliche, who drags everything down with her, and a symbol comparable
with the volatile principle in alchemy, signifying all that is transitory, inconsistent, unfaithful and dissembling. See also The Loved One and Sophia.

To see a woman in your dream, represents nurturance, passivity, caring nature, and love. It refers to your own female aspects or your mother. Alternatively, a woman indicates temptation and guilt. If you know the woman, then it may reflect concerns and feelings you have about her.

To see an old woman in your dream, indicates your concerns about aging and growing old. Alternatively, the old woman may be an archetypal figure to symbolize feminine power.

To see a group of women talking in your dream, refers to some gossip.

To see a pregnant women in your dream, symbolizes abundant wealth.

Seeing a woman in your dream, represents nurturance, passivity, caring nature, and love. It refers to your own female aspects or may also represent your mother. Alternatively, it may indicate temptation and guilt. If you know the woman, then it may symbolize the concerns and feelings you have about her. Seeing an old woman in your dream indicates aging and growing old. Seeing a group of women talking in your dream, refers to some gossip. Seeing a pregnant women in your dream, symbolizes abundant wealth.

A woman or women generally represent intuition, creativity, nurturing, and love. At times they can also represent the negative attributes that are given to women and include physical and emotional weakness, gossip, martyrdom, passivity, moodiness, temptation, and guilt. The content of the dream is to be considered, as well as the emotional tone. If the dream is sexual in nature, look up sex. If the woman in your dream was a stranger and you are a man, she could be symbolic of your feminine side or your attitude about women. If you are a woman, this stranger may be symbolic of different parts of your character or personality. The woman is that force or current inside of you that nudges you on and inspires you. It is your intuition and the knowledge that in not necessarily attached to words.

To dream of the direction left, symbolizes the unconscious and your repressed thoughts/emotions. It is an indication of passivity.

To dream that you are left behind, represents feelings of rejection or not fitting into a group. It may also highlight fears of not being able to keep up. You are questioning your abilities. The dream may be telling you that you are not utilizing your full potential. If you left something or someone behind, then it indicates that you are ready to let go of the past or move forward.

Dreaming of the direction left, symbolizes the unconscious and your repressed thoughts/emotions. It is an indication of passivity.

In a manner of speaking, space is an intermediate zone between the
cosmos and chaos. Taken as the realm of all that is possible, it is chaotic; regarded
as the region in which all forms and structures have their existence, it is cosmic.
Space soon came to be associated with time, and this association proved one of
the ways of coming to grips with the recalcitrant nature of space. Another—and
the most important—was the concept of space as a three-part organization based
upon its three dimensions. Each dimension has two possible directions of movement, implying the possibility of two poles or two contexts. To the six points
achieved in this way, there was added a seventh: the centre; and space thus
became a logical structure. The symbolisms of level and of orientation were
finally brought to bear in order to complete the exegesis. The three dimensions of
space are illustrated by means of a three-dimensional cross, whose arms are oriented along these six spatial directions, made up of the four points of the
compass plus the two points of the zenith and the nadir. According to René
Guénon, this symbolism—because of its structural character—is identical with
that of the Sacred Palace (or the inner palace) of the Cabala, located at the centrepoint from which the six directions radiate. In the three-dimensional cross, the
zenith and the nadir correspond to the top and the bottom, the front and back to
East and West, the right and left to the South and North. The upright axis is the
polar axis, the North-South axis is the solstitial line, the East-West the equinoctial. The significance of the vertical or level-symbolism concerns the analogy
between the high and the good, the low and the inferior. The Hindu doctrine of the
three gunas—sattva (height, superiority), rajas (intermediate zone of the world
of appearances, or ambivalence) and tamas (inferiority, or darkness)—is in itself
sufficient to explain the meaning of the symbolism of level up and down the
vertical axis. It is, in consequence, the intermediate plane of the four-directional
cross (that which incorporates the cardinal points and which implies the square)
which represents the world of appearances. Taking next the East-West axis,
traditional orientation-symbolism associates the East—being the point of sunrise—with spiritual illumination; and the West—the point where the sun sets—
with death and darkness. Passing next to the North-South axis, there is no one
definite interpretation. In many oriental cultures, the zenith coincides with the
mystic ‘Hole’ through which transition and transcendence are effected, that is,
the path from the world of manifestation (spatial and temporal) to that of eternity. But it has also been identified with the centre of the three-dimensional cross,
taken as the heart of space. Reduced to two dimensions—those of the contrasting
horizontal and vertical arms—the cross comes to represent harmony between
extension (associated with width) and exaltation (with height). The horizontal
arm concerns the implications of a given gradation or moment in an individual’s
existence, and the vertical pertains to moral elevation (25). William of SaintThierry, describing the seven gradations of the soul, observes that it ascends these
steps in order to reach the celestial life (14). If we seek an interpretation which
will justify the four points of the horizontal plane’s being reduced to two (the left
and right), we can find a basis for it in Jung’s assertion that the rear part coincides
with the unconscious and the front with the manifest or consciousness; and since
the left also can be equated with the unconscious and the right with consciousness, the rear then becomes equivalent to the left and the front to the right (32).
Other equivalents are: left side with the past, the sinister, the repressed, involution, the abnormal and the illegitimate; the right side with the future, the felicitous, openness, evolution, the normal and the legitimate (42). In all this, there is an apparent contradiction with the corresponding number-symbolisms: Paneth
observes that, in most cultures, the uneven numbers are considered to be masculine and the even numbers to be feminine. Since the left side is the zone of origin
and the right that of the outcome, the corresponding number-symbolisms would
seem to be one (the uneven or masculine number) for the left side (that is, the
past) and two (the even or feminine number) for the right side (the subsequent or
outcome). The solution is to be found in the fact that the number one (unity)
never corresponds to the plane of the manifest world or to spatial reality: it is the
symbol of the centre, but not in the sense of occupying any situation in space
which might imply a sequel. Hence we must conclude that two is the number
corresponding to the left side and three is that related to the right. Guénon
explains the way in which the cosmic order conforms with all this in a lucid
exposition of the relevant Hindu doctrines to the effect that the right hand zone is
the solar region; the left-hand the lunar. ‘In the aspect of this symbolism which
refers to the temporal condition, the Sun and the right eye correspond to the
future, the Moon and the left eye to the past; the frontal eye corresponds to the
present which, from the point of view of the manifested, is but an imperceptible
moment, comparable to the geometrical point without dimensions in the spatial
order; that is why a single look from the third eye destroys all manifestation
(which is expressed symbolically by saying that it reduces everything to ashes),
and that is also why it is not represented by any bodily organ; but when one rises
above this contingent point of view, the present is seen to contain all reality (just
as the point carries within itself all the possibilities of space), and when succession is transmuted into simultaneity, all things abide in the “eternal present”, so
that the apparent destruction is truly a “transformation” ‘ (26). Now, the seven
aspects that define space have been regarded as the origin of all septenary groups,
and in particular of the seven planets, the seven colours and the seven kinds of
landscape (50). Hence Luc Benoist can assert that the Christian Church, by
building on earth a mighty, three-dimensional cross of stone, has created for the
entire world the co-ordinate lines of a supernatural geometry. Benoist then quotes
Clement of Alexandria as saying that the six directions of space symbolize—or
are equivalent to—the simultaneous and eternal presence of the six days of the
Creation, and that the seventh day (of rest) signifies the return to the centre and
the beginning (6). Once the cosmic sense of spatial symbolism has been demonstrated, it is simple to deduce its psychological applications. And once the static
laws have been determined, it is easy to grasp the dynamic-implications, always
bearing in mind the symbolism of orientation. Here, we must point out that the
swastika—a solar and polar symbol—implies a movement from right to left, like the apparent movement of the sun; and that Clotho—one of the Parcae—spins
her ‘wheel of destiny’ in the same direction, that is, the opposite way to existence, so destroying it. Right-handedness is characteristic of all symbols of natural
life (28); hence, in the Egyptian system of hieroglyphs, to enter is to go towards
the right and to go out is to go towards the left (19); orienting these hieroglyphs,
we have the right corresponding with the rise and the left with the setting of the
sun. Similarly, the right side takes on an extra implication of birth and life, while
the left side acquires an association with death (17). Another consequence, apparent in allegories and emblems, is that the right side corresponds to the higher
virtues—if one may put it that way—such as compassion, and the left side to
justice. All of the above conclusions are logical deductions drawn from the study
of oriental tradition, supported by the findings of experimental psychology. But
they are conclusions which have also been verified by anthropologists and sociologists in their studies of the habits of diverse peoples. Ania Teillard, for example, has collated a mass of facts; she quotes J. J. Bachofen as asserting (in his
Mutterrecht und Urreligion und Grabersymbolik der Alten) that, in the important
and very common equation ‘right hand=masculinity’, the left hand harbours
magic powers and the right hand the force of reason, and also that in matriarchal
societies one always finds the idea of superiority attributed to the left side, and
conversely. To turn to the left is to look back upon the past, the unconscious,
implying introversion; to turn to the right is to look upon the outside world,
implying action and extraversion. At the same time, ethnologists are agreed that
during the first stage of any period of sun-worship, the right side becomes preeminent, whereas in lunar cults it is the left side which prevails (56). In paintings,
reliefs and other artistic creations of man, the left side is characterized by a more
vivid projection of the self (that is, by identification) and the right side is more
extravert.

Seeing or dreaming that you are in space, represents exploration. You are an independent thinker.

To see type in a dream, portends unpleasant transactions with friends. For a woman to clean type, foretells she will make fortunate speculations which will bring love and fortune.

To dream of darkness overtaking you on a journey, augurs ill for any work you may attempt, unless the sun breaks through before the journey ends, then faults will be overcome.

To lose your friend, or child, in the darkness, portends many provocations to wrath. Try to remain under control after dreaming of darkness, for trials in business and love will beset you.

A dark place, such as a cave, in a dream can symbolize negative emotions. In your dream, are you able to find your way out of the dark place?

A dream about being in darkness can also mean that you believe you are being "kept in the dark" about something - that someone else is keeping a secret from you.

If you dream that you are afraid of the dark you could be unwilling to deal with obstacles that you expect to face in the future.

To see amber in your dream, symbolizes the sun and positive energy. Amber is said to have natural healing power. Some believe that the amber can heal sore eyes, sprained limbs or arthritis. Thus the amber in your dream could mean you need to be healed in some way.

Alternatively, to see amber in your dream, represents resurrection. Something in your past will prove to be extremely important to your future. It could mean a situation or relationship in your waking life that was once lively, is now non-existent. You feel trapped or that your life is too rigid and inflexible. You need to change your outdated way of thinking and old ideas.

When you dream of amber you put the stress on some well established old principles of yours. These might look outdated, but by looking to the past you are making briges for the future.

Brown is not the most cheerful colour in the spectrum. It is a very serious colour that is associated with the earth, dirt, or soil. Autumn is generally brown and it represents a season of dormancy and conservatism. The brown in your dream may be symbolic of physical reality and earthiness. It may represent things in their "barest" form, and its interpretation may encourage you to add some light and depth into your daily life.