Knotted

The handmade artisan knotted rugs from the Valley of the Ourika to the south of the imperial city of Marrakech and on the northern slopes of Moroccan High Atlas are particularly appealing. They are meant as true decoration pieces to cover the floor. They use the symmetrical knot, undyed natural wool and fragments of other textiles of vivid colors (cotton threads, etc) for the knots and, often, for the making of the warp and weft. Those latter materials with the bright colours contribute to the awesome final result that recalls modern pieces of abstract art. However, the decorative motifs are a tribute to the ancient, vast and rich Berber iconography and simbology such as the use of the lozenge as a reference to the woman's womb and to the eye as a powerful means to ward-off evil, of the zig-zag line as a masculine element. True pieces of ethnic art.

The textiles from the different Berber sub-goups of the Aït Ouaouzguite Confederation in the region of the Siroua between the Moroccan High and Anti Atlas mountain ranges, such as the Aït Ouarda, the Aït Tamassine, the Aït Ameur, the Aït Khezama, the Ait Oubial or the Aït Abdallah, are traditionally among the most reputed in Morocco. To that end contribute not only the quality of the materials employed, the dexterity of the artisan weavers but also the originality of the techniques used in their flatwoven textiles such as capes or –akhnif- or bags and shepperd and mount blankets –shadoui-, -l´rhomd- or -adil-. For their knotted piled rugs they commonly use the so-called symmetric knot and local sheep wool. In earliest examples the predominant colours are natural undyed white, cream, brown and black sheep wool. Natural black wool is still very highly esteemed due to the top quality of that wool coming from a local sheep breed and because according to Berber’s beliefs it is very effective to ward off evil eye and other bad influences. In not that old examples the colour palette is wider. As to decorative patterns those are clearly tribal though we can find sometimes some resemblance with those found in city examples from Rabat or Salé. That has very much to do with the old and long-lasting links between the Jewish communities of those cities and Aït Ouaouzguite’s ones. When it comes to flatwoven textiles the degrees of quality, originality and excellency are certainly outstanding, particularly among the Aït Ouarda and the Aït Tamassine, being the combination of white and black stripes of different width  and the use of the –shadaoui- or  weft-twining technique some of the more remarkable features. True pieces of tribal art at its best not to be missed.